One of the finest commercial blocks in Newport is this building, the Theodore Helme Block, located on Spring Street, just behind Trinity Church. The block was built for Helme by 1875 and was possibly an early design by Dudley Newton, a local architect. The Second Empire style block has a slate roof with rare intact iron cresting and small dormers. The building was restored by Federico Santi & John Gacher, who operate The Drawing Room Antiques here.
In Newport, Rhode Island, you can find that even the more regular-looking historic buildings often hold an interesting (and sometimes troubling) past. Little information was available on this Georgian-era house, but I did some digging and turned up a lot. Rhode Island and Newport specifically had been a hub of trade going back to its founding by white settlers. Even though it was the smallest of the colonies, the great majority of slave ships leaving British North America came from Rhode Island ports. Historian Christy Clark-Pujara, in her book Dark Work, The Business of Slavery in Rhode Island, indicates that during “the colonial period in total, Rhode Island sent 514 slave ships to the coast of West Africa, while the rest of the colonies sent just 189.” Captain Caleb Godfrey, who owned this home on Franklin Street in Newport, was a sea captain and hired by wealthy merchants to pick up slaves in West Africa and bring them back to the British colonies. In 1754, Samuel and William Vernon of Newport hired Caleb to take their ship, “Hare“, taking captives from Sierra Leone and embarking them from South Carolina. Godfrey left Sierra Leone with 84 slaves aboard, but 16 died on the 10-week voyage or soon after the ship arrived in Charleston, their bodies were dumped at night into the sea. In South Carolina, a prominent slave dealer named Henry Laurens handled the sale of African captives from the Hare, placing an advertisement to attract the attention of local rice planters. Godfrey’s Newport home is a visual reminder on New England’s direct ties to the enslavement of African people and how the colonies benefited financially from this terrible trade.
Central Newport, Rhode Island is best-known for its Colonial and early 19th century architecture, so when a Victorian-era building is spotted, it always stands out! This ornate building was constructed in 1885 as one of a half-dozen fire stations in Newport. This fire station housed one of the nation’s first organized fire companies known as Old Torrent No. 1. It was home to Newport’s first horse drawn steam engine until the steamers were replaced with motor-driven equipment in 1913. Unfortunately, these early model fire trucks weren’t designed to handle the steep incline of Mill Street. So, after 29 years of service, the station was closed and the horses, steamer, and the building were sold in 1915. The building saw numerous uses and deferred maintenance until 1991, when it was restored by local residents. Today, the one-of-a-kind features include original brass fire pole, private roof deck, and a 65 foot lookout tower with views of the Newport Harbor in the distance. It recently sold in 2022 for over $3 Million and is a residence!
Located on Mill Street, overlooking Queen Anne Square, the West-Hathaway House is one of the most charming Federal period houses in Newport, but it didn’t always call this city “home”! Believe it or not, this five-bay Federal style house was originally built in Tiverton, Rhode Island around 1800 and relocated to Newport about fifty years ago. The house was built by Samuel West (1774-1838), of a line of physicians, and later sold to Samuel Hathaway. The house was located on large farmland presently occupied by the Pardon Gray Preserve in Tiverton but was later donated to the Newport Preservation Foundation in 1977 by the owners who likely hoped to redevelop the area where this house sat. The West-Hathaway House was dismantled, moved, and reassembled on this site that same year!
This unique double-house on Mill Street is stopped me in my tracks when strolling around Newport. The two-family house was built around 1784 by Billings Coggeshall (1733-1810) and is unique architecturally as it is comprised of two houses, each with its own separate pedimented entry, into a single lengthy block. Both houses have interior chimneys and are just one-room deep! When urban renewal hit Newport in the second half of the 20th century, traffic patterns and revitalization of the waterfront were top of mind (not necessarily slum clearance and wholesale redevelopment of neighborhoods like in Boston). To bring traffic into the downtown shopping area, Memorial Boulevard was laid out by 1969, and the Newport Restoration Foundation was integral to saving this building from the wrecking ball, as it was in the path of the new road. As luck would have it, an area around Trinity Church was cleared to establish Queen Anne Square, a town common-like park in the center of town. To provide the quintessential “New England charm”, many historic buildings were relocated to line the square, including this house. When the Billings Coggeshall House was moved here, it replaced a gas station, and it was given an even longer side addition with breezeway, providing screened parking and a rear addition for offices. Here’s to preservation!
Before the days of virtual meetings, texting, and calls by cellphone, residents of towns and cities all over New England needed central telephone exchanges to connect them to those who they were trying to reach. Telephone exchange buildings were typically located in downtown areas and were often architectural statement-pieces by telephone companies. This example in Newport, Rhode Island, is located just behind Trinity Church and was designed around 1897 by the firm of Perkins & Betton of Boston. The building is constructed of brick (now painted) with terracotta trim details, which really pop. The oversized Palladian window with arch, pilasters, and cornice are all terracotta installed by the Waldo Brothers, contractors. The building was converted to residential use and was sold for $2.5 Million in 2020.
Trinity Church in Newport, Rhode Island is one of the largest extant 18th century churches in New England, and founded in 1698, it is the oldest Episcopal parish in the state. Built in 1725, the Georgian style church was built just as the influence of Sir Christopher Wren’s churches reached the colonies, about a quarter century after his work had come to dominate ecclesiastical design in London. Trinity is the second major church built in the original colonies influenced by Wren, following Old North Church in Boston’s North End (1723). Stylistically, both churches are similar, with the notable difference in material (Old North in brick and Trinity Church in clapboard). Local builder Richard Munday, is credited with the design of Trinity Church. By the late 19th and early 20th centuries, many members of the Vanderbilt family and other wealthy residents attended sermons here when summering in Newport. When Newport was undergoing Urban Renewal in the mid-20th century, Queen Anne Square (the park which fronts the church) was created in the 1970s to establish a town common in a city which had never truly had one. “Early” buildings in the area to be bulldozed for the common were moved to other sites to enhance the “colonial” rehabilitation of the area around the harbor, making this one of the few examples of urban renewal having a positive impact on a city.
George Champlin Mason (1820-1894) can be credited as one of the most influential people who helped make Newport what it is today. He was born in the old Colonial town in 1820 and after a brief period working in New York City in dry goods, he traveled to Europe in his twenties to study art in Rome, Paris, and Florence, specializing in landscape paintings. Mason spent the 1840s trying unsuccessfully to make a living as landscape painter and published Newport and Its Environs, a collection of 11 engravings of his landscape views of Newport that is one of the earliest books about Newport to showcase its potential as a vacation destination. In 1851, Mason switched professions and became part owner and editor of the Newport Mercury newspaper. He often wrote on architectural subjects. In around 1858, he took his love for art and architecture and became an architect/developer, just as Newport was seeing early stages of development as a summer colony. He was hired by some early summer residents to design their homes, and did not disappoint, gaining notoriety all over the northeast. His son George C. Mason, Jr. (1849-1924), followed in his father’s footsteps and is said to have been the first professional architectural preservationist in the United States. George Sr., built this house as his primary residence in 1873, a stunning and rare example of Swiss Chalet architecture in New England, notable for the use of pierced bargeboards, board-and-batten sheathing, and cut-out railings. The property also included a charming stone English Revival tower in the rear yard, built in the 21st century as a workshop for the previous owners. How cool!
One of the most well-designed and least-pretentious summer cottages in Newport is this charming dwelling on a dead end street. The Samuel P. Tilton Cottage was designed in 1880 by the prestigious firm of McKim, Mead & White as an idiosyncratic blending of Queen Anne and Shingle architectural styles. Mr. Tilton was a milliner (maker and seller of women’s hats) with stores in Boston and Paris, France. He had this cottage built to summer close to the nation’s wealthiest, likely marketing some hats at elaborate Gilded Age events. The facade is assertively Queen Anne with its massing and decorative panels, with shingled side elevation seemingly sprouting from the earth. The architectural terminology for these unique decorative panels is “sgraffito” where here, cement or plaster siding is set and adorned with shells, pebbles, colored glass, and pieces of coal into a cartouche design. The house is one of the finest in Newport, and shows that bigger isn’t always better!
The Weld family has long been a prominent family in Boston, with ancestors dating back to the 17th century in New England. One of these men was William Fletcher Weld, a merchant, later making investments in railroads and real estate. By the time of his death in 1881, he had an estate of approximately $20 million, or more than half a billion in today’s dollars, and he left nearly all of it to his family. His eldest son, William Gordon Weld II, received a large inheritance and he began construction on this summer “residence”cottage” in Newport. The house was designed by local architect Dudley Newton, who had the estate built of locally-quarried granite. Architecturally, the dwelling is eclectic in style with Dutch Renaissance gables with conical roof forms seen typically in Queen Anne and Romanesque buildings. Weld spent his summers here for over a decade until his death in 1896. His widow Caroline, summered in the mansion until her death in 1918. By this point, Newport was beginning to fall out of favor as a wealthy resort community, and the many Gilded Age mansions were increasingly viewed as costly white elephants from a previous era. This property was sold by the Weld family in the early 1920s and became the De La Salle Academy, a Catholic school for boys, and remained in use until it closed in the early 1970s. After the school closed, the mansion was converted to condominiums and some townhomes were built on the expansive property.
Buildings of New England 