Next door to the Fanny Weld House (last post) and the iconic Loring-Greenough House, this Queen Anne home in Jamaica Plain, Boston, packs an architectural punch, but is kind of hidden from the public view. The home was built in 1883 for Edward Sherwin, an agent for the Philadelphia and Reading Coal and Iron Company, who seemingly marketed their coal to the Boston area. The company was the largest producer of anthracite coal in the United States from 1871 through the 1920s. He married an Elizabeth B. Van Brunt in 1882, likely the same Elizabeth who was the sister of famed architect Henry Van Brunt. Therefore, its likely that Henry Van Brunt designed this home for his sister and her new husband as a wedding gift! This is one of the homes that I would LOVE to see the interior. The woodwork is probably immaculate!
The First Reformed Church of Schenectady is the oldest congregation in the city. Founded by Dutch settlers, Schenectady’s first colonists, the first church lasted over a decade until it burned in the Schenectady Massacre in 1690, when a party of more than 200 French and allied Mohawk warriors attacked the unguarded community of Schenectady, destroying most of the homes, and killing or capturing most of its inhabitants. Sixty residents were killed, including 11 enslaved Africans. An expanding congregation after, outgrew its second and third buildings, replacing them with larger structures. The fourth was lost in Schenectady’s Great Fire of 1861, causing yet another building campaign. The present church building, an architectural landmark in Gothic design, was completed by the highly regarded Victorian-gothic architect Edward Tuckerman Potter in 1863. Potter is also known for his designs of the Nott Memorial Building (previously featured), in Schenectady, and Mark Twain’s home in Hartford, CT. A fire in the church gutted it in 1948, but the community at large banded together to fund the restoration efforts of the amazing architectural landmark.
The 16-sided Nott Memorial Hall is one of America’s most dramatic High Victorian buildings, is the centerpiece of the Union College campus (and a major reason for my stop in Schenectady when driving through New York). Union was the first non-denominational institution of higher education in the United States, and the second college established in the State of New York. Eliphalet Nott became college president in 1804, and envisioned an expanding campus to accommodate a growing school. In 1806 a large tract of land was acquired to the east of the Downtown Schenectady, on a gentle slope up from the Mohawk River. In 1812 French architect Joseph-Jacques Ramée, equally skilled in landscapes and structures, was then hired to draw up a comprehensive plan for the new campus. Ramée worked on drawings for about a year, and construction of two of the college buildings proceeded quickly enough to permit occupation in 1814. The Union College campus thus became the first comprehensively planned college campus in the United States! As part of Remee’s plan for the campus, a round, Neo-Classic “pantheon” building was proposed at the center of campus (a prescendent for Thomas Jefferson’s plans for the University of Virginia just four years later). The building never materialized in Unions early days. Construction finally began on the building in 1858, based on designs by Edward Tuckerman Potter, grandson of President Nott, but apparently took nearly 20 years to complete due to the Civil War and funding issues. The Nott Memorial as completed, is 89 feet in diameter and capped with a ribbed dome. The dome is sprinkled with 709 small colored glass windows, making it one of the finest buildings on a college campus in the United States!
Located in the Foss Beach section of Rye, NH, this Victorian summer cottage stands out among the later new construction of lesser detailed and quality late 20th century homes seen here lately. The home, known as “Tower Cottage” was built at the end of the 19th century and exhibits Victorian Gothic elements with a massive center tower. The steep wood shingle roof is punctuated by two rows of delicate dormers which add detail and views to the ocean. The massive wrap-around porch is also a must for such a prime location fronting the Atlantic Ocean!
This house was built and first occupied by George G. Lougee, owner and proprietor of the Sea View House Hotel (demolished) across the street. Before building his own hotel, Lougee was a clerk at the Atlantic House, another summer resort. Lougee eventually worked his way up and ended up managing that hotel. Lougee’s success managing the Atlantic and later, the Farragut, enabled him to pursue his own enterprise and build his Sea View Hotel. When Lougee sold the Sea View hotel, he also sold this house with it. His former Stick style home was then converted to additional rooms at the hotel until it closed in the 20th century.
In 1873 Elnathan Jones, Jr.(1829-1904) purchased house plans from a friend in Groton, adapted the plans, and built these two houses, in Acton. One home for himself, and one for his business partner Jonathan Wetherbee (1832 1926). Also near these two houses is the Tuttle House (featured last), in a different style. All three of these men were family by marriage, and ran businesses in the village of South Acton. The Jones and Wetherbee houses were built as sister houses, identical; but over the years, the Jones House has seen some unsympathetic alterations which diminish its architectural significance. The Wetherbee House (yellow) retains its original detailing and corner, towered mansard roof.
In 1894, Hiram P. Dinsmore, a clerk at the nearby Tewksbury Almshouse, purchased land not too far from his work to build a home for his family. The well-designed late-Victorian home features a wrap-around porch, a corner tower, twin sunburst or flower motifs, and the use of shingle and clapboard siding, all hallmarks of the Queen Anne style. After Hiram’s death, his wife and children lived in the home, and it was later willed to his daughter Beatrice and her husband, both of whom worked at the Tewksbury Almshouse (since renamed Tewksbury Hospital). The home has seen some deterioration with large sections of siding completely open to the elements unobscured by paint and a sagging porch roof. Hope to see this beauty restored.
Located on Commonwealth Avenue in Boston’s Back Bay neighborhood, the Hooper Mansion represents one of the most elegant examples of Second Empire architecture style in the city. This home was actually constructed as a double-house for Samuel Hooper and his wife Anne, with a separate, semi-detached home for his son and his own family. The double-mansion was designed by esteemed architect Arthur Gilman, who used pressed brick contrasted with the tan sandstone on the home. Additionally, he designed the dentillated cornice, lavish door and window surrounds, and octagonal bays, all capped with a mansard roof with many windows laid inset to the roof, a stunning feature. The house was designed symmetrically, with entrances on each side elevation. In the early 1890s, later owners extended the eastern half of the façade so that it would be on the same plane as the western half, with an entrance at street level (seen in the right of this photo). Today, the double house is broken up into four large condominium units. When the conversion was approved, the developer wrote into the deed that the open space at the corner, used as a garden, would remain open space in perpetuity.
This stunning Queen Anne house in Brookline showcases everything that is synonymous with the term “Victorian” in architecture. This home was built in 1890 for William Boynton, a flour merchant who had offices in downtown Boston. The home features an assortment of siding types, sunburst motifs, an asymmetrical facade, and a large corner tower with an onion dome. The home is painted to showcase all the fine details and intricacies seen in the design.
Located on the Flat of Beacon Hill, 19th century-made land along the Charles River, the Church of the Advent stands tall as an architectural landmark of Boston. Construction of The Church of the Advent began in 1880 and would continue 12 years until the tower was completed in 1892. Its architect, John H. Sturgis, died in 1883, after which his nephew, Richard Clipston Sturgis, continued the architectural practice and oversaw the completion of this church. The building was designed in 1875 as an Early English Gothic style that was favored by Episcopalian church architects of the period, but it appears that after John Sturgis’ death in 1883, the design changed substantially during construction, to reflect the Victorian Gothic style. The church today serves somewhat as a memorial to its architect, for his family and clients donated the major portion of the interior art from windows to choir stalls.