Victorian Gothic

Saint Mary of the Assumption Catholic Church, Milford // 1870

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The grand St. Mary of the Assumption Catholic Church in Milford, Massachusetts, was built in 1870 and is tied to the period of great growth and prosperity for the community. After the Civil War, the quarrying and sale of the iconic local Milford “pink” granite boomed, and thousands of immigrants moved to the area for work, many of them Irish-born, bringing their traditions and religion. The local Catholic church was led by Father Patrick Cuddihy, who oversaw a building campaign and expansion of the church here in Milford. In the 1860s, Father Cuddihy hired architect, Patrick C. Keely to design the edifice, built of local granite quarried by many congregants. Once the foundation was laid for the church Keely was tasked to oversee the design of the new Cathedral of the Holy Cross in Boston, so he abandoned work in Milford, leaving the remainder of the overseeing of construction to ecclesiastical architect, James Murphy, who often worked alongside Keely. Original plans for a towering belfry were uncompleted for over a decade until 1887, when work began to erect the iconic Victorian Gothic tower, it was completed by 1888. The church remains an architectural and cultural landmark in the community which offers masses in English, Spanish and Portuguese, showing the rich cultural diversity in Milford.

Milford Opera House Block // 1881

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While altered, the Milford Opera House Block on Main Street, stands as one of the architecturally distinctive and significant 19th century buildings in Milford, Massachusetts. As the town prospered in the decades following the Civil War, and wealthy residents, including William F. Draper, an executive with the Draper Corporation in nearby Hopedale, sought to use their wealth to improve their community. In 1880, planning began to erect an opera house building, which would bring the arts to the community, and after months of discussion and planning, funding and a site on Main Street was secured. Architect, Frederick Swasey was hired by the association, who furnished plans for the Victorian Gothic building to contain five retail stores on the ground floor with an auditorium above capable of seating 1,100. The building suffered from a fire in 1912 and use as an opera house ceased and starting in the 1920s and the building began showing moving pictures. Later in the 20th century, the building was altered with the storefronts enclosed, windows on upper stories changed, iron cresting at the roof and clock face removed, but the building still retains its ornate entrance and is an important landmark on the town’s Main Street.

Amos Lawrence Rowhouses // 1876

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Amos A. Lawrence (1814-1886), a wealthy Boston merchant, owned land holdings in the present-day Longwood neighborhood of Brookline, just over the Muddy River from Boston, and developed the area into a wealthy and high-quality suburb. Lots were laid and Lawrence hired civil engineer, Ernest Bowditch, to plat for multiple sets of distinctive rowhouses surrounding a small green mall, which was later named Monmouth Court. Once the property was laid out, Amos Lawrence hired the Boston architects, J. Pickering Putnam and George T. Tilden, to design rowhouses for rental income. George Tilden was previously employed at the firm of Ware & Van Brunt, a firm that mastered and popularized the panel brick style in the Boston area in the 1870s and 1880s, and he clearly built upon this expertise for the rows for Amos Lawrence in Brookline. All four rows of houses are distinctive, yet compliment each other stylistically with projecting bays. intricate brickwork, complex rooflines with dormers, and applied ornament. This row at 10-18 Monmouth Court was from the designs of partner, J. Pickering Putnam and was highlighted in an architectural publication soon after completion. The row exhibits a slate mansard roof disrupted by dormers with trusses, lancet arch and trefoil motifs, polychromatic brick and pent roof entrances all stepping out to the private courtyard.

Amos Lawrence Rowhouses // 1876

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Amos A. Lawrence (1814-1886), a wealthy Boston merchant, owned land holdings in the present-day Longwood neighborhood of Brookline, just over the Muddy River from Boston, and developed the area into a wealthy and high-quality suburb. Lots were laid and Lawrence hired civil engineer, Ernest Bowditch, to plat for multiple sets of distinctive rowhouses surrounding a small green mall, which was later named Monmouth Court. Once the property was laid out, Amos Lawrence hired the Boston architects, J. Pickering Putnam and George T. Tilden, to design rowhouses for rental income. George Tilden was previously employed at the firm of Ware & Van Brunt, a firm that mastered and popularized the panel brick style in the Boston area in the 1870s and 1880s, and he clearly built upon this expertise for the rows for Amos Lawrence in Brookline. All four rows of houses are distinctive, yet compliment eachother stylistically with projecting bays. intricate brickwork, complex rooflines with dormers, and applied ornament. This row at 69-77 Monmouth Street exhibits inlaid tile medallions and small balconets on the chamfered corners that are missing their railings.

Former St. Casimir’s Church // 1872

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Built in 1872, this Victorian Gothic style church on Greene Street in the Wooster Square area of New Haven, Connecticut, has had a varied history that tells the full story of its neighborhood. The church was originally constructed as the Davenport Congregational Church and was designed by New Haven architect, Rufus G. Russell, who formerly worked many years for Henry Austin, the city’s leading architect, before opening his own firm. In the early 20th century, the neighborhood demographics shifted to a more diverse area of recently arriving immigrants who worked in nearby industry and the edifice was occupied by an Italian Baptist church. 1927, the church was purchased by a local Lithuanian congregation, who re-established the building as the St. Casimir Catholic Church. For nearly 100 years, the church remained an active use anchoring the iconic Wooster Square park until the congregation closed, leaving the building’s fate unclear. Luckily, developers purchased the property, which is located within a local historic district, and converted the church into residential units.

Trinity Episcopal Church of Wrentham // 1872

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Overlooking the Town Green in Wrentham, Massachusetts, the Trinity Episcopal Church of Wrentham stands as the town’s finest example of Victorian Gothic architecture and the community’s oldest Episcopal church. Episcopalians in Wrentham first began worshipping in 1863 and in less than ten years, quickly grew in numbers from just two members to so many that a church building was needed to house the congregation. The site on East Street was purchased and architect, Shepard S. Woodcock, was hired to furnish plans for the new building. Completed in 1872, the Victorian Gothic design features all of the hallmarks of the style, including the steeply pitched roof, pointed arch windows and entry doors, buttresses, and towering steeple.

Richmond Universalist Church of the Restoration – Richmond Free Library // 1880

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Adaptive reuse of old churches in New England is fairly common; with most conversions into housing or community centers, but have you seen a church turned into a library? Located in the charming town of Richmond, Vermont, this Victorian Gothic landmark was constructed in 1880 after Universalists in the community decided to leave the Round Church where they shared meeting space with other congregations in town. After WWII, the dwindling congregation sold the church to a resident who then offered the property to the Richmond School District, which had its large school next door. Voters accepted the gift at Town Meeting and passed a bond to convert the building into a cafeteria and gymnasium for the school next door. In the mid-1980s, with a new school built elsewhere in town, the school building was abandoned and converted to the Town Hall, with this former church, which served for years as the school gymnasium and cafeteria, eyed for demolition. It was explored to raze the former church and build a new, modern library building in its place. Preservationists petitioned to save the building, acquiring funds to restore the exterior and convert it to a library, and succeeded. Now the town of Richmond is home to one of the greatest examples of adaptive reuse in the state of Vermont.

Pickering-Apthorp Houses // 1870

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These two near-identical townhouses at 1 & 2 Otis Place in Beacon Hill are significant architecturally and as they are bounded by four streets. The unique lots were created when Otis Place was laid out on made land in 1869 and were built the following year as an identical pair sharing a party wall and with their front facades facing south on Otis Place. The two residences were designed by the firm of Ware and Van Brunt, who blendedSecond Empire and Victorian Gothic styles with gothic arched windows, bracketed cornices, slate mansard roof, and later Colonial Revival porticos added in 1916 by architect, Frank A. Bourne. No. 1 Otis Place (right side with the oriel bay window) was first owned by Henry G. Pickering, a dealer in engines and machinery at the height of New England’s industrial revolution. No. 2 Otis Place (left with later fanlight entry), was originally owned by Robert E. Apthorp, an attorney and realtor, who decades earlier, was an active member of the Boston Vigilance Committee, the group established to harbor and assist fugitives from slavery after the passage of the Fugitive Slave Act in September 1850.

Church of the Advent // 1878

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The Church of the Advent in Beacon Hill, Boston, is a landmark example of a church designed in the Victorian Gothic style with strong English influence. The congregation, established in 1844, purchased a large corner lot at Brimmer and Mount Vernon streets on the newly made filled land west of Charles Street in Beacon Hill Flat, to construct their new church. In 1875, John Hubbard Sturgis, a Boston architect and parishioner, began designing the red brick with sandstone-trimmed church set on a corner lot with dominant corner tower and octagonal steeple. Construction began in phases beginning in 1878 and took years until the steeple was completed in 1888. Before its completion, John H. Sturgis died and his nephew, Richard Clipston Sturgis, oversaw the completion of the church, which became somewhat of a memorial to his late uncle. Following the completion of the Church of the Advent, Sturgis’ widow, extended family and clients donated a major portion of the interior art, stained glass windows, and furnishings. The polychromatic exterior in red and charred brick mixed with sandstone trim appears to have been inspired by his designs for the original Boston Museum of Fine Arts (1876, demolished in 1911.) The Church of the Advent in Boston is one of the finest ecclesiastical buildings in New England and is the master-work of one of America’s great architects.

Saint Mary of the Assumption Rectory // 1882

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Located adjacent to the St. Mary of the Assumption Catholic Church in Brookline Village, this handsome three-and-a-half-story brick structure has served as the Rectory of the congregation since it was built in 1882. Complimenting the Victorian Gothic style of the church next door, the Rectory was also designed by the firm of Peabody and Stearns, and was the home of the priest and other high-ranking clergy men. The rectory stands out architecturally for its panel brick corbelling at the eaves, steeply pitched slate roof and copper-coated gables.

St. Mary of the Assumption Catholic Church, Brookline Village // 1880

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St. Mary of the Assumption church was the first Catholic Church established in Brookline, Massachusetts, in 1852 when a congregation of Catholics began to congregate to worship together at the old Lyceum Hall. The congregation primarily consisted of Irish immigrants who settled in Brookline, where they often found work at the many large estates and building the new branch railroad in town, but desired a true house of worship close to their homes. By 1853, a modest wood-frame Gothic Revival style church was built in the Village, but was quickly outgrown. In 1873, the pastor of the congregation, Irish-born Rev. Lawrence Morris (1845-1900) began purchasing land at the corner of Harvard Street and Linden Place to establish a new church, large enough to comfortably fit the congregation and various church-related buildings. In 1880, the firm of Peabody & Stearns was hired to furnish plans for the Victorian Gothic edifice in brick and brownstone. Although the church was designed in 1880, it was not dedicated until 1886, and at this time, Pope Leo XIII sent a chalice to the Parish in honor of the completion of this church, the first in America to be named Saint Mary of the Assumption.

John D. Runkle House // 1875

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The John Runkle House on High Street, is one of the most interesting houses in Brookline. Built in 1875 for educator John Daniel Runkle (1822-1902), the brick residence excellently blends early Queen Anne form and flourish with Victorian Gothic design elements all with Stick style entry porches and dormers. John D. Runkle was a noted mathematician who later became the second President of the Massachusetts Institute of Technology from 1868 until 1878. This occurred before MIT moved over the Charles to Cambridge, so President Runkle would not have traveled far to the Institute when located in the Back Bay. The Runkle House was designed by the architectural firm of Weston & Rand with an irregular plan of elaborate belt courses in the brickwork that is set against the extremely steep slate roof with tall prominent chimneys and corner turret. Sadly, the residence is largely obscured by a tall wooden fence, but I caught it on a good day that a panel was down.

Cheapside Block // 1880

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The Cheapside Block on N. Main Street in the East Side district of Providence, Rhode Island, is significant as a remaining Victorian-era commercial block that retains much of its original architectural detailing. Built in 1880 and designed by local architects Stone & Carpenter, the Cheapside Block was named after the early nineteenth century name given to the commercial district running along the west side of Main Street, north from the eighteenth century Market House, after the London commercial district of the same name. The word “cheapside” is derived from the Anglo-Saxon word “to barter.” The block here is an excellent example of the High Victorian Gothic architecture style, with intricate brick and stonework, pointed gables with inlaid tile, quatrefoil motif in the parapet, and the original cast iron storefronts. The building was acquired by the Rhode Island School of Design and renovated in the 1980s. Today, the Cheapside Block is home to the RISD Design Center. 

St. Mark’s Orthodox Church // 1882

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Built in 1882 as a Catholic mission church, the St. Mark’s Orthodox Church on Main Street in Kingston, Massachusetts, stands as a lovely example of a Victorian Gothic ecclesiastical building in a great state of preservation. In the waning decades of the 19th century, the Irish and Catholic population of Kingston grew, which led members to petition the Diocese to erect a mission church closer to their homes, rather than attend St. Peter’s in Plymouth. Originally called St. Joseph’s Church, the building served the local Catholic population until after the new, brick St. Joseph’s. Church was built further down Main Street in the 1930s. The local St. Mark Of Ephesus Orthodox Church congregation purchased the chapel in 1995 and restored the building, removing faux-brick shingling and reshingled the exterior.

All Souls Church, Onteora Park // 1894

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Onteora Park is one of many notable summer colonies in the Catskill Mountains that were developed in the late 19th and early 20th century. Onteora Park is located in Hunter, New York, and is comprised of a development of over 100 residential properties along with club buildings and the All Souls Church. The development of Onteora Park is largely credited to Ms. Candace (Thurber) Wheeler, one of America’s first woman interior and textile designers and co-founder of the Society of Decorative Art in New York City. In 1883, she and her wealthy brother, Francis Beattie Thurber, purchased land here with sweeping views of the Catskill Mountains, and built two summer houses for their respective families. By 1887, Candace Wheeler and her sister-in-law, Jeannette (Mrs. Francis B.) Thurber, decided to expand and develop their property as a vacation community of like-minded people dedicated to the arts. Years after the first cottages were built, Candace asked her son, Dunham Walker, an architect, to furnish designs for a community summer chapel. After the site had been secured, Canadian architect (and summer resident of Onteora) George Agnew Reid, was asked to put Mr. Wheeler’s plan into acceptable form and to supervise construction. The original wooden church was changed over to stone, all in a Victorian Gothic style. By 1910, the building was enlarged with the addition of the chancel and addition of transepts and possibly the square bell tower. At this time, the church was also electrified. Today, the church is lovingly maintained and open for the summer season and special ceremonies.