Category Archives: Salem

Fire Alarm

I was moving very slowly on Wednesday morning and so was still at home in the late morning when all sorts of sirens went off on Chestnut Street and three firetrucks charged in, accompanied by several police cars.The entire street was blocked off, and then a huge ladder truck arrived from Lynn (apparently there was a simultaneous fire in Salem so we needed aid).  The object of everyone’s attention was a roof fire at #12, the Jonathan Hodges house. I saw no fire (or even smoke) myself but apparently the contractors who were working on the roof–welding, I suppose–saw or smelled something, and so they called the Fire Department, which of course was absolutely the right thing to do. Once the ladder was extended to the top of this very large house, one firemen ascended to its end and started pounding away on the roof, which caused me to gasp, because after all this particular house is a Samuel McIntire house, in fact the only one so-documented on the street, and no one likes to see such a treasure attacked. But an attack by fireman is much, much better than an attack by fire, certainly. After a few minutes (maybe 15) everyone seemed satisfied that there was either no fire or it was out, and all the firemen and policemen left and the contractors went back to their work. A calm descended on the street almost as quickly as the alarm.

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The Jonathan Hodges house is three doors down from mine across the street; diagonally across is the Chestnut Street park, which used to be the site of another magnificent Samuel McIntire building: the South Church, built around the same time (1805). This towering building, with its 150-foot steeple, was completely consumed by fire one night in 1903: I can’t help wondering what would have happened if that huge ladder truck had been available then. But that’s a pointless exercise. On a much happier note, in 2009 (on a hot, muggy day I remember well) a fire broke out in the historic Ropes Mansion on Essex Street when contractors were on the job: another rapid response by the Salem Fire Department saved the house from any serious structural or water damage, though the attic floor was charred, and a single crystal water pitcher broken.

McIntire South Church PEM

Ropes Mansion Fire August 2009

The South Church on Chestnut Street in Salem, before 1903, from the McIntire microsite at the Peabody Essex Museum’s website; the Ropes Mansion fire of 20009, photograph courtesy of Frank Cutietta.


Mary Harrod Northend

I’m not bound to such designations, but as we’re almost running out of Women’s History Month and our mayor has declared March 29 Salem Women’s History Day I’ve decided to feature a notable Salem woman on this last weekend in March. After much deliberation–as there are many notable women in Salem’s history–I’ve settled on the author and entrepreneur Mary Harrod Northend (1850-1926). She has interested me for some time, and she’s popped up in several posts in the past, but she deserves her own. Northend was from old, old Massachusetts families on both sides, and this heritage is key to her life and work. Both parents were actually from northern Essex County, but moved south after their marriage: her father, William Dummer Northend, became a prominent attorney and a state senator for Salem. Mary was born at 17 Beckford Street, a side-to-street late Federal house, but the family moved over to Lynde Street, in the shadow of the Federal Street courthouses, in the later 1850s. Their grand Italianate double house, photographed for Mary’s books later, is now sadly chopped into 12 apartments by my count. The few biographical details I could gather refer to a childhood sickness; in fact by all accounts (or by no accounts) Mary led a quiet life in her childhood and adulthood, until she burst out in her 50s and started writing all about colonial Salem and colonial New England, necessitating regional travel, which she clearly embraced. Eleven books were published between 1904 and 1926, when she died in Salem from complications sustained from a car accident, and many, many articles for magazines such as Good Housekeeping, The Century and The House Beautiful: I haven’t had time to compile a proper bibliography. But she was an incredibly prolific woman: an acknowledged expert on New England architecture and antiquities, with a touch of Martha Stewart-esque domestic stature as well, forged by her publications on decorating and party-planning. Let us, she writes in a very Martha tone in The Art of Home Decoration: link the old and the new, working out entrancing combinations that are ideal, making our home joyous and bright through the right utilizing of great grandmother’s hoard.

Northend Portrait 1904 HNE

Northend Birthplace Beckford Street Salem

Northend 1862 Portrait

Mary Harrod Northend (and dog), circa 1906, in the early phase of her writing career, Historic New England; her birthplace at 17 Beckford Street, Salem; her father William Dummer Northend, newly-elected State Senator from Salem, 1862, State Library of Massachusetts.

Her books and articles reveal Mary to be a fierce advocate for “Old-time” New England; she is at the forefront of that (second?) generation of strident Colonial Revivalists, fearful that the (changing) world around them hasn’t developed proper appreciation for colonial architecture and material culture. She is evangelical in her love of clapboards, mantles, arches, doorways, garden ornaments, pewter and seamless glass. The phrase “detail-oriented” doesn’t even come close to capturing Mary’s appreciation of the things that were built and made in the colonial past: these things are her life and her world. And like any good educator–which she was–Mary wanted her (growing) audience to see her world and so she spared no expense when it came to photography, first taking her own photographs and then “directing” commercial photographers in the manner of a cinematographer, according to Mary N. Woods’ Beyond the Architect’s Eye: Photographs and the American Built Environment (2011). The end result was a vast collection of still images (there are 6000 glass plate negatives in the collection of Historic New England alone, though the entry in the biographical dictionary Who’s Who in New England for 1915 indicates that Mary has “20,000 negatives and prints of American homes”) which she used to illustrate her own books, sold to other architectural writers, and colorized in the style of  Wallace Nutting to sell directly to the public.

Northend Historic Homes 1914

Northend Doorways 1926

Northend Cook Oliver

Northend Framed Photo Cook Oliver

Two of Northend’s most popular titles, Historic Homes of New England (1914) and Historic Doorways of Old Salem (1926); the Cook-Oliver House on Federal Street in Salem, featured in Historic Homes and sold as an individual colorized print, “The Half Open Door”.

It’s relatively easy to research the work of Mary Harrod Northend: her books are still readily available in both print and digital form and prints from her photographic collection are at Historic New England and the Winterthur Library. But I wish I knew more about her business, the business of publishing books and photographs, writing, lecturing, collecting. I’m also curious about money: there’s definitely a bit of voyeurism in Northend’s books and I can’t discern why she remained in the family home on busy Lynde Street rather than move to the McIntire District just a few blocks away. In one of her most personal, yet still fictionalized, books, Memories of Old Salem: Drawn from the Letters of a Great-Grandmother (1917), the great-grandmother in the title lives on Chestnut Street, but Mary never did. This might have been a family matter: her widowed mother and sister lived right next door in the Italianate double house, which was also an appropriate “stage” for some of her photographs. I also think it was quite likely that Miss Northend was seldom at her own home, as she was so busy documenting those of others!

A very random sampling of Mary Harrod Northend photographs, mostly from Historic Homes and Colonial Homes and their Furnishing (1912), all from the Winterthur Digital Collections:

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Northend 10 Chestnut Door

Northend Robinson House Summer Street

Three very different Salem houses:  doorway at the House of the Seven Gables, entrance of 10 Chestnut, side view of the Robinson House on Summer Street.

Northend Pewter Mantle

Northend Waters House Mantle

Northend Mantles

Salem mantles: a pewter display, McIntire mantle at the Waters House (LOVE this louvred fire screen), Whipple and Pickman mantles.

Northend 29 Washington Square Hallway

Northend Ropes Windowseat

Northend Saltonstall House Haverhill Hall

Northend Kittredge House Yarmouth Remodeled Farmhouses Cape

Northend Bright House Beds

Details & decor I love:  hallway of 29 Washington Square, Salem, Ropes Mansion windowseat, entry hall at Saltonstall House, Haverhill, Attic and twin canopy beds on the Cape (from Remodeled Farmhouses, 1915–but all of Miss Northend’s books feature canopied beds! I would place them headboard to headboard.)

Northend Kate Sanborn House Spinning Wheel

Northend House Winterthur

Flagrant displays of Colonial Revivalism: Spinning wheel and fire buckets at the Kate Sanborn House, and Miss Northend’s own house on Lynde Street, all dressed up for Spring.


Bowditch’s Birthday

I hope that mariners all over the world are celebrating the birthday of one of Salem’s most eminent native sons, the nautical scientist Nathaniel Bowditch, who was born on this day in 1773. The author of the encyclopedic, and still authoritative, New American Practical Navigator, I like to think of Bowditch as one of the last self-taught, “practical” scientists: he was forced by family necessity to abandon his academic studies at a young age and taught himself classical and modern languages, algebra, calculus and astronomy while working as an apprentice at a ship chandlery in his teens. Here we have a perfect example of the determinative role of birthplace: Bowditch is clearly a product of worldly Salem in its golden age, when opportunities were many and limitations few, for men that applied themselves–and had connections and resources, of course. Even an apprentice ship’s chandler accountant, Bowditch had access to the 116-volume library of Irish scientist Richard Kirwan (1733-1812). Acquired by a Beverly privateer during the Revolutionary War and auctioned off in Salem in 1781, it is one of the foundational collections of the Salem Athenaeum. Armed with his self-education from books, Bowditch went to sea following the completion of his apprenticeship and in the course of seven voyages gained the empirical experience and data that enabled him to correct some 8000 errors in the then-authoritative navigational manual, John Hamilton Moore’s Practical Navigator and eventually issue his own American Practical Navigator in 1802. Thereafter his life was one of choices (except, of course, for his unfortunate death from cancer in 1838) and he chose the more practical role of insurance-company financial statistician rather than the academic offers that came his way, first in Salem and after 1823 in Boston: the laudatory speeches given at his farewell dinner at Hamilton Hall are still ringing in the eaves!

Bowditch Birthplace Kimball Court

Bowditch Apprentice Carry On 1956

Bowditch Navigator

Bowditch Hastings Smithsonian

Bowditch Bust Smithsonian

Nathaniel Bowditch’s birthplace on Kimball Court in Salem; Bowditch as role-model apprentice in Jean Lee Latham’s influential Carry On, Mr. Bowditch (1956); The Title Pages of the first edition of The New American Practical Navigator (1802); Artist Pattie Belle Hastings’ take on the Practical Navigator, from the Smithsonian Institution’s 1995 exhibition “Science and the Artist’s Book”; Engraving of Bowditch by J. Gorss from a drawing by J.B. Longacre, Smithsonian Institution Libraries.  


Mid-Century Colonial

I have recently discovered the work of prolific Boston-area photographer Arthur Griffin (1903-2001), who was the exclusive photographer for the Boston Globe Rotogravure Magazine and photojournalist for Life and Time magazines for a good part of the twentieth century. There’s an entire museum in Winchester, Massachusetts dedicated to his work, and thousands of images have been digitized at the Digital Commonwealth. Griffin was a pioneer in the use of color film, but I love his black-and-white but still very bright pictures of Salem in the 1940s and 1950s because they depict a place that was decidedly not Witch City. There’s not a witch to be found in his photographs of the perfect Pickering House, the various house museums of the then-Essex Institute (now Peabody Essex Museum) and the House of the Seven Gables: instead we see well-dressed tourists and guides garbed, for the most part, in “colonial” dress. I always like to see occasions of colonial dress-up, and these photographs depict a decidedly mid-century display.

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Visiting the Pickering House; Pioneer Village with the extant Arbella; the Retire Becket House at the House of the Seven Gables; inspecting the hearth and bed hangings at the John Ward House; a nice shot of the Solomon Chaplin House on Monroe Street.


Sepia Streets

The other day I came across a cache of historic photographs of Boston and its surrounding communities at the turn of the last century among the digitized collections of the Boston Public Library. The Salem scenes caught my attention but as I had seen most of them I moved on and examined the rest of the 320+ photographs: sepia scenes of lost Boston, lost Chelsea, lost Arlington, lost Medford….lots has been lost but some of the structures in these photographs still remain. I had to check on each and every one, of course, and so hours passed, maybe even days….I lost track. These photographs remind me of those taken by Frank Cousins in Salem around the same time; he may even be one of the photographers as no credits are given. There is an explicit reverence and respect for the pre-Revolutionary structures and streets captured, and an implicit message that they not be there for long. The collection was commissioned by the Daughters of the American Revolution, then quite a young organization, founded in 1890. Certainly the DAR has not been the most progressive of institutions over its history, but historic preservation was absolutely central to its mission then, and it remains so today. I certainly get that as I gaze at these photographs, and I am reminded of just how many early preservationists were women: Ann Pamela Cunningham and the Mount Vernon Ladies’ Association, Margot Gayle, the savior of Soho, fierce urban renewal opponents Jane Jacobs and Ada Louise Huxtable. Certainly we have had our share here in Salem: those avid advocates of “Old Salem” culture and architecture, Mary Parker Saltonstall and Mary Harrod Northend, Louise Crowninshield, an influential board member of the Society for the Preservation of New England Antiquities (now Historic New England) who facilitated the acquisition of the Richard Derby House by the new Salem Maritime National Historic Site in the 1930s, and many of my own contemporaries who have contributed much to the preservation of Salem’s existing fabric in this challenging environment.

But I think I’m digressing a bit, let’s get to the pictures, starting with a few long-long scenes of Boston: Webster Avenue (Alley!), and Hull and Henchman Streets.

Wesbster Avenue BPL

Hull Street Boston PBL

Henchman Street Boston BPL

A bit further out, the Dillaway House in Roxbury, built by the Reverend Oliver Peabody who dies in 1752. The headquarters of General John Thomas at the time of the siege of Boston. The Dillaway House about a century later, and at present, at the center of the Roxbury Heritage State Park.

Dillaway House Roxbury BPL

Dillaway House 2 MIT

Dillaway House 3

Three seventeenth-century houses that survive to this day: the Pierce House in Dorchester, the Cradock House in Medford (more properly known as the Peter Tufts House, one of the oldest, if not the oldest, all-brick structures in the U.S.), and the Deane Winthrop House in Winthrop:

Pierce House Dorchester BPL

Cradock House Medford BPL

Deane Winthrop House Winthrop BPL

As I said above, most of the Salem photographs were familiar to me and I’ve posted them before: with a few exceptions. Clearly the DAR was looking for Revolutionary-related sites, so their photographer captured the much-changed locale of Leslie’s Retreat on North Street, along with a few other predictable sites like the Pickering House. Two houses identified as “Salem” in this collection are unfamiliar to me: the first (in the middle below) is–or was–obviously situated downtown, but I don’t recognize it: maybe someone out there will, or maybe it is gone. The second looks like it was located on a country lane: not very Salem-like, even a century or more ago, but it could be North Salem, or possibly even Salem, New Hampshire?

North Bridge Salem 1890 BPL

Old House in Salem 1890 BPL

Country House Salem BPL

North Bridge, Salem, “Old House” Salem, and a country house in Salem, c. 1890-1905, from the DAR-commissioned Archive of Photographic Documentation of Early Massachusetts Architecture at the Boston Public Library, also available here.


Third Thursdays @ PEM

On the third Thursday of every month, Salem’s thriving and always-in-motion Peabody Essex Museum stays open until 9:00 pm and hosts an interactive party in its vast atrium around a particular theme: in the past there have been Steampunk, La Vie Bohème, and “I’m a Lumberjack” evenings; last night was “Artopia”, focusing on arts in the community and of the everyday. Admission is free for all Salem residents and museum members, and a mere $10 for those who are neither: a great value as much is offered: music, installations, food and drink, activities, presentations, the omnipresent photo booth, and eclectic company. It’s always a mixed crowd in terms of age (one of the things I like best about Salem: continuous age diversity), but last night seemed both particularly family friendly and interactive: not only were people eating, drinking and talking, but (occasionally simultaneously): sketching, painting, knitting, and making meatballs. My friend Adeline Myers has just published her first cookbook, Global Meatballs, and she gave two interactive gallery presentations ably assisted by her friend Andy Varela of Maitland Mountain Farm here in Salem (producer of amazing pickles). These two were quite engaging in their discussion of the production and processing of food in general, and Addie is quite evangelical in her assertions of the global and historical qualities of meatballs in particular; in fact, I’m inspired to dig into some of my Renaissance cookbooks as soon as I finish this post!

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Artopia at the Peabody Essex Museum: the progress of events (and light) in the atrium; artwork by students at Beverly High School; activities in the Maker Lounge; Andy Varela and Addie Myers making middle eastern and Spanish meatballs. The evening was supported by the Lowell Institute and sponsored by the Salem Arts Festival (held every June), and presented in partnership with The Scarlet Letter Press & Gallery and Creative Salem.


Salem Film Fest 2015

We’re in the midst of the eighth annual Salem Film Fest, featuring a diverse menu of documentary films from all over the world. I’m for any initiative that plays to Salem’s worldly past rather than its witchy one, and this extremely well-planned festival does just that: its slogan is Come to Salem, See the World and this year you can embark on a “curated itinerary” following the themes of arts and artists, films about music, righting wrongs, films about identity, contemporary political and social issues, land and sea, and living on the edge–giving it all. Several screenings include Q and A sessions with the filmmakers, and there are also forums which explore particular aspects of documentary production. I always have an ambitious itinerary of my own, but generally end up only seeing one film. Perhaps I’ll do better this year. This weekend I saw Dennis Mohr’s Mugshotwhich examines the cultural significance of these little pictures, from law enforcement tool to celebrity signal to object of art. It was great, perfectly mixing past and present and imagery in my favorite way. Then I got focused on an academic project (a good thing) and missed American Experience Presents, about the making of the iconic PBS series, later on Saturday afternoon as well as today’s screening of Sex and Broadcasting, focused on the independent New Jersey radio station WFMU. There are still several screenings left of what looks like the “feel good” film of the festival, The Optimists, about a Norwegian volleyball team for women aged 66 to 98, so I think I’ll probably see that one, and I’m also interested in Seeds of Time, which examines one man’s mission to save the world through seed-saving and crop diversity.

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Optimists

Seeds of Time

Cats and dogs:  the festival mixes its worldliness with local perspectives by including shorts by local college students and promotional “Salem sketches” which offer a frame of city life in very short films–a minute or two. I love this one featuring our local cobbler (and his cat) and even though “Snow Place like Salem” dates from a few years ago, it perfectly captures life in Salem this winter.


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