Monthly Archives: May 2025

White Houses of Thomaston

We’re up in midcoast Maine for a long Memorial Day weekend and I spent an afternoon walking around Thomaston, which was the site of a very early English arrival in 1605: I’m not sure why this is not more heralded, or at least discussed. It became a very important shipbuilding town over the nineteenth century but for me, growing up in southern Maine, Thomaston had two associations: the prison and large white houses. The Maine State Prison at Thomaston was in operation from 1824 to 2002, and because of my adolescent preoccupation with the Isles of Shoals and the 1873 Smuttynose Murders I knew that the murderer, Louis Wagner, was held and executed at there. My other Thomaston association is far more pleasant: an impression of a succession of large white houses as we drove through on Route One. So I went back to look for the great white houses: there are indeed so many, and not just on the highway.

The most majestic white house of Thomaston (likely very prominent among my childhood impressions) is actually a recreation: of General Henry Knox’s Montpelier. The Revolutionary War hero was married to an heir of the Waldo Patent, which had allocated a large chunk of midcoast Maine to Boston merchant Samuel Waldo in the early 18th century. Waldo’s grandaughter Lucy Knox became his sole heir as her family, the Fluckers, were notable Loyalists who left the country at the onset of the Revolution. After Knox had finished his military and government service, he and Lucy retired to Thomaston and built Montpelier in 1794. They lived there until his death in 1806, after which the house was occupied by members of the Knox family until 1854, when it was sold. Several decades later it was demolished to my way for the Knox and Lincoln Railroad, and recreated in 1930 as a perfect Colonial Revival monument: now it houses the Henry Knox Museum. Was Montpelier the inspiration for all the stately white houses of Thomaston or was it James Overlock (1813-1906), who designed and built scores of solid structures in vernacular and revival styles with all the new building technologies of his day? Likely both, with a healthy measure of New England traditionalism, but all these white houses are certainly a testament to Thomaston’s shipbuilding wealth in the nineteenth century, and to the preservation efforts of their successive owners.

Just one sample of Thomaston’s white houses.


Norman Street Will Break Your Heart

Norman Street has been an important street in Salem for centuries, serving as an east-west way first to the harbor, then to the train station, and linking downtown and the city’s west-lying residential neighborhoods. It was once tree-lined, along with Georgian colonial houses interspersed with shops. It had a bit of a reputation as an American “Harley Street,” with several prominent physicians in residence, and it even has an eerie element, referenced by an entry in Nathaniel Hawthorne’s notebook for 1839 in which he recounts a story told to him by Custom House inspector William Pike, who “Another time — or, as I think, two or three other times — saw the figure of a man standing motionless for half an hour in Norman street, where the headless ghost is said to walk.” Norman street was also Samuel McIntire-central: Fiske Kimball asserted that the great architect and woodcarver was born at #21, and both his father and brother lived (and worked) on the street. Despite its heritage, and because of its continuous role as a central corridor, Norman Street was very vulnerable to one of the most dominant forces of the twentieth century: the car. From about 1930, it was transformed from a human-scaled city street into a wide suburban “connector,” a process that was intensified with the construction of two large buildings at its eastern and western ends, a new U.S. Post Office building and the headquarters for the Holyoke Mutual Fire Insurance Company. These buildings wiped out more than 50 residences on their side of the street and adjacent streets, even more after the Holyoke building’s expansion in the 1970s. On the north side of Norman, the New England Telephone Company initiated a similar cascade of demolition commencing several decades earlier. Business and residency had co-existed on Norman Street since Salem’s founding, but these larger businesses brought more workers and more traffic. The street was widened considerably, causing it to lose much of its residential charm, and one by one the remaining colonial houses fell, along with all of its trees. There is no question that the car was the major culprit in this unfortunate transformation, but Norman Street is also a study in how little control a municipality has over urban development if it does not have robust planning tools in place, or if it chooses not to utilize those tools.  When I look at Norman Street today it appears that the City of Salem seems to have essentially written it off, leaving it to landlords and speeding cars. If you’re a preservationist or a pedestrian, Norman Street will break your heart, especially if you know what was there before.

Norman Street past.

Looking down (east) Norman Street in the 1880s and 1910s, Lee MSS & Frank Cousins slide, Phillips Library, Peabody Essex Museum; the Cox House, 1890s, Dionne Collection, Salem State University Archives & Special Collections. EIGHT LARGE BRICK OVEN FIREPLACES in the Felt House, an “antiquarian’s delight.” Looking west towards Chestnut Street, Lee MSS, Phillips Library and “Newsboys” at the corner of Washington and Norman Streets, c. 1910, Salem State University Archives & Special Collections. The very famous Mansfield House with its carved stair and mantel, Cousins photos and Boston Architectural College Yearbook for 1925; wallpaper from Dr. Cook’s famous house on Norman Street, the Magazine Antiques, June 1925; Postcard of the new Holyoke Mutual Fire Insurance Company headquarters at the corner of Summer and Norman Streets, 1936, SSU Archives & Special Collections; the Texaco station across the street, 1979, MACRIS; New condos at the northeastern end of Norman Street, 1982, Boston Globe and SSU Archives & Special Collections.

The last two photos of condo conversion and construction in the 1980s represent a positive change for Norman Street: the return of residents! The business blocks and setbacks, along with the widening of the street, have certainly left their mark, however, as you can see from the photographs below which I took this weekend. It’s hard to recognize this once charming street. A couple of years ago, I kind of got my hopes up for Norman, and that’s why heartbreak is in my title (and also the description of the Felt House above). Responding to the crush of traffic at the terrible intersection of Norman and Summer, the City installed a mini roundabout, and I thought this might be the start of a concerted effort to recognize the street as a proper entrance corridor, but no, it’s just a circle of fake brick in the middle of the road. Drivers still get so frustrated by this intersection that they tend to speed up before and after, which is why I’m always anxious about crossing Norman Street. Bordering this circle are beautiful Chestnut Street houses on the west side and the hulking former Holyoke building  and an 18th century house with a strident 21st century addition on the east: this space sends a mixed message! Last summer, the weeds surrounding the Holyoke building reached up to its lower windows, and signs and litter are always strewn about. Its owner has had difficulty finding commercial tenants, and so part of the building (I think the original 1930s building) will now be consigned to a homeless center for families operated by Centerboard, the largest housing provider in Massachusetts. A proposed new housing development for the Texaco site across the street has just been granted significant tax credits by the Commonwealth, and so will now go forward. At the very least, this project (you can see a rendering here, but it’s from a couple of years ago) should eliminate that hole along the streetscape, but I hope the design does more than that. In fact, I think that this new building is Norman Street’s only hope.

Norman Street present.

 

It would be nice if that “Caution X-Walk Ahead” sign was positioned towards drivers in the street rather than pedestrians on the sidewalk.


A Salem Printer & Procrastination

It’s the end of the semester, a transitional time in which I traditionally don’t quite know what to do with myself. Instead of finishing up all of my little annoying tasks, I am persusing random pieces of print here and there. My stepmother has observed that my father can be sidetracked very easily from any task by “printed matter,” generally a newspaper or magazine, something that can be read quickly but is not (by him). I have observed this many times. It runs in the family: I too can be diverted by printed matter, but for me, it’s not the text but rather the type. I don’t really care what the words (or images) are, it’s how they have been printed, their design and composition. This goes back decades with me, since I wrote my dissertation on English printers in the sixteenth and seventeenth centuries. I did so much research on their world, their shops, their type, that I became a typography fan for life. If I happen to spot a striking typeface, a new-to-me specimen pamphlet, or an interesting title page, I will chase these impressions down to the ends of research database-earth. That happened this past weekend: hours went by, but I did discover a new Salem printer. One glance at the bookplate of Irving Kinsman Annable in the large collection of bookplates amassed by Daniel Fearing at Harvard’s Houghton Library, and I was lost.

Annabale (1867-1949) was a Salem resident who established and ran the Berkeley Press of Boston for over 50 years, eventually passing the business down to his son Walter. When I read some of the advertisements for the Press, I assumed they were job printers, producing forms and flyers, envelopes and enclosures. These very practical (and emphemeral) products were the basis of the Berkeley business, but clearly the Annabales had an artistic and skilled devotion to their craft and were not just pumping pieces out. Inland Printer, the long-running printing industrial periodical, has many reviews of the Berkeley Press, and also features the full range of its advertising: again and again the claim is “a specialty of out-of-the-ordinary printing.” Besides these orders, the Berkeley Press produced or contributed to lots of specialty publications for regional institutions and trade organizations, as well as a succession of patriotic pamphlets, including the Declaration of Independence and Gettysburg Address. Houghton Mifflin even commissioned Berkeley to produce one of the earliest (and most popular) pictorial maps, the black-and-white version Melanie Elisabeth Leonard’s view of Cape Cod, in 1926. Catalogs, portfolios, all sorts of enclosures: the press printed anything and everything, except for larger books. (I think, but I don’t have access to any business records, though there are papers in the Phillips Library collection that I want to check out if my curiosity continues). Of course, Berkeley’s own advertising materials, like the pamphlet on decoration below in the collection of Historic New England, are the most beautiful.

The first half of the twentieth century was such an exciting time for the craft of printing as its practicioners were earnest advocates for its skills and exemplars in the face of increasing mechanization. These men (mostly) were all inspired by William Morris and his Kelmscott Press, but they went on to acquire distinct skills and attributes through their own practice, societies, and appreciation of printing history. They kept their businesses small and identified as artisans first. In Boston, the leader of the printing craft movement was clearly Daniel Berkley Updike (1860-1941) and his Merrymount Press, which produced lots of ephemera as well, but many more books than Berkeley, each one a work of art. I don’t think the contemporaries Updike and Annabale were competitors; I think they were colleagues, and both were active in the Boston Society of Printers. Annabale was definitely more interested in advertising as an art, writing quite clearly about the power of “word images.” The Berkeley Press did produce several small books, especially if there was a local connection as in the case of Joseph Ashton’s History of the Salem Athenaeum, 1810-1910, but they are nothing to get excited about. On the other hand, Annable seems extremely excited about the power of perfectly printed slogans and symbols. In the press prospectus Houseflags & Trademarks (1924—the author is not credited but this reads like all of Annable’s other copy) he compares the flags flown by New England ships a century before, when they “were such frequent travellers across the waters of the world….[that] their flags were familiar spots of color in the harbors of six continents” with the trademarks of his day: if the design was right the same “familiarity” would emerge. Though he did some printing in Salem for friends and organizations which which he was associated, and even produced some picture and postcards which he sold himself (enough that I’m wondering if there was a press at home—a really cute mansard roof cottage still standing on Willow Avenue), I think Annabale saw his professional life as existing in Boston, for over fifty years.

Houseflags & Trademarks courtesy of Bailgate Books, Ltd.

 


My Top Ten Books on Salem’s Architectural History

I thought I would combine my traditional spring book list with the Preservation Month of May and put together a list of my top ten books on Salem architecture in historical context. I’m a rank amateur admirer of New England architecture up to about 1840 or 1850 but a bit more focused on the later eighteenth and early nineteenth centuries when it comes to Salem structures. While I am offended by every new Salem building which is erected there’s enough inventory from this golden era to keep me enthralled—for now: I’m not at all convinced that our city’s self-professed preservation ethic still holds. These are the books about Salem houses from which I have learned the most and to which I return the most often: some are just picture books but I find myself going back to them again and again for some reason. But this first book, Fiske Kimball’s study of Samuel McIntire, defined architectural history for me. I love Dean Lahikainen’s more recent Samuel McIntire: Woodcarver of Salem too, but Kimball is always near. I’m a big fan of Frank Cousins, of course, but I share the view of his contemporaries at the Essex Institute that his McIntire book was a bit slight—and so they commissioned Kimball. I do rely on Cousins’ (and Phil M. Riley’s) Colonial Architecture in Salem quite a bit though, so it’s number two. I’ll read anything by Frank Chouteau Brown, and the compilation Colonial architecture in Massachusetts : from material originally published as the White pine series of architectural monographs, edited by Russell F. Whitehead and Frank Chouteau Brown (1977) includes one of his classic Salem articles. Likewise, I will read anything by his fellow architect Frank E. Wallis, who came up from Boston to measure and draw Salem exteriors and interiors often in his early career. Wallis was a big contributor to a succession of portfolios of measured drawings published as The Georgian Period and edited by William Rotch Ware which were first published in The American Architect and Building News. These portfolios are GORGEOUS—my former neighbors had one and let me peruse it for a bit: I have no idea why I don’t have at least one myself!

I carry Edwin Whitefield’s books with me in the car everywhere, just because they are so charming. You never know when I will find myself in a town with one of his houses!  Albert MacDonald’s Old Colonial Brick Houses of New England, which has the long subtitle edited and published with the purpose of furthering a wider knowledge of the beautiful forms of domestic architecture developed during the time of the colonies and the early days of the republic is pretty much a picture book too, as is Halliday’s Collection of Photographs of Colonial and Provincial Houses 1628-1775. Early American Architecture by Hugh Morrison is rather old-fashioned but also very practical—it’s the only book on this list that has anything to say about construction. And finally, this is BORING I know, but if you’re interested in Salem architecture you must realize that it was written about quite a bit in early architectural periodicals, so I felt that I should include this classic bibliography.