Tag Archives: Historic Preservation

Preservation by the People

I always like to have a preservation post for preservation month so here it is: a little populist spin on Salem’s experience of urban renewal in the 1960s and 1970s. This is a long and rather complicated story that I’ve written about here before, several times, and in Salem’s Centuries, so I’m going to streamline it considerably, I promise. I’ve been wanting to do a post like this for a while, because I’m a bit troubled by a trend I see in Salem today, one which has been emerged for several years, maybe even over a decade. It’s the tendency for anyone who is opposed to any policy coming out of City Hall to be denigrated and dismissed, in words spoken at public meetings by officials, and on social media. There’s no question in my mind that the latter is the culprit: social media has enabled us all to be so dismissive, and so unaccountable, I think. Nevertheless, I don’t like the trend, because sometimes you have to fight City Hall, and when City Hall doubled down on a very agressive, one might say radically so, policy of urban renewal in the 1960s, the people of Salem resisted it—and ultimately won a battle (this is a word used by contemporaries again and again) for preservation.

The story you generally hear today in Salem is that Ada Louise Huxtable, the notable architectural critic for the New York Times, set her sights on Salem and transformed the process of renewal through demolition into one of rehabilitation almost single-handedly, or how Samuel Zoll, elected Mayor of Salem in 1969, brought about the same transformation with a resolute will. Huxtable and Zoll were indeed very important players in saving Salem from near-annihilation, and their efforts should not be under-estimated but neither should those of many more anonymous Salem people who really showed up, setting the scene for Zoll’s election and everything that followed. I certainly don’t have all their names but I have some of them, but first let’s look at some headlines from the 1960s.

“Bulldozer job”: this is not an accusation by Salem preservationists but rather the term that the head of the agency charged with implementing urban renewal, the Salem Redevelopment Authory (SRA), used to describe what was coming in 1965! The Executive Director of the SRA, John W. Barrett (who was appointed by Salem’s mayor Francis X. Collins), responded to an “overflow throng” of Salem residents in the summer of 1965 with the admission that in the beginning we did say we would not use the bulldozer approach to Salem in our planning. However, we no longer say that and went on to admit that “from 80% to 90% of structures in the central business district” would be demolished under the present plan. This meeting was sponsored by Historic Salem, Inc., (HSI) which would go on to lead a feisty opposition to the bulldozers over the next eight years. Elizabeth Reardon, President of HSI, moderated regular meetings like this at the same time she was serving on the city’s Historic District committee following the passage of the National Historic Preservation Act in 1966. Her successor, Donald Koleman, sued the SRA for not complying with Salem’s original urban renewal plan, which stressed rehabilitation as well as demolition. Prominent architect James Ballou gave an impassioned speech before the Salem Chamber of Commerce urging business leaders to advocate for preservation over demolition. Elizabeth Hunt, Bill Burns, Bob Murray, Deirdre Henderson, and others pressed for preservation consistently in myriad ways, ultimately winning several concessions, first the creation of a consulting blue ribbon panel of professionals chosen by the brand new National Trust for Historic Preservation, and later the formation of the Design Review Board for the SRA, consisting of architectural and preservation professionals appointed by local organizations like Historic Salem, the Peabody Museum and the Essex Institute.

Lynn Daily Item, 4.12.1966

This GREAT poster is among the Salem Redevelopment Authority records at the Phillips Library of the Peabody Essex Museum, in Rowley, Massachusetts. We used some of these records for our chapter on the 20th century development of Salem, but not all—they could form the foundation of a great thesis, dissertation, or book!

I’d really like to say that all these efforts, including the very personal protest of Bessie Munroe, the elderly resident of an elegant Ash Street home who refused to vacate her home when the bulldozers were really busy in 1969, turned the tide, but the fact is I think it was the destruction itself, especially when no developers popped up to rebuild. Over 60 buildings swept away, but not 147, Barrett’s greatest goal. After Samuel Zoll became mayor in 1970, he made new appointments to the Salem Redevelopment Authority, and new ideas like facade easements for the rehabilitation of buildings rather than their automatic demolition came with these new appointees. The end result was a “workable urban renewal” in Zoll’s words, facilitated in collaboration with Salem’s residences rather than in opposition to them.

“Old Salem” and “restored”:  this phrase and this word were not goals in the 1960s, but a decade later, they were! A big victory for Salem preservationists.

Blog notes: I’m off to Ireland for the rest of May so no blog posts until June. I’m thinking about some changes to the blog after so many (15!) years, some serious Salem fatigue, and several new projects. Would love to hear your thoughts, so please comment below or feel free to email me if you have any about topics and directions at dseger@salemstate.edu. Enjoy the month–it’s my favorite.


Philly Love

We were in Pennsylvania for the last leg of our spring road trip, principally, but not exclusively, in Philadelphia. I’ve been to Philadelphia many times for different reasons, but this was definitely my favorite visit. It certainly wasn’t the weather—it was as unseasonably cold as it was elsewhere for most of the time we were there. Since we really slowed down and confined most of our touring, eating and drinking to the Old City it was most definitely the architecture, but it was also seeing so many people coming for the history, and being awed by it. Being a Revolutionary War tourist is really fun: I plan to keep on doing it all year long. There were crowds and crowds of color-coded t-shirt-wearing middle schoolers along with many foreign tourists in Independence National Historic Park, and the rangers handled it all in stride, with joy actually. We saw all the usual things, took in some special tours on historic preservation and taverns, made our own little Benjamin Franklin tour, visited the Museum of the American Revolution for the first time, and ate and drank at some great restaurants. The one thing I was a bit surprised about was all the construction going on—I assumed that projects would be completed for Philly’s big year—but it certainly did not detract from our experience. I’m looking forward to going back more often.

Just walking, beginning with Elfreth’s Alley. Philly seems to have figured out how to accomodate tourists and residents at the same time. Very clean streets, no huge walking tours (I saw no more than 20), no microphones.

Independence National Historic Park, including the Benjamin Franklin Museum:

I now have seen Declaration of Independence exhibits in SIX states and the These Truths exhibition at the American Philosophical is my favorite: it’s small but mighty, and manages to be incredibly dynamic by showing how the Declaration changes over time. This was certainly emphasized by the commissioned “Re-Declaration” project of Johanna Drucker, whose Declaration is a historical/contemporary study of the power of graphic design and punctuation. Then we were off to the Powel House, as it was on my punch list of mid-eighteenth-century mid-Atlantic Georgian houses. The home of Samuel Powel, the “Patriot Mayor” who served as the last colonial mayor of Philadelphia and the first “American” one, the highlight for me was the second-floor ballroom.

And finally, my first visit to the relatively new Museum of the American Revolution! There is an extended chronological exhibition which takes you through the Revolution in most of the building, a gallery for rotating exhibitions currently featuring a thoughtful examination of the Declaration of Independence’s “journey,” and then of course Washington’s Tent, the centerpiece of its collection. We ended up here on a rainy Saturday, so it was quite crowded, but the museum’s design seemed to handle everyone very well, and still provided a bit of intimacy in some of the galleries—I managed to be almost alone in the privateering gallery, sitting on a model ship with only a woman and her adorable baby in view (I was searching for Salem here and didn’t find much). The main exhibition had a very effective ending: with the amazing photographs of Revolution veterans and combatants from the mid-19th century on one wall, adjoining an assortment of mirrors surrounding the statement: MEET THE FUTURE of the American Revolution.


The Wilton House

Virginia was the second leg of our southern road trip: we visited family in Richmond, toured historic gardens, and saw several Lost Cause and revolutionary exhibitions. I am enjoying the regional America 250 interpretations. For example, the Virginia Museum of History and Culture has branded Patrick Henry, Thomas Jefferson, and George Washington, Virginians all of course, as the “Voice, Pen, and Sword” of the Revolution. Now I am a big Patrick Henry fan, but I think we can identify a few other notable voices—perhaps the Adamses of Massachusetts? Different messaging in Philadelphia–which I’ll explore next week. I thought I’d just spotlight a beautiful house today: the Wilton House, also in Richmond, thought its original location was 15 miles outside of the city. It’s a very high-style Georgian mansion built in 1753 for William Randolph III and his family. Threatened by industrial development in 1933 (the year after the bicentennial of Washington’s birthday, cresting an intense Colonial Revival wave) it was purchased by the National Society of Colonial Dames, dismantled, and carefully resurrected on a beautiful site overlooking the James River in Richmond’s west end. Its detaled resurrection, or re-erection, is extremely notable in the history of historic preservation, and I wanted to learn about that as well as see the house. The story, as well as the house, did not disappoint.

I tried, but my amateurish photography can’t really do this house justice: it’s so textured and there was only natural light in many of the rooms. Every single room, downstairs and up, is panelled, and those amazing windowed alcoves seemed to let in different shades of light. The black walnut staircase was astounding! The largest and most public of the downstairs rooms—photos four and five above—was so gorgeous I gasped but I don’t think it’s really captured here. It is set up for General Lafayette, who stayed at the Wilton House just before Yorktown. The interpretation was both architectural (both design and construction) and historical in terms of the Randolph family history and general history, because this was a conspicuous house, visited by many, including George Washington. Ultimately the decline of the Randolph family fortune led to the decline of the house and the derelict status from which the Colonial Dames rescued it. But both the family and its restoration were set in a broad historical and social context, so we see the list of people enslaved by the Randolphs as well as family portraits (in close proximity), and photographs of those who contributed to the restoration of the house and that story too. A dual narrative, encompassing many “smaller stories,” exemplified by a beautiful house.


Christmas in Salem 2025: Close to Home

Christmas in Salem, a holiday house tour held hosted every year by Historic Salem, Inc. as its largest fundraiser, has always been one of my favorite events. It represents every thing I love about Salem: architecture, creativity, community, preservation, walkability, pride of place. It’s the light at the end of the long dark Halloween tunnel. I never miss it, and this year I couldn’t miss it, as our house was on the tour, so it came to me! Actually, on Saturday morning, I was so tired of cleaning and decorating and just thinking about it, I got in the car and drove away as soon as my house captain and guides arrived and took charge: I wanted out of sight and mind and out of Salem. But I came home to festive guides and family and knew I had missed out, so yesterday my husband and I set out on the tour ourselves and as usual, it did not disappoint. I don’t mean to convey that the experience of opening your house is in any way oppressive: Historic Salem and the Christmas in Salem team are thoroughly professional and supportive and of course it’s an honor and a privilege to be included among an always-stellar collection of Salem homes. I think I was just tired (it’s the end of the semester) and done on Saturday but I rallied on Sunday, and so I have lots of photos. I missed quite a few houses (there were long lines everywhere and we somehow had to have a drink in the midst of everything) but here are my highlights, grouped by impressions.

New perspectives:

This tour consisted of homes in my immediate neighborhood but I could see very familiar places, including my own house, in new ways. Window, courtyard, and porch views from houses that you don’t live in make things look a little different. Standing on my Cambridge Street neighbors’ porch waiting to enter their very charming house, I realized that their daily view of Hamilton Hall was very different from my own on the other side. While I was waiting to go into a house on Broad Street, I suddenly got a great view of a little Georgian house on Cambridge with its side to the street which I have always slighted. And I copied a great shot a friend of mine took through my front door wreath of the wonderful house across the street, which I get to gaze at everyday.

 

Boughs and Blooms:

That was the theme this year, so I thought I would show you some boughs and blooms, including some of my favorite Christmas trees on the tour. We had two, a stately one in the front parlor and a short and fat one in back, and I love them both but I don’t think either can compare to this first amazing tree at One Chestnut, located in the perfect dining room alcove. But all Christmas trees are special of course.

You can see that the Salem Garden Club, which decorated the cute Federal cottage with the mansard roof over on Cambridge Street pictured in the three photos above, took the boughs and bloom brief seriously! Really beautiful botanical displays throughout the house. The last time I was on this tour, 20 years ago (!!!), they decorated my house and I’m not sure it was a good idea for me to have taken on that task myself this year. But anyway, here are my two trees, front and back, tall and short.

 

So many Mantels:

And I have finally managed to spell mantel correctly, a word I’ve mispelled for years. After the tree, I’m always looking for well-dressed mantels at holiday time, and there were lots to see on this tour. If you’ve followed the blog over the years, you know that I have the decorating sensibility of a four-year-old and choose a different animal theme every year, and this year it was snow leopards (though I really couldn’t find enough leopards of the snow variety so I broadened my theme a bit). They were pretty prominently featured on both parlor mantels and on the dining room table. Most mantels on the tour were a bit more traditional, and as is always the case with the Christmas in Salem tour, there was diversity in terms of scale and materials.

 

Stairways:

Stairs are also a good focal point for holiday decorations and actually the main reason we agreed to go on the tour this year was our front stairway: we wanted to get rid of an old faded and motheaten runner and refinish the treads to match the mahogany banister. It’s good to have a project for these things, and nothing is more motivating than the challenge (threat) of 2000 people walking through your house. We got it done, or should I say the best floor guy in the world, Dan Labreque, got it done: he’s been doing the ballroom at Hamilton Hall for his entire life, following in the craft of his father. We painted our back staircase too, although that was much less of a project. I must also admit that I had a bow brigade to tie these bows as even after watching many tutorials, I just can’t do that. I loved the antique toile wallpaper in the front hall over at the corner of Broad and Cambridge, and the very grand hallway at #1 Chestnut as well.

 

Tables!

I had my leopards, and everybody else had their best china and/or silver out! Dining rooms or tables are really an encapsulation of all the little details you have to put together, I think.

 

Very random details: I spent one afternoon making this bower (???) for one of my leopards in my pantry so of course I have to feature it; what a light fixture at 1 Chestnut, my Cambridge Street neighbors spent over a year reconfiguring an addition at the back of their house and the results are stunning–here are some of the artifacts they found during the process and a great bundt pan display, swag from Historic Salem, which gave every homeowner on the tour one of these lovely paintings by Simeen Brown, just a nice simple wreath to close the post.


So much WOOD!

The Historic New England season is closing this Columbus/Indigenous People’s Day weekend and as I am up in York Harbor, I went to visit one of HNE’s oldest houses (both in terms of sheer vintage and time under its stewardship): the Jackson House in Portsmouth, built circa 1664. This is an extraordinary house: I’m sorry to be posting at this time when you won’t be able to visit it until next June, because I’d really like to urge everyone reading to go. I had been in it before, but when I was much younger and couldn’t appreciate it properly. But now, wow. I always thought it was a saltbox: it is not. It’s a seventeenth-century two-story small square house which had an elaborate lean-to added a bit later, along with two additions on each side. It is also a lavish display of wood: certainly not from an American perspective, but from an English one, which would have been its builder, Richard Jackson’s perspective. When I was writing my first book, The Practical Renaissance, I was reading treatises written for carpenters and shipbuilders, as well as some more general agricultural pamphlets, all of which made me aware of the increasing concern about the shortage of wood in seventeenth-century England. All the first-growth forests had long been chopped down, so to come to North America and see all this wood must have been something. So for me, the Jackson House was just a great illustration of that abundance. Our guide emphasized this theme adroitly as she described the house’s framing, exterior and interior, and she also illustrated the construction impact of less-abundant woodland in New Hampshire by showing us the attic over the eighteenth-century addition, with its decidedly less-robust timbers. The Jackson House is one of Historic New England’s unfurnished study houses (like the Gedney House in Salem), so the emphasis is decidedly on construction, but we got to learn a fair amount about the family as well, who possessed the house until 1924, when William Sumner Appleton, the founder of the Society for the Preservation of New England Antiquities (now Historic New England) purchased it.

Perfect 17th century parlor and east and west wings, with a patch of preserved wallpaper.

Appleton had apparently been obsessed with the Jackson House since his freshman year at Harvard, when he came up from Cambridge and knocked on the door. A pioneering preservationist and critic of “one property museums,” he began acquiring choice properties after the founding of SPNEA/HNE in 1910. Rather than stripping off the east and west additions of the house, he removed stucco and plaster to reveal its construction. The original property was extensive, fifty acres or so just across the North Mill Pond from downtown Portsmouth, in a neighborhood named Christian Shore. When I was growing up across the Piscataqua River in southern Maine in the 1970s and 1980s, Christian Shore seemed to me a drive-through area with delapidated old houses, but then suddenly appeared The Inn at Christian Shore and I started noticing all the beautiful old houses and now they really are all beautifully restored. Portsmouth is actually growing in this direction, with several hotels built in what were once vacant lots which divided Christian Shore from downtown. But when you look out the windows (replaced by Appleton, but in their original openings) of the house on its slightly elevated lot, you can imagine, and even sort of feel, the aura of its first century.

The replacement windows and upstairs, including some wood-carvings. I knew all about the counter-magical daisy wheel from the M.A. thesis on apotropaic marks by Alyssa Conary at Salem State, so it was fun to see it (a perfect example of how I didn’t “see” on my first visit as I have no memory of it). A watercolor and Detroit Publishing Co. (Library of Congress) photograph of the house before it became a museum.


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.


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.


Past and Future at the Crane Estate

It’s been a difficult week; I don’t understand the choice that my fellow Americans have made. But I do understand that I am well-insulated from said choice, by my age, occupation, residence and background. I’m a very privileged person; my first thought when I realized how the election was going was: well, I can go back to the sixteenth century and work on my saffron book. And I can, and I will. In the here and now, I realized I needed to immerse myself in something pleasureable: for me, that is always historic architecture. This past weekend, I was indeed very privileged to be able to visit a Samuel McIntire house here in Salem that will come up for sale in the coming weeks: pictures forthcoming. It was so charming, so crafted, so preserved, so comforting. And on Saturday my husband and I drove up to Ipswich for a tour of Castle Hill at the Crane Estate: it was so grandiose, so gilded, so well-situated, but still, somehow, so comforting. The estate is centered by the “Great House” or Castle Hill, a Jacobean Revival (??? not really sure about this label—the front facade is said to be based on the National Trust’s Belton House, a later Stuart structure. Stuart Revival? Carolean Revival? Restoration Revival?) built between 1924-1928 on an ocean-fronted drumlin which provides inspiring views of the surrounding sea and marshland. A complex of mansion, outbuildings, and surrounding landscaped gardens and grounds was commissed by Chicago industrialist Richard Teller Crane Jr. and his wife Florence, who purchased the property in 1910. They first built an Italianate mansion, but as Florence hated it and its stucco walls failed they commissioned Chicago architect David Adler to design a more enduring building in another European style. The house has 59 rooms encompassed in nearly 60,000 square feet, and was donated to the Trustees of Reservations after the death of Mrs. Crane in 1949. We toured about half the house, and then proceeded up to the roof to see its cupola and the surrounding terrain and ocean, along with Crane Beach, the best in New England.

Inside are grand halls and Anglo interiors: there are floors and panels extricated from doomed houses across the Atlantic. The library, with its Grinling Gibbons overmantle carving and woodwork from a Tudor manor house named Cassiobury Park, is definitely the star of the first floor although the perfect-green dining room was a close second for me. As we proceeded upstairs, the rooms seemed more “American” to me, although there was some beautiful French wallpaper (Zuber?) in one of the halls. As Mr. Crane made his fortune in plumbing, the bathrooms are impressive in both fixtures and decorations, but I didn’t get any good photographs! (All summer long, whenever I showed visitors the relatively plain bathrooms at the Phillips House, they would comment oh the bathrooms are much better at Castle Hill. There was a ship’s cabin feel to the charming third-floor Billiards Room, which presently has no billiards table. From here we ascended up to the cupola and roof.

Back down to the gorgeous green dining room, from which I spied the butler in the kitchen washing champagne glasses, his tuxedo so perfectly of the twenties time that I thought he might be a ghost! But no, he came closer and was actually Brendan, a student in two of my courses this semester. I knew he worked at Castle Hill but somehow I had forgotten, so when I saw him, it was kind of a shock; you know, the shock you feel when you see a familiar person in an unfamiliar place. Brendan was very much in his element and I was very happy to see him so: much of my week’s disappointment was for my students, who are going to have to deal with the consequences of this election early in their lives and for longer than I. Something about Brendan in his tuxedo made me think that he was game, along with his contemporaries. Almost immediately after that pleasurable encounter, I stepped out of the house onto the grounds  and ran into none other than Senator/Secretary John Kerry! He was mid-stride and did not look like he wanted to talk and I didn’t really know what to say anyway, but as he walked away I thought, wow, he’s probably doing the same thing as me, coming to this beautifully-preserved Massachusetts place on a gorgeous fall day trying to forget the election. He looked at Crane Beach for a while and then he was gone. That brief encounter made me think of Kerry’s perspective and realize that my frustrations pale in comparison: imagine serving your country in many ways over many decades and then that man is elected president, not only once but twice! Ah well, it was a beautiful day at the Crane Estate.

That green! Brendan, and a wing-less gryphon. I didn’t take Senator Kerry’s photograph because it would have been rude, and I was in the midst of snapping the gryphon. Happy Veterans Day to the Senator and all of his comrades.


Reverential Restoration

I was browsing through the Flickr photographs of the Salem State Archives and Special Collections the other day, when I came across several photographs of crowds in and around the Gardner-Pingree House on Essex Street. This is one of the Peabody Essex Museum’s houses, and it is seldom open, so these crowds caught my eye. It’s also one of my very favorite houses in Salem, so every time I see it, in reality or in print, I stop and look. The photographs were from the Salem Evening News, which is my new favorite collection at Salem State, and they were part of the coverage of the reopening of the Gardner-Pingree after a substantive, source-based restoration in 1989. I didn’t live in Salem then, but I moved here not too long after, and one of the first things I did was go into this recently-restored house which I had heard, and read, so much about. It was absolutely stunning to me; I can still remember being shocked by the colors and patterns and detail. At that point in my life I was finishing my dissertation, then starting my teaching career, but at the same time I was increasingly obsessed with historic interiors. I had all the magazines and books, and they were like carrots that got me through all the work I had to do. My obsession is part of the reason I moved to Salem, and seeing this house just reinforced my instinct that it was the right place for me. After my first tour I bought a poster in the gift shop of the Essex Institute, and it still hangs on the wall: in my first Salem house it had pride of place, and now it dwells in a third-floor bathroom, but I still gaze upon it from time to time. I remember thinking when I bought it: this will be the inspiration for my own decoration–high standards indeed!

Unattainable standards obviously. If the colors above look blueish, be asssured they are not; there are layers of the most beautiful greens in that photograph. There must be 100 different shades of green in that house! I was impressed immediately, and my first instinct thereafter has always been to paint a room green. Our present house is north-facing, and green is not really the best choice, so I’ve used what I always think of as “Gardner-Pingree yellow” in several rooms. I tried to use what I think of as “Gardner-Pingree pink” in the double parlor but my husband objected so we have a compromise peachy salmon pink (although he would object to the label “pink”.)  It wasn’t only the colors–it was the slipcovers, the cream painted “fancy chairs,” the Brussels carpets, the fire buckets in the back hall: I could go on and on and I’m kind of ashamed to admit that whenever I’ve been in this house I notice the decoration more than McIntire’s woodwork. And I’m not the only one: this restoration certainly received acclaim from curatorial and preservation professionals but it was also featured in a cascade of shelter magazines and decorating books. Chalk paint pioneer Annie Sloan focused intently on one Gardner-Pingree green and that perfect pink, which is in the kitchen.

Just a few books which feature the Gardner-Pingree House.

It was a very important and influential restoration, and not just from my personal perspective. In several articles discussing its process and inspiration, then Essex Institute Research Curator and Project Director Dean Lahikainen (who later wrote the definitive book on Samuel McIntire, Carving an American Style) always seems slightly (though politely) appalled by the preceding restoration of the 1930s in which all the woodwork was painted white according to the dictates  of the Colonial Revival style which was so prevalent at the time. Fifty years later, Lahikainen and his team took their cues from historical sources rather than contemporary preferences, creating an interior that seemed both “refreshed” and restored. The house was  reopened this very week after a five-year restoration, and all the recorded visitors’ reactions run along these lines.

Stories from Lynn Daily Item and Boston Globe, June 1989 and 1990; photographs from the Salem Evening News, June 1989, Salem State Archives and Special Collections. The “formal English garden” photograph is of my garden! (Now not quite so formal) The last photograph above is of the small exhibit on the house which was in its carriage house, I believe.

You can see my photographs of the house from the last time I was inside, in 2017, in this post, and also here. Below are a few more, but I really don’t have very many good ones: every time I’m in this house I’m kind of overwhelmed and aware that I have this rare opportunity and I don’t focus on what I want to capture. On my past two spring break road trips, I thought that the Read House in New Castle, Delaware, and then Kenmore in Fredericksburg, Virginia might have supplanted the Gardner-Pingree as my very favorite house, but looking at these pictures again, I think not.