1900s

Memorial Church, Springfield, Mass

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The Memorial Church, at the corner of Main and Plainfield Streets in Springfield, around 1905. Image from Springfield Present and Prospective (1905).

The church in 2018:

Springfield’s Memorial Church was established in 1865 as a nondenominational Christian church. It was named in honor of “the memory of the deceased ministers of New England,” and, according to one of its early resolutions, it welcomed “to its membership and communion all who love the Lord Jesus Christ in sincerity and truth, and who agree with it concerning the essential doctrines of the Christian religion, by whatever name they may be called.” Many of its founding members had come from North Congregational Church, but the first pastor was Mark Trafton, a noted Methodist clergyman who had previously served a term in Congress.

The two leaders in establishing the Memorial Church were George M. Atwater and Josiah G. Holland. Both men were prominent Springfield residents; Atwater was a businessman who, a few years later, would establish the city’s streetcar system, and Holland was a nationally-renowned author, poet, and editor. Holland also served as the leader of the choir and the superintendent of the Sunday school, but he left Springfield in 1868 and eventually moved to New York, where he became one of the founders of Scribner’s Monthly.

During its first few years, the church met in a school building, but in 1869 this new building was completed at the corner of Main and Plainfield Streets, in the city’s North End. It was constructed with granite from nearby Monson, with contrasting brownstone trim, and its Gothic Revival design was the work of New York architect Richard Upjohn and his son, Richard Mitchell Upjohn. The elder Upjohn was one of the leading church architects in the United States during the mid-19th century, and his other notable works included Trinity Church in New York City. He had also previously designed George Atwater’s house, Rockrimmon, here in Springfield, which is probably how he ended up with the commission for Atwater’s church. The younger Upjohn was also a successful architect in his own right, and he subsequently designed the Connecticut State Capitol in Hartford.

Also in 1869, William T. Eustis was installed as pastor of the church. He had been the pastor of Chapel Street Congregational Church in New Haven since 1848, but he left there in order to accept this position here in Springfield. Eustis would go on to serve as pastor of the Memorial Church for nearly 20 years, until his death in 1888, and during this time the church saw significant growth, with around 350 members and 400 Sunday school students by the mid-1880s. Eustis’s replacement was John L. R. Trask, formerly of the Second Congregational Church in Holyoke, who remained here until his retirement in 1904.

The first photo was taken around the same time that Reverend Trask retired, and it depicts a winter scene, with snow on the ground and even some patches of snow clinging to the steep roof. At the time, the church was situated on the southern end of Round Hill, a roughly triangular-shaped raised ground bounded by Main, Plainfield, and Arch Streets. Although the rest of the North End was largely working class, Round Hill featured several large mansions, one of which is visible in the distance on the right side of the church. Constructed around 1868, this was the first of the houses to be constructed here, and it was originally the home of Dr. William G. Breck, a local physician.

The Memorial Church remained an active congregation here until 1940, when it sold the property to the Church of St. George, a Greek Orthodox parish that had previously worshiped in several other buildings nearby in the North End. This church became the St. George Greek Orthodox Memorial Church, and the interior was remodeled to meet the needs of its new congregation. Only a few years later, in 1944, the rear of the building was severely damaged by a fire, but it was restored by the following year.

Round Hill was all but obliterated by the 1960s, when Interstate 91 was constructed through the area, just to the west of the church. All of the mansions were demolished by then, and most of the hill was leveled to create an interchange with Route 20. The site of the Breck house is now a McDonald’s, and today the church is the only surviving 19th century building on Round Hill. It was nearly vacated in the 1970s, when St. George explored the possibility of relocating to Longmeadow, but the parishioners ultimately voted to remain here. The church was subsequently renamed St. George Greek Orthodox Cathedral, and around the same time it acquired the former Memorial Square Branch Library, which was converted into the Greek Cultural Center. St. George is still here today, and the building stands as an important architectural landmark in Springfield, with few exterior changes since the first photo was taken more than a century ago.

St. Stephen’s Church, Boston

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Looking north on Hanover Street in Boston, with St. Stephen’s Church in the center of the scene, around 1895-1905. Image courtesy of the Boston Public Library.

The scene in 2018:

These photos show the view looking north on Hanover Street from about the corner of Tileston Street, in Boston’s North End. The most prominent building here in this scene is St. Stephen’s Church, which is located directly opposite the Paul Revere Mall. Although it is currently a Roman Catholic church, it was constructed in 1804 as a Congregational church. It was originally known as the New North Church, as opposed to the more famous Old North Church less than 200 yards away, and it was the work of prominent architect Charles Bulfinch, who was responsible for designing many important buildings in early 19th century Boston.

This church was built around the same time that Unitarian theology was causing divisions within Congregational churches across New England. In 1813, New North became Unitarian, as did a number of other Congregational churches in Boston. That same year, 25-year-old Francis Parkman became its pastor. He would go on to serve the church for the next 36 years, and he was also the father of Francis Parkman Jr., who went on to become a noted historian and writer.

By the mid-19th century, the demographics of the North End had changed. As new, more desirable neighborhoods were developed in other parts of the city, affluent North End residents had steadily left the area. These largely Protestant, native-born residents were replaced by Irish Catholic immigrants, who settled in large numbers here in the North End. With its congregants leaving the increasingly crowded and impoverished neighborhood, the New North Church was ultimately sold in 1862 to the Roman Catholic Diocese of Boston, becoming St. Stephen’s Church.

The church building subsequently underwent some changes, including alterations to the original cupola. In 1870, it was moved back 16 feet when Hanover Street was widened, and it was also raised six feet on a new, higher foundation, in order to create a lower level. The interior was also modified, and it saw further changes after being damaged by fires in 1897 and 1929.

The first photo shows the church, and its surroundings on Hanover Street, around the turn of the 20th century. By this point, the North End was no longer predominantly Irish. Instead, the neighborhood was filled with newer immigrant groups, particularly Italians, and the North End was well on its way to becoming known as Little Italy. However, some of the Irish parishioners maintained their connections to St. Stephen’s Church, including John F. Fitzgerald, who was a congressman and mayor of Boston. His daughter Rose – the mother of John F. Kennedy – was baptized here in 1890, and her funeral was held here 104 years later, in 1995.

Out of the five churches that Charles Bulfinch designed in Boston, this church is the only one that survived into the 20th century. By the 1960s it was also one of his few remaining churches anywhere, and it was recognized for its historic and architectural significance. From 1964 to 1965, it underwent a major renovation, which included lowering the building to its original level and restoring the cupola. The interior was also restored during this time, although it is somewhat different from Bulfinch’s original plans.

Today, St. Stephen’s Church is still an active Roman Catholic parish, and the restored building stands as an important architectural landmark in the North End. The surrounding streetscape has seen some changes since the first photo was taken around 120 years ago, with the most obvious being the three buildings on the right side, which were constructed around 1905. Overall, though, this scene has maintained the same scale since the late 19th century, which still consists primarily of four-story brick commercial blocks, and the North End remains a remarkably well-preserved section of Boston.

S. F. Cushman & Sons Woolen Mill, Monson, Mass

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The S. F. Cushman & Sons Woolen Mill on Cushman Street in Monson, probably around 1912. Image courtesy of the Monson Free Library.

The scene in 2018:

During the 19th and early 20th centuries, the town of Monson had a small but thriving woolen industry, with several factories that were located along the Chicopee Brook. The earliest of these was established around 1800 by Asa Gates, who constructed a mill here on this site. In 1816, this mill was acquired by the Monson Woolen Manufacturing Company, and this firm continued to produce textiles here throughout much of the 19th century. Throughout this time, there were several different buildings here. One was constructed around 1854, but it burned only a few years later, and it was subsequently replaced by another mill in 1858.

In 1877, the Monson Woolen Manufacturing Company was acquired by Solomon F. Cushman, who had been working for the firm since 1856, when he took a job as a bookkeeper after moving here from Monson, Maine. He renamed the company S. F. Cushman & Sons, and in 1883 he expanded it by purchasing another mill on Elm Street, which became known as the Branch Mill. In the meantime, the 1858 mill here on Cushman Street continued to be used to manufacture textiles until 1886, when it too burned. Both this building and its predecessor had been made of wood, but its replacement – shown here in these two photos – was built of brick. This four-story mill was completed later in 1886, and it featured an ornate exterior that was highlighted by a stair tower on the west side of the Cushman Street facade.

Solomon Cushman died in 1900, and his sons took over the business, although just a year later they sold the Branch Mill, which subsequently became the Somerset Woolen Mill. However, they continued to operate the Cushman Street mill for more than a decade, and the 1902 book Our County and Its People: A History of Hampden County provides the following description of this facility:

It contains 5 sets of modern machinery. The mill has made in years past broadcloth, satinets, cassimeres, and doeskins. At present the mill employs about 85 operatives (about evenly divided between men and women) with an annual pay roll of $40,000. The present manufactures are kersey and cloakings.

In 1912, the Cushman brothers sold the property to Heimann & Lichten, a hat manufacturing company whose previous factory, located on Main Street on the present-day site of the town hall, had burned earlier that year. The new owners converted the Cushman Street mill into a hat factory, and the building was evidently expanded around the same time, with the addition of five window bays on the right side. Although it features the same design as the original section of the building, it was constructed with lighter-colored bricks, as shown in these two photos. The first photo was probably taken shortly after this addition was completed, and it also shows the mill pond that was once located on the opposite side of Cushman Street.

Julius Heimann and Morris C. Lichten had been partners in the hat industry since 1884, and in 1890 they began manufacturing in Monson. Following the fire in their original building, they carried on operations here in this mill for several more years. However, both men died only a few months apart. In October 1918, Heimann was killed in a car accident after visiting Lichten in a New York City hospital. Lichten, who had been ill at the time, died the following January, leaving control of the firm to its vice president, Daniel E. Nolan. He would continue to run the company for another nine years, before it closed in 1927.

In 1934, A. D. Ellis Mills, Inc. purchased this property. A. D. Ellis was another major textile manufacturer in Monson, and at the time it operated two other factories, with one on Bliss Street and another on Main Street. This factory was used for storage, and it was owned by by A. D. Ellis until the company dissolved in 1962. The building subsequently changed ownership several more times over the next few years, and in 1966 it was purchased by M & M Chemical Sales Corporation, who occupied it for the next 20 years.

M & M Chemical went bankrupt in 1986, and this property was subsequently sold at auction. However, the building has been vacant ever since, and it has steadily deteriorated after more than 30 years of neglect. In 2010, one of the dormer windows collapsed, sending bricks and other debris onto the street below. This caused a temporary closure of Cushman Street, until the other dormer windows could be safely removed. Otherwise, though, the rest of the building is still standing, with few exterior changes from this angle since the first photo was taken. Today, it is Monson’s oldest surviving factory building, and it is one of the few existing remnants of the town’s industrial heritage.

Forest Park Fountain, Springfield, Mass

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A fountain in Forest Park, around 1905. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2018:

Forest Park was established in 1884, when Orrick H. Greenleaf donated around 65 acres of land on the south side of Sumner Avenue. Other benefactors soon gave adjoining parcels to the city, but the single largest gift came in 1890, when ice skate manufacturer Everett H. Barney gave nearly 175 acres of what is now the western end of Forest Park. This gift included his home, Pecousic Villa, and its well-landscaped grounds, which featured aquatic gardens, ponds, and the meandering Pecousic Brook. Barney’s only stipulation was that he and his wife would be allowed to live in the house for the rest of their lives, with the city taking possession of it after their deaths.

The first photo shows a view of this section of the park, facing west from the top of a dam on the Pecousic Brook. At the foot of the dam is a small pool lined with stones, with a fountain in the center. Beyond the pool, the brook flows under a simple plank bridge, before rounding a curve to skirt past the aquatic gardens, which are visible in the upper left center of the photo. To the right is a steep hill leading up to a broad plateau, and there is a similar one just out of view on the left, forming a narrow valley for the brook to flow through.

Today, nearly 115 years since the first photo was taken, Forest Park has seen some major changes, but it remains the largest park in the city, and one of its most popular recreation areas. Further upstream of here, there are several more dams and ponds that have been constructed since the early 20th century, but the course of the brook remains largely the same in this scene. The dam is still here, as is the pool, although the perimeter now consists of large rocks, as opposed to the small, round stones of the first photo. However, perhaps the most noticeable change to this scene is the covered pedestrian bridge in the center of the 2018 photo, on the same spot where the plank bridge had once crossed the brook.

Chateau-sur-Mer, Newport, Rhode Island

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Chateau-sur-Mer on Bellevue Avenue in Newport, around 1903. Image from Seventy-five Photographic Views of Newport, Rhode Island (1903).

The scene in 2018:

Beginning in the mid-19th century, Newport underwent a dramatic transformation from a sleepy colonial-era seaport into one of the most desirable summer resort communities in the country. Bellevue Avenue, and the surrounding area here at the southern end of the island, would eventually become famous for its many Gilded Age mansions, which served as summer residences for prominent families such as the Astors, Vanderbilts, and Belmonts.

Among the first of these grand mansions was Chateau-sur-Mer, which was located on the east side of Bellevue Avenue, near the corner of what is now Shepard Avenue. Its Italianate-style design was the work of local architect Seth Bradford, who designed several other mid-century summer homes in Newport, and the exterior was constructed of granite from nearby Fall River, Massachusetts. The original owner of the house was William S. Wetmore, a prosperous merchant who had made his fortune in the Old China Trade. Wetmore had retired from active business in 1847 when he was just 46 years old, and by this point he had accumulated a net worth of around a million dollars, or about $27 million today.

Wetmore lived here at Chateau-sur-Mer until his death in 1862. He and his wife Anstiss had three children, although their oldest, William, Jr., had died in 1858. Of their two surviving children, their son George inherited this house, while their daughter Annie received a parcel of land on the southern side of the estate, where she and her husband William Watts Sherman would later build a house of their own.

George Peabody Wetmore married his wife Edith in 1869, and beginning the following year the house was renovated and expanded by prominent architect Richard Morris Hunt. His work was inspired by the French Second Empire style, which was popular in America during this time, and it reflected his training in France at the École des Beaux-Arts. By this point, Hunt was already a well-established architect in Newport, but he would subsequently go on to design some of its largest, most opulent mansions, including The Breakers, Marble House, Ochre Court, and Belcourt.

Wetmore went on to have a successful career as a politician. Unlike most of the other wealthy Newport residents, who only lived here during the summer months, he was a year-round resident, and was a prominent figure in Rhode Island politics. He served as governor from 1885 to 1887, and represented the state in the U. S. Senate from 1895 to 1907, and 1908 to 1913. In addition, he was involved in a variety of civic organizations, including serving as a trustee of the Peabody Museum of Natural History at Yale and the Redwood Library and Athenaeum here in Newport, and as president of the Newport Casino.

In the meantime, Chateau-sur-Mer would continue to see renovations to both the interior and exterior, including work by noted architects Ogden Codman and John Russell Pope in the early 20th century. George Wetmore lived here until his death in 1921, and his wife Edith died in 1927. Their two daughters, Edith and Maude, also went on to live here for the rest of their lives. Like her father, Maude was also involved in politics, and although she never held elected office, she was very active within the Republican Party, including serving as president of the Women’s National Republican Club and as a delegate to several National Conventions. She and her sister Edith were also advocates for historic preservation here in Newport, and worked to help preserve several important historic buildings.

Chateau-sur-Mer was one of the first of the grand mansions, and it was also one of the last to still be owned by its original family. Maude Wetmore died in 1951, leaving the house to Edith, who died in 1966. Neither of the sisters had married, so there were no other Wetmore heirs to inherit the property. Even if there had been, these types of summer homes had long since fallen out of fashion, and were generally regarded as expensive white elephants from a bygone era.

Many of the grand Newport mansions were demolished during the mid-20th century, while others were converted into institutional use, such as the nearby estates that now form the campus of Salve Regina University. However, Chateau-sur-Mer was ultimately preserved in its historic appearance, both on the interior and exterior, and in 1969 it was acquired by the Preservation Society of Newport County. It is now one of nine historic properties that are owned by the organization and open to the public for tours, and, as these two photos show, very little has changed in this view since the first photo was taken nearly 120 years ago. Because of its historic and architectural significance, the house was designated as a National Historic Landmark in 2006, becoming one of 18 individual buildings in Newport to be recognized as such.

Audrain Building, Newport, Rhode Island

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The building at the northeast corner of Bellevue Avenue and Casino Terrace in Newport, around 1903. Image courtesy of the Providence Public Library.

The building in 2018:

This block of Bellevue Avenue, from Casino Terrace north to Memorial Boulevard, consists of a row of buildings that were designed by some of the most prominent American architects of the late 19th and early 20th centuries. On the northern half of the block is the Travers Block, designed by Richard Morris Hunt, and the Newport Casino, which was one of the first major works of McKim, Mead & White. These were completed in 1872 and 1880, respectively, and they were joined several decades later by the Audrain Building, which is located at the southern end of the block. It was completed in 1903, and it was designed by Bruce Price, a New York architect who was perhaps best known for designing the Château Frontenac in Quebec City.

The Audrain Building was one of Price’s last commissions before his death in 1903, and its design reflected the popularity of Beaux-Arts architecture at the turn of the 20th century. Its most distinguishing exterior feature is the extensive use of multi-colored terra-cotta around the windows and on the cornice and balustrade. The building also has large plate glass windows, in contrast to the much smaller windows of the older commercial buildings on this block.

Upon completion, the Audrain Building had six storefronts on the ground floor, along with space for 11 offices on the second floor. At the time, Newport was one of the most desirable resort communities in the country, and the ground floor housed shops that would have catered to the city’s affluent summer residents. The first photo was evidently taken soon after it was finished, as most of the storefronts appear to still be vacant. However, at least one business seems to have moved in at this point, as the corner of the second floor features advertisements for Morten & Co., wine and cigar merchants. Other early 20th century tenants included Brooks Brothers, which opened a location here in 1909.

Newport’s status as a resort destination began to fade by the early 20th century, particularly after the Great Depression, and the Audrain Building likewise saw a decline. Perhaps most visible was the loss of the balustrade, with its distinctive terra-cotta lion statues, which was damaged in the 1938 hurricane and subsequently removed. The ground floor continued to be used for retail space, with a 1970 photo showing tenants such as a ladies’ apparel shop and a bridal shop, but these storefronts were eventually converted into medical offices.

In 1972, the Audrain Building became part of the Bellevue Avenue/Casino Historic District, which was designated as a National Historic Landmark. However, the exterior remained in its altered appearance throughout the 20th century. Finally, in 2013, the building was sold for $5.5 million, and it then underwent a $20 million renovation and restoration, including creating replicas of the original balustrade and statues. Following this project, the second floor continues to be used for office space, but the ground floor has been converted into the Audrain Automobile Museum, which has a variety of rare cars on display inside the building.