National Register of Historic Places

Metropolitan Museum of Art, New York City (1)

by

The Metropolitan Museum of Art, seen from the corner of 5th Avenue and East 81st Street in New York, around 1914. Image courtesy of the Library of Congress, taken by Irving Underhill.

The museum in 2019:

The Metropolitan Museum of Art was established in 1870, and it opened to the public two years later. During the 1870s the museum was housed in two different temporary locations, first at 681 5th Avenue and then at 128 West 14th Street. Then, in 1880 it moved to this site in Central Park, on the west side of 5th Avenue opposite East 82nd Street. It has remained here ever since, although its exterior appearance has been radically changed by a series of expansions over the years.

The original building here was designed by Calvert Vaux and Jacob Wrey Mould, two of the main architects involved in designing Central Park. It featuring High Victorian Gothic-style architecture, but the exterior deliberately had an incomplete appearance, as it was intended from the beginning that it would be expanded with new wings. However, the design proved very unpopular, and Vaux and Mould were not hired for the first additions, which were built starting in the mid-1880s. Instead, these were designed by Thomas Weston and Arthur L. Tuckerman, and they were constructed on the north and south sides of the original structure. The south wing, which was completed in 1888, is partially visible here in the distance on the left side of the first photo.

Perhaps the single most distinctive feature on the exterior of the museum is the present-day entrance here on the 5th Avenue facade, which was completed in 1902. It was the work of noted architect Richard Morris Hunt, featuring a distinctive Beaux-Arts design that included three large arches, Corinthian columns, an ornate cornice, and other classically-inspired elements. On the inside, Hunt’s wing featured the Great Hall, which served as the museum’s main entryway, and it was connected to the rest of the museum by way of the Grand Staircase in the rear of the T-shaped addition. Hunt died in 1895, before construction began, but his son Richard Howland Hunt subsequently oversaw the rest of the project.

This addition was completed in 1902, but it was intended as just the first step in a much larger expansion plan for the museum. Before his death, Hunt had developed a master plan with large wings extending to the north and south of the entryway, but his vision was ultimately not carried out. Instead, the museum shifted its architectural focus yet again, this time hiring the firm of McKim, Mead & White in 1904. Perhaps best known here in New York for designing the original Penn Station, they were one of the most important architectural firms in the country during the late 19th and early 20th centuries, and they designed most of what is now visible along the 5th Avenue side of the museum.

The firm’s work was partially completed by the time the first photo was taken in 1914. Immediately to the north of the main entrance are two wings, which opened in 1909 and 1913, and these were also joined by a central wing, which was completed in 1910 on the other side of the building. Architecturally, the new wings are different from Hunt’s work, but they were deliberately designed to harmonize with the design and scale of the older section. McKim, Mead & White also designed matching wings on the south side of the building, but these would not be completed until 1917, several years after the photo was taken.

The wings by McKim, Mead & White dramatically increased the amount of gallery space in the museum, but the building  continued to expand throughout the 20th century as the museum’s collections have grown. Aside from the 1917 addition on the left side of the scene, very little has changed here on the 5th Avenue side of the building, yet there have been further additions to the rear, most of which were built in the 1970s and 1980s. As a result, the original building and the late 19th century additions are now almost entirely encased in new construction, although there are portions of the old exteriors that are still visible inside the museum.

Today, the Metropolitan Museum of Art is one of the largest and most visited art museums in the world. From its modest beginnings in leased quarters in the 1870s, it now features more than two million works of art in more than two million square feet of gallery space, and in 2019 it drew nearly 6.5 million visitors over the course of the year. Because of the many expansions over the years, its architecture is now nearly as varied as the works of art inside it, ranging from the Beaux-Arts main entrance to the modernist glass and steel wings on the other side of the building. In recognition of this, the museum was designated as a New York City Landmark in 1967, and a National Historic Landmark in 1986.

New York Public Library Main Entrance, New York City

by

The main entrance to the New York Public Library at 5th Avenue and 41st Street, around 1911-1920. Image courtesy of the Library of Congress.

The scene in 2019:

As discussed in an earlier post, the main branch of the New York Public Library was completed here in 1911, on the west side of 5th Avenue between 40th and 42nd Streets. It was designed by the noted architectural firm of Carrère and Hastings, and it features an ornate Beaux-Arts exterior. Here on 5th Avenue, the main entrance consists of three archways, each flanked by a pair of Corinthian columns. Six statues stand above the entrance, and there are also others closer to the ground, including in the alcoves on the left and right, and the lions on either side of the stairway.

The first photo was evidently taken soon after the building was opened, because not all of the statues were installed by this point. The lions, designed by sculptor Edward Clark Potter, were here, but the statues in the alcoves—Beauty and Truth by Frederick William MacMonnies—had yet to be added. Above the entrance, a lonely statue stands on the far right side in the first photo, although it would later be joined by the other five figures.

Today, more than a century after the first photo was taken, the sidewalk in front of the library is significantly more crowded, as is the skyline in the distance. However, the library has remained standing throughout this time, with hardly an exterior changes in this scene aside from the additional statuary. Over the years, the lions have become probably the most recognizable feature here at the main entrance, and they have since come to represent the library itself, even appearing in its logo. The building itself remains in use as one of the world’s largest libraries, and in 1965 it was designated as a National Historic Landmark because of its architectural and historical significance.

Windsor House, Windsor, Vermont

by

The Windsor House on Main Street in Windsor, around 1865-1885. Image courtesy of the New York Public Library.

The scene in 2018:

This hotel was built in 1836 in the center of Windsor, an important town located along the banks of the Connecticut River in Vermont. At the time, Windsor was a prosperous manufacturing center, and it was one of the largest towns in the state by population, with over 3,000 residents during the 1830 census. By the following decade, it was also one of the first towns in the state with a railroad connection, when the Vermont Central opened in 1849 between Windsor and Hartford.

The Windsor House was one of the finest hotels in the area during the mid-19th century. In 1840, the Boston Traveler published a glowing letter to the editor by an anonymous writer who praised the hotel with the following description:

The Windsor House is a handsome brick edifice, 3 storys high. It contains 90 rooms; 10 private parlors, 6 of them having 2 sleeping rooms attached; 2 large parlors on the first floor; a dining hall; a reading room; 1 office. The halls on each floor are 15 feet wide. Besides the above rooms, there is a wing containing 30 sleeping rooms, and in the 4th story of the house is a large hall. The whole house is well furnished, and in the latest style, and will easily accommodate 150 persons.

The politeness of Mr. S. A. Coburn, the host, who for 7 or 8 years had charge of the Merrimack House, Lowell—the activity of his head clerk, Mr. Mitchell, (who was formerly attached to one of the first houses in New York,) the general attention of the domestics, and all the internal arrangements will insure a liberal public patronage. As a summer residence its location contains many advantages, which it might be well for such travellers as seek for a spot where they can breathe the pure mountain air, personally to make enquiry into. To all who have occasion to pass through that pleasant country, we can only say, that at the Windsor House they will find every attention and comfort which can be desired.

By the early 1840s, the hotel had evidently changed hands, as it was being run by Jehiel H. Simonds, who subsequently owned it for many years. During this time, the hotel apparently catered to both travelers and long-term residents, with the 1850 census showing 43 people living here, including Simonds himself and his wife Harriet. It is difficult to determine how many of these were hotel staff, but one of the resident employees here was Henry Parks, a 30-year-old African American who worked as a groom. He would later go on to enlist in the famous 54th Massachusetts Volunteer Infantry Regiment, one of the first African-American units in the Civil War.

Simonds was still living here and running the hotel when the first photo was taken sometime around the 1870s. The 1880 census is much more helpful in determining the occupations of the people who lived here around this time. That year, there were a total of 17 people living here. Two were Jehiel and Harriet Simonds, and seven more were hotel employees, including a chambermaid, cook, porter, two waiters, and two laborers.

Of the eight boarders who were listed here during the 1880 census, five were from the Richards family, originally from Charlestown, New Hampshire. They included 60-year-old Harriet Richards and her son Jarvis, along with E. Jane Richards, who was the wife of Harriet’s son DeForest. DeForest, who would later become governor of Wyoming, was not living here at the time, but his two young children, Inez and J. DeForest, were here at the Windsor House with their mother, uncle, and grandmother. J. DeForest was five years old at the time, and he eventually went on to become an accomplished college football player at the University of Michigan, where he played halfback and quarterback during the mid-1890s.

In the meantime, Jehiel Simonds operated the Windsor House until his death in 1885 at the age of 83. The hotel remained in business for many years afterward, and it has long been a prominent landmark in downtown Windsor. It was threatened by demolition in the early 1970s, but it was ultimately preserved and repurposed, with a variety of commercial tenants. The building was added to the National Register of Historic Places in 1971, and it is still standing today, nearly two centuries after it was completed. The neighboring 1824 Pettes-Journal Block on the far left side of this scene is also still standing, and there have been few exterior changes to either this building or the Windsor House since the first photo was taken.

Second Congregational Church, Hartford, Vermont

by

The Second Congregational Church in the center of Hartford, around 1903-1910. Image from The Old and the New.

The church in 2018:

The present-day town of Hartford consists of five distinct villages, spread out across nearly 50 square miles of land. During the first half of the 19th century, this village here along the banks of the White River developed into the de facto town center. It was known as White River Village, and in in 1827 the Congregational Society of White River Village—later renamed the Second Congregational Society of Hartford, Vermont—was established here, with the intent of constructing a meeting house here.

This building, which is shown here in these two photos, was completed in late 1828, and it was formally dedicated on January 8, 1829. It was constructed by Jedediah Dana of Lebanon, New Hampshire, with a design that was typical for New England churches of the period, including a tower and belfry above the main entrance. On the interior, the church could seat 400 people, with pews on either side of two aisles, along with a gallery in the rear of the church.

As was often the cases in churches at the time, parishioners purchased their pews. Prices started at $52, a considerable sum for the 1820s, and the more desirable pews carried a premium. Individual families decorated and furnished their pews according to their tastes, and in the early years only pew owners could vote in church meetings, with the voting power determined by the number of pews that the person held. In all, 61 pews were sold when the church was completed, for a total of $3,788.50, which nearly covered the $4,297 that it cost to construct the building.

The church remained in use throughout the 19th century, but by the turn of the 20th century it was in need of a major renovation. This work, which was done in 1902-1903, included converting the gallery into a meeting room, replacing the heating and ventilation systems, installing new carpet and upholstery, and reducing the seating capacity to 300. Both the interior and exterior were also remodeled with Colonial Revival-style features, which were added by local architect Louis S. Newton.

The first photo was taken sometime soon after these renovations were completed. Since then, very little has changed here on the exterior. Aside from the lack of shutters in the present-day view, the church looks the same as it did more than a century ago, and it remains in use as an active church, now known as the Greater Hartford United Church of Christ. Along with the other buildings here in the village center, it is now part of the Hartford Village Historic District on the National Register of Historic Places.

Louis S. Newton House, Hartford, Vermont

by

The house at 1683 Maple Street in Hartford, around 1900. Image from The Old and the New.

The house in 2018:

This Greek Revival-style cottage was built around 1859, and its earliest recorded owner was George Brockway, a chair manufacturer who was listed here as the owner in the 1869 county atlas. It does not indicate whether he personally lived here or just owned the property, but it seems likely that this was his home, and the 1870 census shows him living in Hartford with his four young children, who ranged in age from three months to four years old. He ultimately sold the property for $1,400 to John H. French in 1871, and he died two years later at the age of 43.

In 1884, the house was purchased by Almira L. Newton, who lived here for many years along with several other family members, including her sister Caroline and her brother Louis. None of the three siblings evidently ever married, although Almira raised her adopted son Bradleigh here. All three of the Newtons were living at the house during the 1900 and 1910 censuses, but Louis appears to have moved elsewhere in town by 1920, and in 1921 he relocated to Burlington.

Louis S. Newton was a noted local architect. Here in Hartford, he is perhaps best remembered for his 1903 remodeling of the historic Second Congregational Church, and he also did some work here on his sister’s house, adding Colonial Revival-style details around 1900. Elsewhere, his other works consisted of a variety of houses and commercial buildings, including both renovations and new construction. He designed the Occom Ridge houses at nearby Dartmouth College at the turn of the 20th century, and in 1914 he restored the Old Constitution House in Windsor, which is regarded as the birthplace of Vermont.

The house remained in the Newton family until at least the early 1940s, and it has since changed ownership many times over the years. However, its appearance has remained remarkably unchanged throughout this time, with few exterior changes more than a century after the first photo was taken. Today, the house is part of the Hartford Village Historic District, which was added to the National Register of Historic Places in 1998.

Ephraim Morris House, Hartford, Vermont

by

The house at 1627 Maple Street in Hartford, around 1900. Image from The Old and the New.

The scene in 2018:

This house was built in 1894 as the home of Ephraim Morris, one of the most prominent residents of late 19th century Hartford, Vermont. Morris was born in 1832, a little to the north of here in the town of Strafford, and he grew up in Norwich, where he attended Norwich University before moving to Boston to become a clerk in a boot and shoe firm. However, he ultimately returned to Vermont in 1854, settling in Hartford and joining his father Sylvester’s business. Later in the year, he married his wife, Almira M. Nickerson, who was originally from South Dennis, Massachusetts.

Sylvester Morris retired in 1857, and Ephraim carried on the business with his brother Edward. In the early years, they ground plaster and sold it for use as fertilizer, but they subsequently switched to manufacturing chairs. Then, later in the 19th century the brothers entered the woolen manufacturing industry, operating the Hartford Woolen Company along with the Ottauquechee Woolen Company in nearby North Hartland.

Aside from these businesses, Ephraim was also a director and vice president of the National Bank of White River Junction, and he represented Hartford in the state legislature from 1896 to 1898. However, perhaps his single most important contribution to the town came in 1893, when he donated $5,000 to build the Hartford Library. The library, which remains in use today, stands directly adjacent to the spot where, a year later, he built his own house.

Ephraim and Almira Morris had two daughters, Kate and Annie. Both attended Smith College, and Kate was in the school’s first graduating class, along with being the first to receive a Ph.D. from the school. She married Charles M. Cone in 1884, and they lived in a historic house just a little to the east of here in the center of Hartford. Annie, who was 14 years younger than her sister, was still living with her parents when they moved into this house in 1894, and she was still here during the 1900 census, shortly before her marriage to Roland E. Stevens.

The first photo was taken around this time, showing the side view of the house from the library grounds. The architecture of the house was primarily Colonial Revival in style, with distinctive elements such as the large Palladian window, but it also had some features from the earlier Queen Anne style, including the asymmetrical design and the turret at the southeast corner of the house.

Ephraim Morris died in 1901, followed by his widow Almira in 1909. Their daughter Annie subsequently inherited this house, and she lived here with her husband Roland for many years. He was a lawyer, and probably his most famous case came late in his life, when in 1952 he sued the state of Vermont on behalf the Iroquois tribe, claiming that much of the state’s land was unlawfully taken from them. The suit was ultimately unsuccessful, but both he and his case gained widespread attention in newspapers across New England.

Annie apparently died at some point in the 1950s, and Roland died in 1957 at the age of 89. Their large house was subsequently sold to the Bible Baptist Church, which converted it into a church. Since then, the building has been acquired by a different church, Praise Chapel, and it remains in use today. Despite these changes in use, though, the exterior of the building has remained well-preserved in more than a century since the first photo was taken, and it is now a contributing property within the Hartford Village Historic District, which was added to the National Register of Historic Places in 1998.