DOCSLIB.ORG

The Search for Identity

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Search for Identity MIT Press Open Architecture and Urban Studies • American Design Ethic The Search for Identity Arthur J. Pulos Published on: Apr 22, 2021 License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC-BY-NC-ND 4.0) MIT Press Open Architecture and Urban Studies • American Design Ethic The Search for Identity The expansive future is our arena. We are entering on its untrodden space with the truth of God in our minds, beneficent objects in our hearts, and with a clear conscience unsullied by the past We are the nation of human progress and who will, what can, set limits on our onward march? … The far-reaching, the boundless future, will be the era of American greatness.… New York State Representative John Louis O’Sullivan, 1780s ([123], 8) As one of the first groups of Europeans to seek to establish an independent nation, the Americans were anxious to confirm their identity. Now that they had cast themselves adrift from their heritage, some warned that this unprecedented social odyssey would not be able to survive without an antiquity to be revered, defended, and transmitted. Some expressed a fear that the new republic may have been born impotent and that only by some form of divine intervention would it be able to achieve a sustaining vitality. Others found comfort in a conviction that a uniquely American philosophy was emerging that promised that the past was irrelevant to the new nation. They argued that the Americans did not need ancestors because they themselves were ancestors, thus echoing John Locke’s statement that “in the beginning all the world was America.” ([57], 319) The citizens of the young republic thus declared themselves independent of national origins and obliged to place their faith in individual conscience set against new challenges. In what was to become a strong New England movement a few years later, the American Transcendentalists counted on the presence of the Divine in each person as a source of truth and a guide to action. The new citizens therefore sanctified every incident as a substitute for European antiquity. The landing of the Pilgrims at Plymouth Rock, the first Thanksgiving, the Boston Tea Party, and other events were hallowed as sacred moments of the new nation. Shrines were erected at the bridge where the embattled farmers fired “the shot heard ‘round the world,” on the hill where the barricaded patriots were ordered not to fire “until you see the whites of their eyes,” and in the woods where George Washington prayed for divine guidance. In compensation for the loss of their European roots, the disenfranchised colonists hastened to embrace every symbol that would help them create an instant history of their own. From Benjamin Franklin’s political cartoons to the ancient political and architectural forms that were adopted, every distinctly American aesthetic abstraction was cherished. These symbols still permeate the communal and decorative arts of the United States. 2 MIT Press Open Architecture and Urban Studies • American Design Ethic The Search for Identity Every product that had figured in the struggle for independence acquired an historic patina and was destined to become a model for countless reproductions in the future. The silver bowl that Paul Revere made on the eve of the Revolution for the Sons of Liberty in honor of the 92 patriots who voted not to rescind their letter urging the other colonies to unite against the British is the most honored relic of the time. The Windsor chairs and the silver inkstand that were used in the signing of the Declaration of Independence are displayed proudly in Independence Hall. Even Franklin’s glasses, Washington’s surveying instruments, and Jefferson’s drawing tools have become venerated relics of the American political saints. In what must have been the first corporate identity program ever undertaken in the country, the leaders of the young republic ordered the design and development of heraldry and instruments and monuments of state. They resolved that a national banner be sewn, that a seal be devised, that coinage be struck in the Roman decimal system, and that the fashionable orders of ancient Greece be adopted for official architecture. For designers these acts mark the origin of style employed with deliberate intent to define and project the philosophy and ideals of a client. Two of the symbols, the flag and the Great Seal, clearly illustrate the two ends of the spectrum of corporate identity—the flag as a natural product of inevitable evolution and the seal as the result of deliberate invention. This popular newspaper heading, devised by Benjamin Franklin in 1754 to urge the English colonies to unite against the French, was revised in 1776—this time against the British. Harper’s Monthly, December 1875. 3 MIT Press Open Architecture and Urban Studies • American Design Ethic The Search for Identity A second editorial cartoon by Franklin, drawn in 1774 and depicting, in his words, “the Colonies (that is, Brittania’s limbs) being severed from her….” Harper’s Monthly, July 1875.Images 4 MIT Press Open Architecture and Urban Studies • American Design Ethic The Search for Identity The Sons of Liberty Bowl (of which countless reproductions have been marketed as patriotic tributes to the Revolution), fashioned by Paul Revere, Jr., in 1768. Courtesy of Museum of Fine Arts, Boston. Gift by subscription and Francis Bartlett Fund. 5 MIT Press Open Architecture and Urban Studies • American Design Ethic The Search for Identity The first legislative action on record establishing the national flag was taken in June 1777, when the Continental Congress “resolved that the flag of the thirteen United 6 MIT Press Open Architecture and Urban Studies • American Design Ethic The Search for Identity States be thirteen stripes alternate red and white, that the union be thirteen stars, white on a blue field, representing a new constellation.” Despite the popular stories of the roles of George Washington and Betsy Ross in the development of the flag, the facts are that its general design was a natural extension of preceding English flags. Only the origin of the decision to substitute stars for the combined crosses of Saint George and Saint Andrew seems to be lost in history. The ancient sign of Saint George (a red cross on a white field) had served as the banner of the English from the fourteenth century until 1606, when King James I, by royal proclamation, ordered that it be united with Scotland’s sign of Saint Andrew (a white diagonal cross on a blue field) as evidence of an alliance of the two kingdoms. The King’s Colors, as it was called, was ordered to be displayed from the maintops of the king’s own ships. (Since other English ships were still permitted to carry Saint George’s red cross, it is quite likely that the Mayflower displayed that banner when she landed the Pilgrims at Plymouth.) In 1707, after ratifying the complete union of England and Scotland, Parliament ordered that the two crosses should be cojoined in the upper inner corner (the union) of a crimson banner. This new flag was commonly known as the Union flag. The Union flag was used in America with other local banners until the colonies separated from the mother country. When George Washington arrived in Cambridge, Massachusetts, in July 1775 after the battle of Bunker Hill, this Union flag was flown over his camp, still acknowledging (at least as far as the British believed) allegiance to England. It was during this encampment that the Continental Congress decided that the troops raised by the several colonies to oppose the English should henceforth serve as the combined forces of “the United Colonies of North America.” In October 1775, when the Continental Congress authorized the establishment of the first Federal Navy, there was still no national flag for the 17 ships to sail under. However, by the end of the year a committee including Benjamin Franklin, Thomas Lynch, and Benjamin Harrison recommended that the crimson field of the English Union flag be changed to “thirteen stripes, alternate red and white, emblematic of the union of the thirteen colonies.” ([72], 218) This Grand Union flag, still bearing the English and Scottish crosses in the union, was raised for the first time in January 1776 over Washington’s camp at Cambridge. The British, and perhaps even most of the Americans, did not realize yet that the new flag was symbolic of the struggle for complete independence that was to come. By the middle of the year it was flown (in Washington’s presence) at the reading of the Declaration of Independence in New York. After that, Washington had it flown over his fortifications and headquarters. 7 MIT Press Open Architecture and Urban Studies • American Design Ethic The Search for Identity The Grand Union was the national flag of the Americans in September 1776, when Congress ordered the words “United States” be employed “where heretofore the words ‘United Colonies’ had been used.” Despite the Congressional resolution of 1777 establishing the stars and stripes, there is no evidence that General Washington or the armies of the United States ever used the new flag until 1783, after the Revolutionary War was over. The first flag of the United States with 13 stripes and 13 stars was flown until 1795, when they both were increased to 15 in recognition of the addition of the new states of Vermont and Kentucky to the Union. In 1815, as other states joined the Union, a commission recommended that the stripes be reduced to the original 13 and that a new star be added in the future in honor of each new state that joined the Union.
Load more

Recommended publications
  • 3. Classification 4. Owner of Property
    NFS Form 10-900 OMB No. 1024-0018 (3-82) Exp. 10-31-84 United States Department of the Interior National Park Service For NPS use only National Register of Historic Places received mjp Inventory Nomination Form date entered JAN I 0 I985 See instructions in How to Complete National Register Forms Type all entries complete applicable sections________________ 1. Name historic and/or common CQLBURN PARK HISTORIC DISTRICT 2. Location North, South, East, West Park Street; 3 Camp ell St.; street & number j School St.; 1 Bank St.; 9-10 Lebanon Mall 11^"0* for publication city, town Lebanon, n/_a_ vicinity of state New Hampshire code 055 county Grafton code 009 3. Classification Category Ownership Status Present Use _JL district public _X_ occupied __ agriculture museum building(s) private unoccupied X commercial X park structure X botn work in progress educational X private residence site Public Acquisition Accessible entertainment X religious object in process yes: restricted X government scientific being considered JX__ yes: unrestricted industrial transportation X n/a no military other: 4. Owner of Property name (see enclosed multiple ownershi list 1-4-1 street & number city, town vicinity of state 5. Location of Legal Description Grafton County Courthouse courthouse, registry of deeds, etc. Grafton County Registry of Deeds P.O. Box 208 street & number city, town Woodsville, state New Hampshire 05875 6. Representation in Existing Surveys title Lebanon* S Historic Resource has this property been determined eligible? yes no Survey date 1984 federal state county X local depository for survey records np p Rr y a i 1py - .qim apee Council city, town Lebanon, state New Hampshire Condition Check one Check one excellent deteriorated unaltered _X_ original site _X- good ruins X altered moved date N/A fair '"-.
    [Show full text]
  • Pennsylvania Magazine of HISTORY and BIOGRAPHY
    THE Pennsylvania Magazine OF HISTORY AND BIOGRAPHY VOLUME LXV APRIL, 1941 NUMBER TWO Some Qree\T(evival Architects of Philadelphia HILADELPHIA saw alike the birth and the death of Greek Revival architecture in America: its birth in the Bank of Penn- Psylvania, which Latrobe designed in the spring of 17985 its death—or should one say its final swan song?—in the Ridgeway Branch of the Library Company, designed in the 1870's by Addison Hutton, far out on South Broad Street. And, in the years between, several of the most important Greek Revival architects in the coun- try established their homes in Philadelphia, found there a most profitable field for their activity, and designed for it some of the most remarkable of its buildings. Latrobe, Mills, Strickland, Havi- land, and Walter all contributed much to the appearance of the growing city, and in the work of all, whether it was strictly Greek or not, the ideals of the new architectural movement were enshrined. It is not strange that this should have been the case. Philadelphia was, in the early years of the Republic, the undoubted metropolis of the country. It was, in its own characteristic staid way, the center of culture and of art. Boston was still, in architecture, largely under the sway of English late-Georgian inspiration, so beautifully re-created in New England in the domestic work of Bulfinch, the exquisite 121 122 TALBOT HAMLIN April interiors of Mclntire, and the early handbooks of Asher Benjamin. New York, struggling out of the devastation caused by the long British occupation, was still dominated by the transitional work of John McComb, Jr., the Mangins, and such architects as Josiah Brady and the young Martin Thompson; Greek forms were not to become popular there till the later 1820's.
    [Show full text]
  • Asher Benjamin As an Architect in Windsor, Vermont
    Summer 1974 VOL. 42 NO.3 The GpROCEEDINGS of the VERMONT HISTORICAL SOCIETY This famous architect built a meetinghouse and three private houses in Windsor before he left for Boston in 1802 ... Asher Benjamin as an Architect in Windsor, Vennont By JOHN QUINAN N August of 1802 the architect Asher Benjamin wrote from Boston to I Gideon Granger, the Postmaster General of the United States, seeking aid in obtaining a commission for a marine hospital in that city. Benjamin's letter identifies by name and location most of his first eight commissions - a rare and unusual document in American architectural history which enables us to trace his path northward from Hartford, Con­ necticut, to Windsor, Vermont. Benjamin wrote, in part: "Sir, I have since I left Suffield Conn. built the following houses, Viz. Samuel Hinckley, Northampton, William Coleman's Greenfield, Luke Baldwin's Esq., Brookfield, and a Meeting House and three other large houses in Windsor, Vermont, The Academy at Deerfield. l Most of these commissions have not fared very well. The Deerfield Academy building (Memorial Hall, 1798-1799) was altered sufficiently during the nineteenth century to obscure much of its original character. The Baldwin and Hinckley houses (both c.17%) were demolished early in the twentieth century and are lost to us, and it seems that the William Coleman house in Greenfield (1797) (Fig. 6) is the sole survivor of Benjamin's first decade of practice. But what of the four unnamed build­ ings in Windsor? Are they identifiable? Do they still stand in Windsor? Have they any special interest or significance? The four Windsor buildings are identifiable despite the fact that the three houses have been demolished and the meetinghouse has been altered I.
    [Show full text]
  • Optimistic About the Town's Future, Windsor Residents
    WINDSOR VERMONT Optimistic about the town’s future, Windsor residents chose architect Asher Benjamin (1773-1845) to design a new church and meetinghouse in 1798. Ben- jamin’s three-year residence in Windsor yielded at least three houses, all of them since lost, as well as this landmark Federal- style church. He designed fine buildings in several Connecticut River Valley towns before establishing a successful practice in Boston. He is best known as the author of the first American builder’s guide. The Country Builder’s Assistant, published in Greenfield, Massachusetts, in 1797, was the first of many influential guides The “Design for a Meeting House” from Asher Benjamin’s first guide,The Country he wrote. The books functioned as cata- Builder’s Assistant, inspired his design of Old South Church (Plate 33, 2nd edition, 1798). logs of the latest architectural styles and Courtesy Dartmouth College Library/Rauner Special Collections practices, enabling local builders to design residential and public buildings in popular fashions. Windsor’s first church, formally organized in 1766, included members from Cornish, New Hampshire. The minister, who was paid in money or “in grains, or pork, or beef or day’s labor,” forded the river weekly to preach to the Windsor members. The congregation formed its own church in 1774 and built a simple, frame meetinghouse for both town and church business. Delegates met there on July 2, 1777, to craft the Vermont Constitution but adjourned to Elijah West’s tavern to complete their work. The meetinghouse was the site of the first Vermont legislative session and Old South Church Old South the inauguration of its first governor, Thomas Chittenden, on March 12, 1778.
    [Show full text]
  • Design Guidelines Publication Credits
    Worthington Design Guidelines Publication Credits Text prepared by Benjamin D. Rickey & Co., 593 South Fifth Street, Columbus, Ohio 43206 Schooley Caldwell Associates, 300 Marconi Boulevard, Columbus, Ohio 43215 Photography by Benjamin D. Rickey & Co., 593 South Fifth Street, Columbus, Ohio 43206 Book design and drawings by Schooley Caldwell Associates, 300 Marconi Boulevard, Columbus, Ohio 43215 Cover engraving of the Worthington Female College provided courtesy of the Worthington Historical Society Acknowledgements This publication was made possible by the hard work and dedication of a number of people in the Worthington community. The following people and organizations deserve praise for the time, talent and expertise they gave to this publication: Worthington Design Guidelines Steering Committee: Robert F. Chosy, City Council David G. Foust, Municipal Planning Commission Nicki Budin Jane Trucksis James Ventresca Worthington Municipal Planning Commission and Architectural Review Board: David Norstrom, Chair Richard H. Hunter, Vice-Chair Kenneth T. Pearlman, Secretary James D. Sauer David G. Foust Arthur J. Scott Scott Myers City of Worthington Staff: Paul J. Feldman, Assistant City Manager and Economic Development Director Lynda B. Bitar, Development Coordinator William W. Watterson, City Engineer Robert Wetmore, GIS Manager Donald L. Phillips, Jr., Chief Building Inspector Steve Seaburn, Planning Consultant Worthington Design Guidelines Table of Contents Introduction Commercial/Institutional Guidelines The Purpose of the Guidelines
    [Show full text]
  • Asher Benjamin's West Church
    Asher Benjamin’s West Church: A Model for Change NANCY S. VOYE hysical deterioration and inade- Benjamins’ first major commission in quate space motivated the West Boston. Not only is the West Church P Boston Society to make the follow- central to a study of Asher Benjamin as a ing decision to replace the original church stage in his architectural career in Boston, structure, which had been built in 1737: but also as a model which Benjamin That on a view of the situation and size proposed for adoption by other builders. of the present building they are of the In his first edition of The American opinion, that should the Society cause Builders’ Companion, published in 1806, those repairs to be made, which are absolutely necessary for its preservation, Benjamin included sketches of the front or these alterations and additions, which facade of the Church, its floor plan, roof its size may be capable of admitting of structure, and pulpit design (Figures 1 future accomodation. such Expenditures and 2). In addition, Benjamin furnished would prove burthensome without at- the following description of the West taining those objects for which they would be made. Your Committee are Church: therefore of the Opinion that the present The size of the house is seventy five feet House be taken down, and another square, porch twenty by forty six feet; to erected upon the Land of the Society in a contain one hundred and twelve pews more extensive plan. ’ on the lower floor. The gallery is sup- ported by columns of the Composite The Building Committee commissioned order, as laid down in this book.* Asher Benjamin as their architect and appropriated up to $20,000 for the con- In The American Builders’ Companion struction of the Church.
    [Show full text]
  • National Register of Historic Places Inventory -- Nomination Form
    Form No. 10-300 (Rev. 10-74) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ___________TYPE ALL ENTRIES - COMPLETE APPLICABLE SECTIONS______ NAME HISTORIC Deer-Field Village AND/OR COMMON Old Deerfield Village [LOCATION STREET&NUMBER West of U.S. 5, on Mill Village Road, "The Street," Broughton's ____ ______Pond Road, and Pogues Hole Road______ NOT FOR PUBLICATION________ CITY, TOWN CONGRESSIONAL DISTRICT Deerfield VICINITY OF First________ STATE CODE COUNTY CODE ^las s achus e± t s m i CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE X-DISTRICT —PUBLIC JCOCCUPIED X-AGRICULTURE -XMUSEUM _BUILDING(S) —PRIVATE -UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE -X.WORK IN PROGRESS X-EDUCATIONAL JCPRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT _IN PROCESS -X.YES: RESTRICTED ^GOVERNMENT —SCIENTIFIC _BEING CONSIDERED -XYES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _NO —MILITARY —OTHER: |OWNER OF PROPERTY NAME Multiple:__Sfifi. continuation shggt. STREET&NUMBER CITY, TOWN STATE VICINITY OF LOCATION OF LEGAL DESCRIPTION COURTHOUSE. REGISTRY OF DEEDS,ETC Franklin Registry nf STREET & NUMBER CITY, TOWN STATE Greenfield 1 REPRESENTATION IN EXISTING SURVEYS TITLE Historic American DATE -1SS9-6Q X FEDERAL _STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Library of Congress 3 Division of Prints and Photographs CITY. TOWN STATE Washington, District of Columbia i DESCRIPTION CONDITION CHECK ONE CHECK ONE —EXCELLENT —DETERIORATED X-UNALTERED X-ORIGINAL SITE -JfeOOD _RUINS _ALTERED X-MOVED DATE_______ _FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE Deerfield Village in Deerfield, Massachusetts, stands on a natural plateau above the water meadows of the Deerfield Valley, a few miles southwest of the conflu­ ence of the Deerfield and Connecticut Rivers.
    [Show full text]
  • Architecture & Finance
    bulletin Architecture & Finance 2019/20 eabh (The European Association for Banking and Financial History e.V.) Image: Bank of Canada and Museum entrance. 29 Sept 2017. Photo: doublespace bulletin Architecture & Finance 2019/20 www.bankinghistory.org ISSN 2219-0643 bulletin | 2019/20 3 ATHENS TO NEW YORK Athens to New York Carmen Hofmann his article provides the long view of financial architecture reaching from T antiquity to the present day, and focussing on the most important neo-classi- cal financial buildings in New York. In his introduction to the first edition of the eabh series on architecture and finance John Booker wrote: ‘Banks are just a build- ing type among so many others – on the one hand, on the other hand however, they are a type which has evolved over centuries to accommodate a particular profession, and that is something very rare.’1 Considering the evolution of financial buildings’ architecture is worthwhile: banks offer a distinctive plat- form for architectural expression. The style of financial buildings such as banks, exchanges, insurance companies has not only been influenced by regional factors, and by the philosophical trends and charac- Picture 1: Parthenon temple of Acropolis, 447, BC, Athens, Greece teristic of the period, but by the type of bank they have housed: whether public, private, or commercial; whether a merchant, national, Neo-Classic Searching for a new architectural idiom or a savings bank, or an insurance company. Neoclassicism emerged in Europe in the 18th to express their newly established demo- In fact, what distinguishes the appearance of century (1760 onwards2). Its geometric regular- cratic and secular values, secular humanists financial buildings is the way they symbolise ity, suggestive of strength and stability, emerged turned to ancient Greek beliefs and Greek the profession and its aims rather than fol- antithesis to Baroque (1700-1740) and Rococo temple architecture.
    [Show full text]
  • Miscellaneous Family Papers Collections
    Miscellaneous Family Papers Collections PVMA Library The letters and documents listed in this general finding aid represent smaller collections that lack detailed finding aids. Many represent non-Deerfield families, and range in size from a single item to several folders. Abell Family Folder 1: Letters from George Austin Abell of Conway, MA (later of Meriden, CT), to members of his family while he served in the Union Army during the Civil War, 1862-May 1863. (Many of the letters in this and the following folder are addressed to his brother, Lewis Strong Abell of Conway) (34 items) Folder 2: Letters continued, June 1863-October 1864. Also certificate of G.A. Abell’s honorable discharge, November 1864, and certificate granting his widow, Alice Holcomb Abell, a pension, 1911. (32 items) Folder 3: Legal documents relating mainly to Joshua Abell, Sr., Joshua Abell, Jr. both of Goshen, MA; and of the latter’s sons William and George of the same town, 1801-1836 and undated (18 items) (George was the father of George Austin Abell; the two Joshuas, his grandfather and great grandfather) Folder 4: Genealogical material relating to the Abell family and to the related Holcomb, Cathcart, and Taylor families, ca. 1904-1922 and undated. (19 items) Folder 5: Diary of George A. Abell for 1878 (in 1878 he resided in Northampton) Adams, Willis Seaver Folder containing a catalog relating to the life and work of American artist Willis Seaver Adams (1844-1921), prepared by the American Studies Group of Deerfield Academy in 1966, in connection with a retrospective exhibit of his work at the Hilson Gallery.
    [Show full text]
  • Some Aspects Profession of the Development of the Architectural in Boston Between 1800 and 1830 L
    Some Aspects of the Development of the Architectural Profession in Boston Between 1800 and 1830 l JACK QUINAN* T he distinction between house- The earliest architectural school in Bos- wrights and gentlemen amateurs in ton has been attributed by several scholars 1 American architecture of the to Asher Benjamin at a date close to 1805.2 eighteenth century standsin sharpcontrast Unfortunately, the school has never been to the architectural profession as it de- adequately documented. Benjamin had veloped during the nineteenth century. In a submitted the following proposal for an little more than fii years “polite” ar- architectural school to the Windsor [Ver- chitecture ceased to be the occasional mont] Gazette of 5 January 1802. which preoccupationof a few educatedgentlemen seemsto have led Talbot Hamlin and Roger and emerged as a true profession, that is, Hale Newton to conclude that Benjamin one in which its practitioners could support subsequently established a school in Bos- themselves by designing buildings. The ton: change was momentous, and we may well ask how it came about. The topic is broad, To Young Carpenters. Joiners and All of course, and this paper shag be confmed Others concerned in the Art of building: to events in Boston with the hope that -The subscriberintends to opena School of Architectureat hishouse in Windsor, the similar studiesof other American cities will 20th of February next-at which will be soon follow. taughtThe Five Ordersof Architecture,the In a period of intense activity between Proportionsof Doors, Windows and Chim- 1800 and 1830 a number of architectural neypieces,the Constructionof Stairs, with schools, professional organizations, ar- their ramp and twist Rails, the method of farmitg timbers, lengthand backing of Hip chitectural libraries, and other related rafters,the tracingof groinsto AngleBrac- phenomena, materialized and provided the kets, circular soffitsin circularwalls; Plans, groundwork for the new profession in Bos- Elevationsand Sectionsof Houses,with all ton.
    [Show full text]
  • Classifi Cation
    Form No. 10-300 \fr&J., \Q- UNfTED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOWTO COMPLETE NAT/0NAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS | NAME HISTORIC DEACON JOHN HOLBROOK HOUSE AND/OR COMMON The Boyden House The Chapin House LOCATION STREETS NUMBER Corner Linden Chapin Streets (ME Corner! N/A-NOTFORPU B LI CATI0 N CITY. TOWN CONGRESSIONAL DISTRICT Brattleboro ISl/A VICINITY OF Vermont STATE CODE COUNTY CODE Vermont Wi Drill ptn 025 CLASSIFI CATION CATEGORY OWNERSHIP STATUS PRESENT USE .DISTRICT —PUBLIC —OCCUPIED _AGRICULTURE —MUSEUM JLPRIVATE —XUNOCCUPIED —COMMERCIAL —PARK .STRUCTURE —BOTH —XWORK IN PROGRESS —EDUCATIONAL X.PRIVATE RESIDENCE .SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS .OBJECT IN PROCESS —YES: RESTRICTED —GOVERNMENT —SCIENTIFIC L —BEING CONSIDERED — YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION X.NO —MILITARY —OTHER: [OWNER OF PROPERTY NAME James A. Britton § James A. Britton, Jr. STREET & NUMBER 315 Federal Street CITY, TOWN STATE Greenfield N/A VICINITY OF Massachusetts LOCATION OF LEGAL DESCRIPTION COURTHOUSE. Office of Town Clerk REGISTRY OF DEEDS,ETC. STREET & NUMBER Main Street CITY. TOWN STATE Brattleboro Vermont [3 REPRESENTATION IN EXISTING SURVEYS TITLE Vermont Historic Sites and Structures Survey DATE 1971 —FEDERAL ESTATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Vermont Division for Historic Preservation CITY. TOWN STATE Montpelier Vermont DESCRIPTION CONDITION CHECK ONE CHECK ONE —EXCELLENT —DETERIORATED X.UNALTERED XJDRIGINALSITE XGOOD —RUINS —ALTERED —MOVED DATE. —FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE After retirement from active business in 1825, Deacon John Holbrook built his late Federal style house on twenty acres of land, across from the Common, now the corner of Linden and Chapin Streets.
    [Show full text]
  • December 2010 Page 1
    President's Message I want to thank everyone who attended our October Quarterly Meeting, and I hope those three dozen or so members who were able to take the time to also travel to Methuen to visit the Music Hall agree that the trip was well worthwhile. Both the building and the organ are awesome, and I'm glad you were able to enjoy them. At the meeting we were able to distribute our new lapel pins, and I hope you are pleased with the result and will wear them proudly. Lastly, it is that time of year again where we must ask all members to consider a donation to help support MCMA. Donations are tax-deductible, and they are important to us, so please do what you can. I cannot believe my first year as President is almost over. It has been very enjoyable and I am enthused about the future. I would like to thank all those that have helped me and all those that have given me their support. Bill Anderson Recent Happenings Our October Quarterly was, as promised, held at the China Blossom Restaurant in North Andover, where we enjoyed a very good (and very diverse) buffet meal. In addition to our normal business items, President Anderson distributed the new MCMA lapel pins to all members attending. [We thank President Anderson, Vice President Rich Adams, Past President Bill Jutila and Trustees Arthur Anthony and Chuck Sulkala for their work in coordinating the design and production of these pins.] Membership Committee Chairman Joseph Bellomo reported that his committee, having reviewed the application of Mr.
    [Show full text]