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Soon after the Providence Theatre closed in 1832, the need of a permanent theatre was felt. In 1838, several Providence businessmen formed a stock company and purchased a lot on Dorrance Street for a new theatre. Architect
James C. Bucklin was chosen to design the new building. As soon as the project was announced, it was met with opposition. The City Council was petitioned to refuse to issue any liscenses for theatrical performances. This was supported by the congregation of the Second Baptist Church, across the street at the corner of Pine and Dorrance Streets, which found that a theatre nearby would "impair their rights as a Christian society."[2]Francis Wayland, president of
Brown University, was also strongly opposed to the project.[3] However, the City Council rejected these, reserving the right to issue liscenses on a case by case basis. In October, when the building was nearly finished, it was leased to James Gaspard Maeder, who obtained a liscense to operate.[2]
The theatre was opened October 29, 1838, with performances of The Soldier's Daughter (
Andrew Cherry, 1804) and A Pleasant Neighbour (Elizabeth Planché, 1836), with a preamble by
Sarah Helen Whitman recited by actress
Clara Fisher Maeder, wife of manager Maeder. The first season produced a small profit, but the second did not, and Maeder did not renew his lease after 1839. For the rest of its active life, the theatre's managers were not able to make it profitable, and when the 1844 season closed its future was doubt.[2] In fall of that year the building was occupied by George Haswell for the exhibition of the planetarium built by
Dionysius Lardner and presentation of Lardner's lectures on astronomy. The morning of October 25, 1844, a fire of unknown origin destroyed the theatre, including Lardner's planetarium and all of the theatre equipment.[4] Only the stone walls were left standing. Due to difficulties with finances and neighbors, the stock company chose not to rebuilt and reopen the theatre. Though the theatre's life was short, a number of notable actors, actresses, dancers and singers performed on its stage. In addition to Clara Fisher, these included
Junius Brutus Booth,
Charlotte Cushman,
Fanny Elssler,
Edwin Forrest,
Thomas S. Hamblin,
Charles and
Ellen Kean,
Mary Shaw and
John and
Charlotte Vandenhoff, among others.[2]
Under the ownership of Tillinghast Almy, it was rebuilt for manufacturing uses, though from the exterior it appeared much as before, with pilasters, entablature and pediment still in place.[5] Openings were probably cut in the upper levels at this time.[1] In 1864, the building was purchased by A. & W. Sprague, the state's most successful textile manufacturers, who probably used the building as a warehouse. In 1873 the Spragues became insolvent, with their assets held up in litigation for many years. Construction of the neighboring building in 1883 necessitated the removal and reconstruction of the west wall, causing the westernmost pilaster to be mostly removed.[6] The warehouse was bought in 1890 by B. B. & R. Knight, textile manufacturers who bought many other Sprague properties.[1] The building was probably rebuilt during their ownership.[b] The entablature, pediment and roof were removed, and three additional stories were added, bringing the building to its current appearance. The Knights also connected to the building a small brick building on Orange Street. Like the Spragues, the Knights used the building as a warehouse. In 1903, it was leased by the Ballou, Johnson & Nichols Company, wholesale retailers. They bought the building outright in 1922. In 1977, after the company moved to Cranston, the building was sold to the Dorrance Associates.[1] The new owners renovated the building for offices, which it remains.
Architecture
As originally designed by Bucklin, Shakespeare Hall was a simple
Greek Revival building. The lower level, which contained the entrance, was Granite. The remainder of the structure was built with a cheaper stone, which was covered with plaster scored to resemble Granite. Above the lower level, the facade was adorned with five Doric pilasters, which were topped with a simple entablature and pediment. The only other external ornament was a medallion bust of
William Shakespeare,[2] which was removed at an unknown date. The architecture of the three upper levels is utilitarian, typical of period industrial architecture.[1]
The original interior was elaborately decorated. The auditorium, which could seat about 1,300, featured a dome, semi-circular gallery and two tiers of boxes. The decorative scheme was based on the signs of the zodiac, and was painted by a young George Heister, who would later be well known as a scenic artist in New York. The fronts of the boxes were also elaborately painted. All of this was destroyed by the fire. The interior of the rebuilt building was completely unornamented. At the time the building was listed on the National Register of Historic Places, it was bare except for supporting columns and a single brick bearing wall.[1] It is now conventional office space, though structural beams are still visible.
Notes
^Popularly known during its operation as the Dorrance Street Theatre or the Providence Theatre.
^The building could not have been rebuilt before 1891, the year the chimney of the Narragansett Electric Lighting Company was completed. An aerial photo, taken from the chimney and datable to the 1890s shows the building in its former configuration.[7]
Stephen Dacatur Hatch was born February 16, 1839 in
Swanton, Vermont.
As a teenager he came to New York, and in 1860 joined the office of
John B. Snook, a noted architect of commercial buildings, as a draftsman. In 1864, he established his own office as an architect. After a few slow years in the immidiate aftermath of the Civil War, by the 1870s he had developed a succesful practice as a commercial architect, much like his former employer. He worked continuously as a private practitioner until his death.
The project was completed by Hatch's successors, McCabe & Wilkie in association with
McKim, Mead & White.
Personal life
Hatch was married in 1889 to Eva Hilton Thrift of San Francisco.[1] They had one child, a daughter.
Mosette Glaser Broderick, "Hatch, Stephen D." in The Grove Encyclopedia of American Art, ed. Joan M. Marter (Oxford and New York: Oxford University Press, 2011): 469.
^Van Vleck & Goldsmith completed this home from the plans of the original architect,
George W. Maher of
Chicago, who seems to have been fired from the project after the foundations were completed.
Elias Carter was born May 30, 1781 in
Auburn, Massachusetts to Timothy Carter, a carpenter and builder, and Sarah (Walker) Carter. His father died in 1784 when he fell from a church he was building in
Leicester. Sarah Carter moved the family to
Greenwich before remarrying in 1790 to Nathaniel Haskell, a farmer, of
Hardwick. Carter's education is not known, though his interest in architecture may have come from his father's papers, which included a copy of
Batty Langley's The City and Country Builder's and Workman's Treasury of Designs of 1756. His education is otherwise unknown. In 1805 he built his first known church, at
Brimfield. Two years later he married and settled in Brimfield, where they lived for eight years. In 1815 he was one of the incorporators of the Brimfield Cotton and Woolen Manufacturing Company at East Brimfield, and built its mill. This company quickly failed, and many of its investors, including Carter, were bankrupt. He then moved to
Thompson, Connecticut, where he built the Thompson Congregational Church from a design by
Ithiel Town. In 1818 he went to
Putnam, to built another church, and returned to Massachusetts in 1819 when he was hired to build a church at
Mendon. In 1820 he returned to Brimfield.
His father Timothy and uncle Benjamin were both builders and were in partnership as Carter & Carter. This ended in 1784, when Timothy Carter died following a fall from a church they were building in
Leicester. Sarah Carter and her children first moved to
Greenwich, the home of her father-in-law. About 1790 she remarried to Nathaniel Haskell of
Hardwick, where they then moved and Elias Carter was raised. His education is not known, though he may have been drawn to architecture and building through
Batty Langley's The City and Country Builder's and Workman's Treasury of Designs of 1756, a copy of which had been owned by his father. He may also have had some training in
Georgia. About 1807 he settled in
Brimfield, where he remained for eight years. In 1815 he was one of the incorporators of the Brimfield Cotton and Woolen Manufacturing Company at East Brimfield, and built its mill. This company quickly failed, and many of its investors, including Carter, were bankrupt. Later the same year he moved to
Thompson, Connecticut, where he built the Thompson Congregational Church to a design by
Ithiel Town of
New Haven, a Thompson native. In 1818 he went to
Putnam to build another church, and in 1819 returned to Massachusetts to build a church at
Mendon. After the Mendon church was completed he may have returned to Brimfield. In 1828 he moved to
Worcester, where he built much of his best-known work.[1][2]
^
abcdefgThis building is attributed to Carter, but not documented. Cite error: The named reference "Attrib" was defined multiple times with different content (see the
help page).
^A
temporary home for Lincoln was built by Carter in 1834, and was listed on the NRHP in 1980. His much larger house of 1836 was later moved to
Sturbridge, Massachusetts.
Merwin Austin was born in 1813 in
Hamden, Connecticut to Daniel Austin and Adah (Dorman) Austin. He was a younger brother of
Henry Austin.[1] His early education is unknown, but in 1837 when Henry Austin opened an architect's office in Hartford, he was joined by Merwin.[2] He followed him to New Haven in 1841, but in 1844 moved to Rochester to open his own office. He was among the first professional architects to settle in Rochester, preceded only by Daniel and Isaac Loomis.[1][3] In 1849 he took on as an apprentice
Andrew Jackson Warner, his nephew. In 1855 they formed a partnership, Austin & Warner, which lasted until 1858. Austin continued to practice in Rochester for the next ten years, returning to New Haven circa 1868. In New Haven he again worked for his brother, from at least 1869 to 1872 and again in 1884.[4]
Personal life
Austin was married in 1851 to Almira Hayward.[5] They had one daughter, who died in childhood, and she died in 1857. Austin died April 22, 1890 in New Haven.[2]
Legacy
Austin adopted his brother's idiosyncratic
Italianate style and developed it in Rochester, which can be seen in the Brewster and Osborne houses.[1]
Charles R. Greco was born October 15, 1873 in
Cambridge, Massachusetts to Letterio C. Greco and Catherine (Reggio) Greco,[1] natives of
Messina and
Genoa, respectively.[2] Greco was educated in the public schools, with supplementary courses in architecture at the
Lawrence Scientific School of
Harvard University. After leaving school he began working as a draftsman in Boston. In 1893, at the age of 19, he and a young architect, Ernest L. Condon, submitted plans for the new fire station at Lafayette Square in Cambridge. Despite their age and lack of experience, their design was accepted.[3] They completed the fire station and some other small work but dissolved their partnership in 1894.[4] Also in 1893 Greco had taken a job with the
Wait & Cutter, a politically-connected firm of architects. When that firm was dissolved in 1897, he stayed on with successor
Olin W. Cutter until 1899. That year he joined
Peabody & Stearns, one of the Boston's leading architectural firms.[1] During his employment by Cutter and Peabody & Stearns, Greco continued to take independent work, mostly in Cambridge, including the
Taylor Square Firehouse in 1904[5] and the Blessed Sacrament R. C. Church, announced just before he opened his own office in 1907.[6] After eight years with Peabody & Stearns, in March of 1907 he formally established his own practice, with offices at 8 Beacon Street in Boston.[7] During the 1920s he relocated his offices to 11 Beacon Street, where they remained until his retirement.
In 1915 Greco was appointed to the State Art Commission by Governor
David I. Walsh for a five year term.[8] In 1920, he was appointed a second time by Governor
Calvin Coolidge, and in 1924 he was chosen chair.[9] Designed markers for the Massachusetts Tercentenary Commission, 1930.
In 1917 Greco established a branch office in the
Guardian Building in
Cleveland, Ohio in association with Edward G. Reed, a Harvard-educated architect who had joined Greco's office in 1910.[10] Greco and Reed were associated in Cleveland for about twenty years, after which Reed opened his own office in Cleveland. George B. Mayer was also a member of the Cleveland office.[11]
During the administration of Mayor
John W. Lyons of Cambridge, Greco was chosen architect for several municipal projects, most significantly the new
Cambridge High and Latin School, completed in 1940. In November
Robert F. Bradford, the
District Attorney of
Middlesex County announced charges of bribery against Lyons and Paul Mannos, a Brookline contractor who was associated on many Cambridge building projects. They were accused of soliciting and accepting bribes from architects and engineers, who would need to pay to win a job.[12] Greco admitted to paying $21,000 in bribes to Lyons and Mannos, about one third of the fees he received for his architectural work for the Lyons administration.[13] Lyons and Mannos were both found guilty and sentenced to prison, and although Greco did not face legal consequences, he was obliged to resign the chair of the State Art Commission.[14] In 1942 he and the other four architects were expelled from the
American Institute of Architects,[a] which he had joined in 1915, on ethics grounds. He was ultimately readmitted in 1956. In 1960, due to his declining health, Greco retired from practice.[15]
^Lu Donnelly, H. David Brumble IV and Franklin Toker, Buildings of Pennsylvania: Pittsburgh and Western Pennsylvania (Charlottesville: University of Virginia Press, 2010)
Agricultural Hall,
North Attleborough, Massachusetts (1870-71, demolished)ref>"New England Notes" in Boston Daily Advertiser, October 31, 1870, 2.</ref>
^
abA contributing property to the
St. Albans Historic District, NRHP-listed in 1980. Cite error: The named reference "StAlbans" was defined multiple times with different content (see the
help page).
^
abcKeith N. Morgan, Buildings of Massachusetts: Metropolitan Boston (Charlottesville: University of Virginia Press, 2009)
^
abCharles W. Parmenter, "Historical Sketch of the First Universalist Society in Cambridge, 1822-1922" in Universalist Leader 25, no. 45 (November 11, 1922): 11-15.
^"Dedication of the Chapel of the First Religious Society of Roxbury" in Boston Daily Advertiser, December 25, 1876, 2.
^"Religious Intelligence" in Congregationalist, January 3, 1877, 4.
^"About Town" in Boston Daily Advertiser, July 3, 1877, 4.
^"Building Intelligence" in American Architect and Building News 4, no. 140 (August 31, 1878): viii.
^"State News" in Bangor Daily Whig and Courier, November 13, 1879, 1.
^
ab"Building Intelligence" in American Architect and Building News 4, no. 150 (November 9, 1878): ix.
^"News from the Churches" in Congregationalist, July 7, 1880, 4.
^"Building Intelligence" in American Architect and Building News 8, no. 252 (October 23, 1880): 204.
^"News from the Churches" in Congregationalist, May 11, 1881, 4.
^John F. A. Herzan, Statewide Historical Preservation Report N-N-2: The West Broadway Neighborhood, Newport, Rhode Island (Providence: Rhode Island: Historical Preservation Commission, 1977)
^Reports of the School Committee, Selectment, Treasurer, and Collector of Taxes, of the Town of Somerville, for the Year Ending March 1, 1862 (Somerville: Town of Somerville, 1862)
^Douglas Alan Frank, The History of Lawrence Academy at Groton, 1792 to 1992 (Groton: Lawrence Academy, 1992)
^"Laying of a Corner Stone" in Boston Daily Advertiser, May 17, 1867, 1.
^Auditor's Annual Report of the Town of Newton, February 13, 1869 (Newton: Town of Newton, 1869)
^"Spencer Town Hall" in Boston Daily Advertiser, June 1, 1872, 5.
^"The Auditor's Report of the Town of Wayland for its Ninety-fourth Municipal Year, from March 1, 1873, to March 1, 1874 (Wayland: Town of Wayland, 1874)
^"City and Vicinity" in Lowell Daily Citizen, May 1, 1873, 2.
Adeline C. Kelley (1889-1972) was an American architect practicing in
Bridgeport, Connecticut. She was one of the first woman architects to practice in Connecticut.
Life and career
Adeline C. Kelley was born February 19, 1889[1] in
Southport, Connecticut to Thomas F. Kelley, a contractor and architect, and Mary Josephine (Otis) Kelley. She was educated in the schools of Southport and Bridgeport, to which the family moved in 1905. After moving to Bridgeport, Thomas F. Kelley practiced soley as an architect, and Adeline Kelley trained in his office. He died November 6, 1913, after which his daughter suceeded to the practice under the name A. C. Kelley.[2] From 1914 to 1916 she was assisted by
J. Gerald Phelan, who would later become a noted architect in his own right.[3]
Except for a leave of absence during
World War I, Kelley practiced architecture in Bridgeport until 1920. Her practice primarily consisted of houses and apartments in and around Bridgeport. Her largest work was the American Theatre, built in 1915 for theatre operator Martin W. Leighton. This was the first theatre building in the United States designed by a woman architect. Though in an altered state, this building still stands at 1126 East Main Street in Bridgeport.[4]
Personal life
Kelley was married in 1917 to George Stuart Brady, an engineer. Brady was then stationed at
Rock Island in the ordnance department, and the couple briefly lived there during the war.[5] Following the war they returned to Bridgeport, where Adeline briefly resumed practice under the name Adeline K. Brady. In 1920 George S. Brady was appointed trade commissioner, and they traveled extensively in South American in the course of his work, with headquarters in
Buenos Aires. In 1929 he published the first edition of the Materials Handbook, a reference book of industrial and building materials, which had a total of fifteen editions. Adeline was his assistant in the preparation of the first ten.[6] In 1933 they moved to
Washington, DC where he became deputy administrator of the
National Recovery Administration, and held several other government jobs in the ensuing decades.[7]
Adeline and George Brady had three children. Adeline Brady died April 24, 1972 in Washington,[1] followed by her husband August 11, 1977.[7]
See also
Adeline K. Brady, "Government Housing in Argentina" in American Review of Reviews 66, no. 2 (August, 1922): 177-180.
This is not a Wikipedia article: It is an individual user's work-in-progress page, and may be incomplete and/or unreliable.For guidance on developing this draft, see
Wikipedia:So you made a userspace draft.
Finished writing a draft article? Are you ready to request an experienced editor review it for possible inclusion in Wikipedia? Submit your draft for review!
Soon after the Providence Theatre closed in 1832, the need of a permanent theatre was felt. In 1838, several Providence businessmen formed a stock company and purchased a lot on Dorrance Street for a new theatre. Architect
James C. Bucklin was chosen to design the new building. As soon as the project was announced, it was met with opposition. The City Council was petitioned to refuse to issue any liscenses for theatrical performances. This was supported by the congregation of the Second Baptist Church, across the street at the corner of Pine and Dorrance Streets, which found that a theatre nearby would "impair their rights as a Christian society."[2]Francis Wayland, president of
Brown University, was also strongly opposed to the project.[3] However, the City Council rejected these, reserving the right to issue liscenses on a case by case basis. In October, when the building was nearly finished, it was leased to James Gaspard Maeder, who obtained a liscense to operate.[2]
The theatre was opened October 29, 1838, with performances of The Soldier's Daughter (
Andrew Cherry, 1804) and A Pleasant Neighbour (Elizabeth Planché, 1836), with a preamble by
Sarah Helen Whitman recited by actress
Clara Fisher Maeder, wife of manager Maeder. The first season produced a small profit, but the second did not, and Maeder did not renew his lease after 1839. For the rest of its active life, the theatre's managers were not able to make it profitable, and when the 1844 season closed its future was doubt.[2] In fall of that year the building was occupied by George Haswell for the exhibition of the planetarium built by
Dionysius Lardner and presentation of Lardner's lectures on astronomy. The morning of October 25, 1844, a fire of unknown origin destroyed the theatre, including Lardner's planetarium and all of the theatre equipment.[4] Only the stone walls were left standing. Due to difficulties with finances and neighbors, the stock company chose not to rebuilt and reopen the theatre. Though the theatre's life was short, a number of notable actors, actresses, dancers and singers performed on its stage. In addition to Clara Fisher, these included
Junius Brutus Booth,
Charlotte Cushman,
Fanny Elssler,
Edwin Forrest,
Thomas S. Hamblin,
Charles and
Ellen Kean,
Mary Shaw and
John and
Charlotte Vandenhoff, among others.[2]
Under the ownership of Tillinghast Almy, it was rebuilt for manufacturing uses, though from the exterior it appeared much as before, with pilasters, entablature and pediment still in place.[5] Openings were probably cut in the upper levels at this time.[1] In 1864, the building was purchased by A. & W. Sprague, the state's most successful textile manufacturers, who probably used the building as a warehouse. In 1873 the Spragues became insolvent, with their assets held up in litigation for many years. Construction of the neighboring building in 1883 necessitated the removal and reconstruction of the west wall, causing the westernmost pilaster to be mostly removed.[6] The warehouse was bought in 1890 by B. B. & R. Knight, textile manufacturers who bought many other Sprague properties.[1] The building was probably rebuilt during their ownership.[b] The entablature, pediment and roof were removed, and three additional stories were added, bringing the building to its current appearance. The Knights also connected to the building a small brick building on Orange Street. Like the Spragues, the Knights used the building as a warehouse. In 1903, it was leased by the Ballou, Johnson & Nichols Company, wholesale retailers. They bought the building outright in 1922. In 1977, after the company moved to Cranston, the building was sold to the Dorrance Associates.[1] The new owners renovated the building for offices, which it remains.
Architecture
As originally designed by Bucklin, Shakespeare Hall was a simple
Greek Revival building. The lower level, which contained the entrance, was Granite. The remainder of the structure was built with a cheaper stone, which was covered with plaster scored to resemble Granite. Above the lower level, the facade was adorned with five Doric pilasters, which were topped with a simple entablature and pediment. The only other external ornament was a medallion bust of
William Shakespeare,[2] which was removed at an unknown date. The architecture of the three upper levels is utilitarian, typical of period industrial architecture.[1]
The original interior was elaborately decorated. The auditorium, which could seat about 1,300, featured a dome, semi-circular gallery and two tiers of boxes. The decorative scheme was based on the signs of the zodiac, and was painted by a young George Heister, who would later be well known as a scenic artist in New York. The fronts of the boxes were also elaborately painted. All of this was destroyed by the fire. The interior of the rebuilt building was completely unornamented. At the time the building was listed on the National Register of Historic Places, it was bare except for supporting columns and a single brick bearing wall.[1] It is now conventional office space, though structural beams are still visible.
Notes
^Popularly known during its operation as the Dorrance Street Theatre or the Providence Theatre.
^The building could not have been rebuilt before 1891, the year the chimney of the Narragansett Electric Lighting Company was completed. An aerial photo, taken from the chimney and datable to the 1890s shows the building in its former configuration.[7]
Stephen Dacatur Hatch was born February 16, 1839 in
Swanton, Vermont.
As a teenager he came to New York, and in 1860 joined the office of
John B. Snook, a noted architect of commercial buildings, as a draftsman. In 1864, he established his own office as an architect. After a few slow years in the immidiate aftermath of the Civil War, by the 1870s he had developed a succesful practice as a commercial architect, much like his former employer. He worked continuously as a private practitioner until his death.
The project was completed by Hatch's successors, McCabe & Wilkie in association with
McKim, Mead & White.
Personal life
Hatch was married in 1889 to Eva Hilton Thrift of San Francisco.[1] They had one child, a daughter.
Mosette Glaser Broderick, "Hatch, Stephen D." in The Grove Encyclopedia of American Art, ed. Joan M. Marter (Oxford and New York: Oxford University Press, 2011): 469.
^Van Vleck & Goldsmith completed this home from the plans of the original architect,
George W. Maher of
Chicago, who seems to have been fired from the project after the foundations were completed.
Elias Carter was born May 30, 1781 in
Auburn, Massachusetts to Timothy Carter, a carpenter and builder, and Sarah (Walker) Carter. His father died in 1784 when he fell from a church he was building in
Leicester. Sarah Carter moved the family to
Greenwich before remarrying in 1790 to Nathaniel Haskell, a farmer, of
Hardwick. Carter's education is not known, though his interest in architecture may have come from his father's papers, which included a copy of
Batty Langley's The City and Country Builder's and Workman's Treasury of Designs of 1756. His education is otherwise unknown. In 1805 he built his first known church, at
Brimfield. Two years later he married and settled in Brimfield, where they lived for eight years. In 1815 he was one of the incorporators of the Brimfield Cotton and Woolen Manufacturing Company at East Brimfield, and built its mill. This company quickly failed, and many of its investors, including Carter, were bankrupt. He then moved to
Thompson, Connecticut, where he built the Thompson Congregational Church from a design by
Ithiel Town. In 1818 he went to
Putnam, to built another church, and returned to Massachusetts in 1819 when he was hired to build a church at
Mendon. In 1820 he returned to Brimfield.
His father Timothy and uncle Benjamin were both builders and were in partnership as Carter & Carter. This ended in 1784, when Timothy Carter died following a fall from a church they were building in
Leicester. Sarah Carter and her children first moved to
Greenwich, the home of her father-in-law. About 1790 she remarried to Nathaniel Haskell of
Hardwick, where they then moved and Elias Carter was raised. His education is not known, though he may have been drawn to architecture and building through
Batty Langley's The City and Country Builder's and Workman's Treasury of Designs of 1756, a copy of which had been owned by his father. He may also have had some training in
Georgia. About 1807 he settled in
Brimfield, where he remained for eight years. In 1815 he was one of the incorporators of the Brimfield Cotton and Woolen Manufacturing Company at East Brimfield, and built its mill. This company quickly failed, and many of its investors, including Carter, were bankrupt. Later the same year he moved to
Thompson, Connecticut, where he built the Thompson Congregational Church to a design by
Ithiel Town of
New Haven, a Thompson native. In 1818 he went to
Putnam to build another church, and in 1819 returned to Massachusetts to build a church at
Mendon. After the Mendon church was completed he may have returned to Brimfield. In 1828 he moved to
Worcester, where he built much of his best-known work.[1][2]
^
abcdefgThis building is attributed to Carter, but not documented. Cite error: The named reference "Attrib" was defined multiple times with different content (see the
help page).
^A
temporary home for Lincoln was built by Carter in 1834, and was listed on the NRHP in 1980. His much larger house of 1836 was later moved to
Sturbridge, Massachusetts.
Merwin Austin was born in 1813 in
Hamden, Connecticut to Daniel Austin and Adah (Dorman) Austin. He was a younger brother of
Henry Austin.[1] His early education is unknown, but in 1837 when Henry Austin opened an architect's office in Hartford, he was joined by Merwin.[2] He followed him to New Haven in 1841, but in 1844 moved to Rochester to open his own office. He was among the first professional architects to settle in Rochester, preceded only by Daniel and Isaac Loomis.[1][3] In 1849 he took on as an apprentice
Andrew Jackson Warner, his nephew. In 1855 they formed a partnership, Austin & Warner, which lasted until 1858. Austin continued to practice in Rochester for the next ten years, returning to New Haven circa 1868. In New Haven he again worked for his brother, from at least 1869 to 1872 and again in 1884.[4]
Personal life
Austin was married in 1851 to Almira Hayward.[5] They had one daughter, who died in childhood, and she died in 1857. Austin died April 22, 1890 in New Haven.[2]
Legacy
Austin adopted his brother's idiosyncratic
Italianate style and developed it in Rochester, which can be seen in the Brewster and Osborne houses.[1]
Charles R. Greco was born October 15, 1873 in
Cambridge, Massachusetts to Letterio C. Greco and Catherine (Reggio) Greco,[1] natives of
Messina and
Genoa, respectively.[2] Greco was educated in the public schools, with supplementary courses in architecture at the
Lawrence Scientific School of
Harvard University. After leaving school he began working as a draftsman in Boston. In 1893, at the age of 19, he and a young architect, Ernest L. Condon, submitted plans for the new fire station at Lafayette Square in Cambridge. Despite their age and lack of experience, their design was accepted.[3] They completed the fire station and some other small work but dissolved their partnership in 1894.[4] Also in 1893 Greco had taken a job with the
Wait & Cutter, a politically-connected firm of architects. When that firm was dissolved in 1897, he stayed on with successor
Olin W. Cutter until 1899. That year he joined
Peabody & Stearns, one of the Boston's leading architectural firms.[1] During his employment by Cutter and Peabody & Stearns, Greco continued to take independent work, mostly in Cambridge, including the
Taylor Square Firehouse in 1904[5] and the Blessed Sacrament R. C. Church, announced just before he opened his own office in 1907.[6] After eight years with Peabody & Stearns, in March of 1907 he formally established his own practice, with offices at 8 Beacon Street in Boston.[7] During the 1920s he relocated his offices to 11 Beacon Street, where they remained until his retirement.
In 1915 Greco was appointed to the State Art Commission by Governor
David I. Walsh for a five year term.[8] In 1920, he was appointed a second time by Governor
Calvin Coolidge, and in 1924 he was chosen chair.[9] Designed markers for the Massachusetts Tercentenary Commission, 1930.
In 1917 Greco established a branch office in the
Guardian Building in
Cleveland, Ohio in association with Edward G. Reed, a Harvard-educated architect who had joined Greco's office in 1910.[10] Greco and Reed were associated in Cleveland for about twenty years, after which Reed opened his own office in Cleveland. George B. Mayer was also a member of the Cleveland office.[11]
During the administration of Mayor
John W. Lyons of Cambridge, Greco was chosen architect for several municipal projects, most significantly the new
Cambridge High and Latin School, completed in 1940. In November
Robert F. Bradford, the
District Attorney of
Middlesex County announced charges of bribery against Lyons and Paul Mannos, a Brookline contractor who was associated on many Cambridge building projects. They were accused of soliciting and accepting bribes from architects and engineers, who would need to pay to win a job.[12] Greco admitted to paying $21,000 in bribes to Lyons and Mannos, about one third of the fees he received for his architectural work for the Lyons administration.[13] Lyons and Mannos were both found guilty and sentenced to prison, and although Greco did not face legal consequences, he was obliged to resign the chair of the State Art Commission.[14] In 1942 he and the other four architects were expelled from the
American Institute of Architects,[a] which he had joined in 1915, on ethics grounds. He was ultimately readmitted in 1956. In 1960, due to his declining health, Greco retired from practice.[15]
^Lu Donnelly, H. David Brumble IV and Franklin Toker, Buildings of Pennsylvania: Pittsburgh and Western Pennsylvania (Charlottesville: University of Virginia Press, 2010)
Agricultural Hall,
North Attleborough, Massachusetts (1870-71, demolished)ref>"New England Notes" in Boston Daily Advertiser, October 31, 1870, 2.</ref>
^
abA contributing property to the
St. Albans Historic District, NRHP-listed in 1980. Cite error: The named reference "StAlbans" was defined multiple times with different content (see the
help page).
^
abcKeith N. Morgan, Buildings of Massachusetts: Metropolitan Boston (Charlottesville: University of Virginia Press, 2009)
^
abCharles W. Parmenter, "Historical Sketch of the First Universalist Society in Cambridge, 1822-1922" in Universalist Leader 25, no. 45 (November 11, 1922): 11-15.
^"Dedication of the Chapel of the First Religious Society of Roxbury" in Boston Daily Advertiser, December 25, 1876, 2.
^"Religious Intelligence" in Congregationalist, January 3, 1877, 4.
^"About Town" in Boston Daily Advertiser, July 3, 1877, 4.
^"Building Intelligence" in American Architect and Building News 4, no. 140 (August 31, 1878): viii.
^"State News" in Bangor Daily Whig and Courier, November 13, 1879, 1.
^
ab"Building Intelligence" in American Architect and Building News 4, no. 150 (November 9, 1878): ix.
^"News from the Churches" in Congregationalist, July 7, 1880, 4.
^"Building Intelligence" in American Architect and Building News 8, no. 252 (October 23, 1880): 204.
^"News from the Churches" in Congregationalist, May 11, 1881, 4.
^John F. A. Herzan, Statewide Historical Preservation Report N-N-2: The West Broadway Neighborhood, Newport, Rhode Island (Providence: Rhode Island: Historical Preservation Commission, 1977)
^Reports of the School Committee, Selectment, Treasurer, and Collector of Taxes, of the Town of Somerville, for the Year Ending March 1, 1862 (Somerville: Town of Somerville, 1862)
^Douglas Alan Frank, The History of Lawrence Academy at Groton, 1792 to 1992 (Groton: Lawrence Academy, 1992)
^"Laying of a Corner Stone" in Boston Daily Advertiser, May 17, 1867, 1.
^Auditor's Annual Report of the Town of Newton, February 13, 1869 (Newton: Town of Newton, 1869)
^"Spencer Town Hall" in Boston Daily Advertiser, June 1, 1872, 5.
^"The Auditor's Report of the Town of Wayland for its Ninety-fourth Municipal Year, from March 1, 1873, to March 1, 1874 (Wayland: Town of Wayland, 1874)
^"City and Vicinity" in Lowell Daily Citizen, May 1, 1873, 2.
Adeline C. Kelley (1889-1972) was an American architect practicing in
Bridgeport, Connecticut. She was one of the first woman architects to practice in Connecticut.
Life and career
Adeline C. Kelley was born February 19, 1889[1] in
Southport, Connecticut to Thomas F. Kelley, a contractor and architect, and Mary Josephine (Otis) Kelley. She was educated in the schools of Southport and Bridgeport, to which the family moved in 1905. After moving to Bridgeport, Thomas F. Kelley practiced soley as an architect, and Adeline Kelley trained in his office. He died November 6, 1913, after which his daughter suceeded to the practice under the name A. C. Kelley.[2] From 1914 to 1916 she was assisted by
J. Gerald Phelan, who would later become a noted architect in his own right.[3]
Except for a leave of absence during
World War I, Kelley practiced architecture in Bridgeport until 1920. Her practice primarily consisted of houses and apartments in and around Bridgeport. Her largest work was the American Theatre, built in 1915 for theatre operator Martin W. Leighton. This was the first theatre building in the United States designed by a woman architect. Though in an altered state, this building still stands at 1126 East Main Street in Bridgeport.[4]
Personal life
Kelley was married in 1917 to George Stuart Brady, an engineer. Brady was then stationed at
Rock Island in the ordnance department, and the couple briefly lived there during the war.[5] Following the war they returned to Bridgeport, where Adeline briefly resumed practice under the name Adeline K. Brady. In 1920 George S. Brady was appointed trade commissioner, and they traveled extensively in South American in the course of his work, with headquarters in
Buenos Aires. In 1929 he published the first edition of the Materials Handbook, a reference book of industrial and building materials, which had a total of fifteen editions. Adeline was his assistant in the preparation of the first ten.[6] In 1933 they moved to
Washington, DC where he became deputy administrator of the
National Recovery Administration, and held several other government jobs in the ensuing decades.[7]
Adeline and George Brady had three children. Adeline Brady died April 24, 1972 in Washington,[1] followed by her husband August 11, 1977.[7]
See also
Adeline K. Brady, "Government Housing in Argentina" in American Review of Reviews 66, no. 2 (August, 1922): 177-180.