An Intrepid Lady of Brattle Street: Sara Chapman Bull

Beginning in 1879, until her death in 1911, Sara Chapman Bull lived in Cambridge, first at “Elmwood” (the Oliver-Gerry-Lowell House), and from 1889 until her death at 168 Brattle Street. A number of facts about her should pique our interest:

  • At age 20, she was married in a semi-secret ceremony in Norway to a 60-year-old renowned Norwegian concert violinist Ole Bull.
  • She was an early adherent and supporter of Swami Vivekananda, who introduced the Indian philosophy of Vedanta to the West. 
  • She initiated and funded the Cambridge Conferences, a series of seminars at her home which drew important secular and religious lecturers.
Sarah Thorp Bull and Family, ca. 1890 (3.01BC)
Left to right: Joseph Thorp, Jr., Sarah Thorp Bull, Annie Longfellow Thorp, unidentified woman, Olea Bull, Mrs. Amelia Chapman Thorp, (and seated) unidentified woman. Likely taken at 168 Brattle Street, Cambridge, Massachusetts. Image courtesy History Cambridge.

Sara Bull was born Sara Chapman Thorp in 1850 in Oxford, New York. Her parents later moved to Eau Claire, Wisconsin where her father, Joseph G. Thorp, became wealthy in the lumber business. The family moved to Madison in 1866 after Joseph was elected to the State Senate. Her mother, Amelia, was a formidable individual who played a prominent role in Madison society. Sara was raised in a conventional manner under the controlling eye of her mother. This somewhat sheltered upbringing changed dramatically when she was introduced to Ole Bull, an internationally renowned Norwegian violinist who came to Madison on an American concert tour.

Portrait of Ole Bull by Franz Hanfstaengl. Image courtesy Bergen Public Library Norway.

Despite strong objections from her father–but with the encouragement of her socially ambitious mother–Sara Thorp and Ole Bull became engaged in early 1870, she age 20, he 60. Sara and her mother then accepted Ole’s invitation to visit Norway where, in a private ceremony, they were married in June, 1870. In the fall of that year, a splendid formal wedding took place in Madison. A daughter, Olea, was born in March, 1871.

Sara Olea Bull Vaughan posed, 1893. Courtesy of National Park Service, Longfellow House-Washington’s Headquarters National Historic Site (1006/004.002.010).

For the next ten years Sara, when not at Madison, traveled with Ole to concerts throughout the United States and Europe, occasionally serving as his piano accompanist. After beginning his college career at the University of Wisconsin, Sara’s brother, Joseph G. Thorp, Jr., graduated from Harvard College in 1879. That same year, the Thorp parents, Sara, Ole, and Olea moved from Madison to Cambridge, where they rented Elmwood from James Russell Lowell. In 1880 Ole, aged 70, died in Norway with Sara at his side.

Elmwood, 33 Elmwood Avenue (built 1767). Photo ca. 1895–1900, showing the gardener’s cottage that was attached to main house. CHC collections.

Following her husband’s death, Sara continued to make her home in Cambridge and began a productive life of her own. She lived at Elmwood until 1889, when she and her family moved to a new house her father had built at 168 Brattle Street.

In 1883, Sara published Ole Bull: A Memoir. She also published a journal article supporting the claim that Norsemen discovered New England and raised funds for the statue of the Norseman presently standing at the western terminus of Commonwealth Avenue in Boston. Sara entered the Boston social scene and became close friends with such luminaries as Annie Fields, Celia Thaxter, Julia Ward Howe and Sarah Orne Jewett. Important connections were further cemented when her brother Joseph married Anne Allegra, youngest daughter of Henry Wadsworth Longfellow. 

Title page of Ole Bull: A Memoir (1910) by Sara Chapman Bull

Sara Bull likely met Swami Vivekananda, founder of the Vedanta philosophy, in Boston or Cambridge in 1892. This encounter initiated her extensive sponsorship and financial support of the Swami’s work, both in the United States and India, particularly Vedanta schools. She traveled a number of times to India to lend support to these and other schools—particularly for girls–that were being established there.

In 1896 Sara initiated, hired a director for, and financially sustained what she titled the Cambridge Conferences. These weekly “class lectures” ran from November through May for four years and were held at her house at 168 Brattle Street. This was a wide-ranging intellectual endeavor, its purpose being “to afford opportunity for the comparative study of Ethics, Philosophy, Sociology and Religion”.  A significant number of important philosophers and religious leaders of the day lectured at the Conferences.

Members of the Bull and Thorp family stand outside 168 Brattle Street, Sara Thorp Bull’s residence. Courtesy of National Park Service, Longfellow House-Washington’s Headquarters National Historic Site (1006/004.002.010).

Sara also encouraged and financially supported important efforts of Dr. J. C. Bose, an Indian scientist doing pioneering work on remote wireless, and Okakura Kakuso, an expert on Japanese art who carried out the first classification of Asian Art at the Boston Museum of Fine Arts. She met both these gentlemen in their home countries, and later opened her Cambridge home to them and promoted their work in this country.

When Sara Chapman Bull died in 1911, she was cremated at Mt. Auburn Cemetery and her ashes spread at Lysøen, Norway, the site of an island house she inherited from Ole Bull.

Bull villa in Lysøen, photographed 10 June 2005 by Sean Hayford O’Leary. Image obtained via Wikimedia Commons under the Creative Commons Attribution 2.0 Generic license.

Today’s post was written by Cambridge resident Ted Hansen, a community volunteer and former President of the Cambridge Historical Society (now History Cambridge).

Longfellow Park

LongfellowHouse_signature_TomKlein_2016_02
View of lower garden and memorial with Longfellow’s house in the background

Across the street from Henry Wadsworth Longfellow’s House on Brattle Street is a 2-acre park extending down to the Charles River, established in memory of the great poet. The park includes an open lawn area off of Brattle Street bounded by several residences as well as the Friends Meeting House of Cambridge and the Church of Jesus Christ of Latter Day Saints, and descends to a lower garden and memorial on Mt. Auburn Street.

Soon after Longfellow’s passing in 1882, a group of his colleagues organized an association to create a memorial in his honor and formed the Longfellow Memorial Association. The Association sought to erect a monument and create a public park to be given to the City of Cambridge. Longfellow’s children donated two acres, consisting of the central portion of a meadow, in 1883. This donation of land came with a plan illustrating their desire for an open grass area to preserve the view of the river from the house, and a monument located in the northern section of the park. A horseshoe-shaped road was proposed to provide access to subdivided lots planned by the Longfellows.

childrens plan.JPG
Proposed plan by Longfellow’s heirs with the monument located on the upper green space.

Maintaining the open meadow was a concern by all involved in the park. As Longfellow’s son, Ernest, wrote:

Such a breathing space on the river in connection with the playing fields of
the College, which my father was so instrumental in securing, will one day
be a great boon to Cambridge when it becomes crowded, and would be a
better monument to my father and more in harmony than any graven image
that could be erected.”

longfellow park eliot plan
Plan by Charles Eliot, 1887  (National Park Service)

In 1887, Charles Eliot, a landscape architect who apprenticed with Frederick Law Olmsted, was commissioned to design the park. He envisioned a park with two distinct areas, an expanse of lawn surrounded by the horseshoe-shaped road and walks, and a garden in the lowland with paths and a playground. To mitigate poor drainage, Eliot recommended the upland be used to fill the area and create a brook. He also included shrubs to screen traffic on Mt. Auburn Street, and trees along the edges of the garden. Between the garden and the green, Eliot proposed an exedra, a semi-circular recessed seating area, facing south and on axis with the front door of Longfellow’s house. A proposed walk would lead to the highest point on the site, ending in a terrace and a set of stairs. Only a few elements of Eliot’s design were actually executed. Changes included a large stone stair case instead of the exedra, and fewer shrubs were installed. In addition, trees were not planted on the edges, and the brook was not created.

longfellow park 1889
View from Longfellow’s house to the river, ca. 1889 (Ellis Gray Loring Papers, Harvard University)

The design of the monument was given to the sculptor Daniel French. The siting of the statue was debated between the heirs who wanted it closer to Brattle Street, and the Association who agreed with Eliot’s original recommendation. The dispute was settled by Frederick Olmsted, Jr. who concurred with Eliot’s idea. Olmsted Jr. also recommended that the design of the monument integrate and redesign the existing steps. The staircase was replaced by a stone retaining wall, designed by the architect Henry Bacon, which forms the base of the sculpture. Two sets of stairs flank the wall, and at the base of the sculpture was a sunken memorial garden designed by Paul Frost.

longfellow park 1900
View of stone steps connecting the upper and lower levels of the park, ca. 1910 (Library of Congress)

longfellow park 1915
View of lower level of the park looking back to Longfellow’s house, ca. 1915 (Boston Public Library, Leon Abdalian photo)

175930_AGJKqrFK-Amd_fLso8gDHgQceXg1tr84h7gahukAPdo
View of portrait bust of Longfellow with 6 characters from his poems depicted in bas-relief behind the sculpture

After 1914, pathways were repaved in concrete and narrowed. Houses and institutions were built around the park. In the 1930s and 1940s, several WPA projects repaired the drive and walkways, and planted shrubs and trees in the garden. Lighting was also installed during this time. By the 1970s, a mature canopy of trees had grown in the garden. In 1989, Carol R. Johnson and Associates was hired to address the deterioration of the lower park. Some trees were removed and re-planted, and others were pruned. The lawn was restored, and the area was regraded for erosion control. Granite cobbles were installed at the south gate, and stone dust paving was placed at the base of the monument.

Longfellow Park DSC_1857

Sources
Evans, Catherine, Cultural Landscape Report for Longfellow National Historic Site, Volume I: Site History and Existing Conditions, National Park Service, 1993.

Osterby-Benson, Krisan, “Longfellow Park, A Room With A View,” May, 1983.

Maycock, Susan, and Charles Sullivan, Building Old Cambridge, MIT Press, 2016.

Modern Monday: Loeb Drama Center, 64 Brattle Street

Exterior of Loeb Drama Center_Radcliffe College Archives

Completed in 1960, the Loeb Drama Center at 64 Brattle Street stands as one of Cambridge’s greatest examples of Modern Architecture. The structure is human-scaled, made of regional materials and is a sensitive addition to its residential and commercial neighbors along Brattle Street. The scale of the building was reduced to blend in with adjacent heights and the use of New England waterstruck brick is a nod to the Harvard and Radcliffe buildings nearby. Exposed concrete serves as a sort of frame to the delicate ornamental grille which provides a lace-like effect, enhanced further at night when the light from inside the building shines through.

Exterior View of Loeb Drama Center_night_Radcliffe College ArchivesExterior View: Harvard - Loeb Drama Center, 29 Brattle Street

Architect Hugh Stubbins wanted the theater to be architecturally exciting, while still serving as a backdrop to the purpose of the building, the arts. Stubbins was quoted as saying, “the auditorium should please the imagination in such a way as to release it, not captivate it” and later went on to reference examples of recent museums and art galleries erected by architects to overshadow the art within them.

Interior View of Loeb Drama Center_Radcliffe College ArchivesView of Loeb Drama Center setbuilding_Radcliffe College Archives

The building opens right off the sidewalk of Brattle Street by the way of deep setbacks off the first floor, forming a porch-like or arcade feeling. The sides of the building open to a garden court on one side and a spacious terrace on the other. The travertine flooring in the lobby extends gracefully to the brick-paved courtyard, contained by a red brick serpentine wall.

Exterior courtyard Loeb Drama Center_Radcliffe College ArchivesExterior View of Loeb Drama Center (2)_Radcliffe College Archives

The theater was unveiled as a mechanical marvel as the first fully-automatic and flexible theatre in the United States. The audience’s position in relation to the stage, along with the position and shape of the stage itself could be altered between three main configurations: theater-in-the-round, proscenium, and arena seating, all possibly during the same performance. Yale’s noted stage technician and theater design engineer, George C. Izenour worked with Stubbins to integrate lighting, rigging and staging into an automated and hydraulic lift system, which could be altered and staged by just two people in mere minutes.

The Loeb Drama Center is now home to The American Repertory Theater (A.R.T.) at Harvard University, which collaborates with artists around the world to develop and create work in new ways. To learn more about A.R.T. and their upcoming shows and events, check out their website at: https://americanrepertorytheater.org/

1960 color photo_CHC_LOEB
Color slide courtesy of CHC Staff.

Historic photos courtesy of Radcliffe College Archives and CHC slides.

This weekend! Cambridge Discovery Day

Don’t miss this year’s Cambridge Discovery Day — tomorrow, Saturday, September 16!

Discover Cambridge during a day of free tours and events celebrating the city’s history. Enjoy special tours by the Rangers at Longfellow House-Washington’s Headquarters National Historic Site and the Fresh Pond Reservation, experience the Revolution from a child’s perspective, and discover the secret history of Cambridge saloons and speakeasies. Explore James Russell Lowell’s Brattle Street, be inspired by stained glass windows at Saint Peter’s Episcopal Church, and delight in the architectural gems of Avon Hill.

View the complete schedule here.

discovery_2017

Boston Elevated Railway (BERy) Photograph Collection

In July 1891, owing to dense streetcar traffic, a result of increasing populations and the industrial strides of the late nineteenth century, a Rapid Transit Commission was created to resolve the transportation dilemma of Boston and its neighboring communities.

Proposed_location_Main_St001
Proposed Location, Underground Structures for Main St., 19 May 1909

The commission researched traffic conditions in the city’s densest areas, namely Tremont Street, and presented a report recommending construction of an elevated railway system and a tunnel for streetcars to alleviate congested conditions in Boston and surrounding areas. Citing this report, the Massachusetts Legislature approved the Boston Elevated Railway Company (BERy) for incorporation on July 2, 1892.[1]

Brattle_Sq_progress001
Brattle Square Progress on Excavation, 15 November 1909

The Cambridge Historical Commission holds approximately 1,200 glass negatives taken by the Boston Elevated Railway between 1907 and 1912. These images primarily document the construction of the Cambridge Subway in 1909-1912.

S_side_Mass_ave_Brookline_to_Pearl001
South Side of Mass. Ave. from Brookline to Pearl Street, 17 February 1909

The Commission also holds a collection of about 200 cyanotypes donated by Frank Cheney. These prints were made from negatives that are not held in the CHC collections. Many of the cyanotypes in the collection depict the construction of the Charles River dam and viaduct.

Charles_Riv_dam001
Charles River dam, lower side looking toward Cambridge, 31 July 1907

Charles_Riv_dam002
Charles River Bridge, Foundation #4, 1 December 1907

Others document the construction of the underground tunnel on Brattle Street.

Brattle_Street001
Brattle Street, 20 June 1910

General William A. Bancroft was president of the Boston Elevated Railway from 1899 to 1916 and proved a great influence in expanding the lines in Cambridge.[2] In the words of one writer at the Cambridge Chronicle, “No suburban city is more vitally interested in rapid transit than Cambridge.”[3]

Mass_ave_incline001
Looking down Mass. Ave. incline, 15 November 1911

The Commission holds several boxes of BERy cyanotypes in the archives as well as vertical research files in our main office. To research our BER-y photographs and related collections, please contact our archivist, Emily Gonzalez by e-mail at egonzalez@cambridgema.gov or by phone at 617.349.4683.

References

[1] Massachusetts Bay Transportation Authority, “The Rapid Transit Commission and the BERY,” MBTA > About the MBTA > History. Accessed May 15, 2017. http://www.mbta.com/about_the_mbta/history/?id=962.

[2] Susan E. Maycock and Charles M. Sullivan, Building Old Cambridge. Cambridge: MIT Press, 2016.

[3] “What it Means to Cambridge,” Cambridge Chronicle (Cambridge, MA), May 12, 1894. Retrieved from http://bit.ly/2r9KAyL.