Looking for the perfect holiday gift for the architecture lover, history enthusiast, urban development aficionado, or anyone who simply loves Cambridge? We’ve got you covered!
Building Old Cambridge: Architecture and Development (2016)
Our latest publication, Building Old Cambridge: Architecture and Development (2016), is a must-have. This beautifully illustrated volume uncovers the story of the neighborhood that grew around Newtowne—founded as the capital of Massachusetts Bay in 1630—and Harvard College, established in 1636. Authors Susan E. Maycock and Charles M. Sullivan trace Cambridge’s evolution of Old Cambridge as quaint village into suburban community and vibrant hub where academic and civic life intertwine.
Abbott Building, 1–7 Kennedy Street (1909, Newhall & Blevins, architects). The upper floors were designed for professional offices. Photo ca. 1910.
Packed with rare historic photographs never before published, Building Old Cambridge offers a comprehensive look at the city’s offers a rich exploration of the city’s architecture, development, and history—a reference you’ll treasure for years to come.
On June 11, 1970, community members led by future city councillor Saundra Graham (with bullhorn) invaded Harvard’s 319th commencement to protest the university’s intrusion into the Riverside neighborhood.
To order your copy of Building Old Cambridge, click here or email us at histcomm@cambridgema.gov. If you’re in a rush and would like to pick up a copy in person, we have several in stock at our office at 831 Mass Ave in Central Square. If you’re lucky, one or both authors may be around to sign it!
Due to weather, this event has been postponed to Sunday February 23, 2025 | 2-4pm
The Cambridge Museum of History & Culture invites you to experienceGrace: The History of Black Churches in Cambridge, an exhibition honoring Black History Month that shall be on display throughout February at the Kendall Public Lobby. Throughout this nation’s history, Black Churches have been a cornerstone of community, culture, and resilience, and this has certainly been the case in Cambridge. Black Churches have played an essential role not only in the spiritual lives of their congregants, but also serving as incubators for social justice, education, and community building. Gracestrives to illuminate part of the rich history and contributions by highlighting just some of these enduring institutions, focusing on their collective, enduring legacy in our community. By showcasing the history of these important institutions, Grace aims to foster a deeper understanding of their significance in Cambridge’s past, present, and future.
The Grace Exhibitis made possible by the generous work of community curators: Chandra Salvi Harrington, Deacon Cheryl Maynard, Dr. Cheryl Townsend Gilkes, Dr. Janie Ward, Dr. Kris Manjapra, Lynette Riley-Belle, Patricia Weems, Reverend Dr. Ellis I. Washington, Reverend Lorraine Thornhill, Sister Danita Callender, and Valerie Beaudrault, in fellowship with church congregations across the city. We would like to thank our generous sponsors for the tremendous support and incredible platform to connect, share, and learn: BXP, Cambridge Arts, The Cambridge Historical Commission, The Cambridge Redevelopment Authority, The Office of Mayor E. Denise Simmons, and Massachusetts Institute of Technology.
For more information about The Cambridge Museum of History & Culture, please their website at www.cambridgehistorymuseum.com or connect with them by phone at (617) 349-4327.
We are starting a new series on designers (architects, builders, landscape architects, and others) who have had a lasting impact on Cambridge’s built environment. For our first post in this series, we are featuring a lesser-known architect who lived and worked right here in Cambridge, William Everett Chamberlin.
William E. Chamberlin, 1907 Class Book courtesy of MIT Libraries
William Everett Chamberlin (1856-1911) was born in Cambridge on June 23, 1856, to Ann Maria Stimson (1822-1907) and Daniel Upham Chamberlin (1824-1898), a prominent Cambridgeport hardware dealer and president of the Cambridgeport Savings Bank. William Chamberlin (sometimes spelled Chamberlain) attended Cambridge public schools before enrolling at MIT, where he majored in Architecture.
William E. Chamberlin, Class of 1877 photograph, courtesy of MIT Libraries.
After graduating from MIT in 1877, the 22-year-old was hired as a draftsman by the esteemed firm of Sturgis and Brigham, architects in Boston. In February 1879, William moved to New York City, and began working as a draftsman at the internationally known firm of McKim, Mead, and White (MMW). Upon arriving in New York, William was quickly overwhelmed. Thinking there was a great deal he hadn’t learned, he was given permission by the firm to travel Europe for over two years to study in the Ecole des Beaux Arts, Paris, and to hone his drawing skills while travelling about the continent. He returned to the office of McKim, Mead & White in New York in early 1882, as the firm was receiving lucrative commissions with its Gilded Age clientele.
Sketch at Chaumont-Sur-Loire by William E. Chamberlin. Published in Catalogue of the architectural exhibition, Boston Society of Architects (1886).
Within a few months of arriving in the United States, William quit his job as a draftsman at MMW and returned to Cambridge, seemingly due to poor health – an issue which plagued him his entire life. Later publications explained that Chamberlin suffered from spinal troubles, which progressed enough that it left him confined to a wheelchair for much of his adulthood.
After a season of rest, William opened his own architecture office in downtown Boston, commuting from his parent’s house in Central Square. Recounting the early days of his own practice to former classmates in 1885, he sarcastically wrote: “I have started in business for myself here in Boston, though somehow or other, there don’t seem to be many ‘riche amateurs’ who want to build big ‘musees’ in parks as there used to be in the school programs. Still, I manage to get three meals a day, Voila”!
While Chamberlin joked about a slow start to his office, one of his earliest commissions was among his most important. In 1883, he designed an administration building and hospital wings for the new Cambridge Hospital (renamed Mount Auburn Hospital in 1947) in Cambridge. The building consisted of a main building of three stories and basement, which housed all departments of the hospital, including private rooms and two one-story wards, the whole forming three sides of a hollow square, with the opening toward the south and the river. Chamberlin worked closely with Dr. Morrill Wyman (1812-1903), an expert on the ventilation of sickrooms and public buildings and first president of the hospital, to orient the buildings facing the Charles River to maximize sun-exposure for south facing rooms and provide the full influence of southwestern breezes in the summer. Now known as the Parson’s Building (named after Emily Elizabeth Parsons a Civil War nurse who helped establish the hospital), Chamberlin’s first major commission in Cambridge set-off a prominent, yet largely overlooked career.
Parsons Buildingca.1955 aerial of Parsons Building and rear wings. The two rear hospital wings were truncated in 2006 for the present parking garage.
After receiving just a few commissions while running his own practice, Chamberlin entered into a business partnership with architect William Marcy Whidden (1857-1929). Whidden was a former classmate of Chamberlin, who’s career path mirrored much of his. They both graduated from MIT in architecture in 1877, they both studied at the Ecole des Beaux Arts in Paris, and both worked at the office of McKim, Mead & White. Whidden left MMW in 1885, when propositioned with the idea of running his own practice with Chamberlin. The duo established the firm of Chamberlin & Whidden that year.
The firm, led by a pair of thirty-year-old architects, was hired to design buildings all over the Boston area. Due to this success, they hired other young, promising architects to assist with drafting. One of those hires was Henry Bacon, who briefly worked for Chamberlin and Whidden before joining McKim, Mead & White. Locally, Henry Bacon could be known as the designer for the steps and walls of the Longfellow Monument in Longfellow Park, but he is best known for his design of the Lincoln Memorial in Washington, D.C. (built 1915–1922), which was his final project. Within the first few years, the firm of Chamberlin and Whidden saw a lot of activity, including furnishing designs for a six-story commercial building in Boston in the Romanesque Revival style. Their major type of commission, however, was expensive, single-family suburban housing.
Stores on South Street, Boston, Mass. Featured in American Architect and Building News, February 1887.
The firm built beautiful homes including one on Highland Street for Robert Noxon Toppan (1836-1901) and his wife, Sarah Moody Cushing. The Colonial Revival style house was built in 1886 and is one of the earliest houses in Cambridge of the style, setting trends for its neighbors. The brick Toppan House exhibits a large Palladian window at the façade, with a rounded center bay and a full-length piazza overlooks the gently terraced landscape towards Brattle Street at the rear.
House at Cambridge, Mass. Featured in American Architect and Building News, February 1887.54 Highland Street54 Highland Street, rear facade.
When a design competition was announced for the new Cambridge City Hall, a few local firms were asked to submit designs following benefactor Frederick H. Rindge’s strict requirements. The advisory design committee suggested that Peabody & Stearns, Van Brunt & Howe, Longfellow, Alden & Harlow, John Lyman Faxon, and Chamberlin and Whidden all submit designs for consideration. Chamberlin and Whidden proposed a stately, symmetrical building with a strong Romanesque emphasis and a central clock tower, capped by a belfry and cupola. Their design was not accepted by Rindge, who selected Longfellow, Alden & Harlow instead. Undeterred, the young firm persevered.
Chamberlin & Whidden proposal for Cambridge City Hall, 1888. American Architect & Building News, June 1888.
A second time, Chamberlin and Whidden submitted in a design competition for the English High School in Cambridge, and won the design competition in 1889, securing that job. It would be their final project together in Cambridge. Their plans for the new High School called for a three-story masonry building of stone on the first floor with light-red brick above. The building was long and narrow, giving each classroom ample natural light and ventilation. Articles mentioned that there was little ornamentation as “the desire of all concerned was to construct a simple and dignified building expressive of its serious purpose”. The building was demolished in 1938 for the consolidated Cambridge High and Latin School.
English High School, photographed 1908. Detroit Publishing Company.
By 1890, William Whidden had moved west to Oregon and established his own firm. William promoted architect William Downes Austin (1856-1944) to partner of the firm, renaming it Chamberlin & Austin. The new firm kept busy with a steady stream of commissions, but it was clear Chamberlin’s health was preventing him from actively seeking out new projects as he once did. Many of the designs the firm completed as Chamberlin & Austin appear to have been from previous clients, showing their trust in Chamberlin’s quality designs.
One such projects was commissioned by Henry Endicott, whos large home at 151 Brattle Street was designed by Henry Bacon Jr. while working under William Chamberlin in 1888. Two years later in 1890, Endicott returned to Chamberlin to design a smaller residence on the newly laid out Brewster Street, at the rear of the Brattle Street property, for his daughter and son-in-law. The second house, much smaller in size, showcases Chamberlin’s attention to detail with the saw-tooth cut shingle and recessed porch at the entrance and gentle undulating form with continuous shingled siding.
151 Brattle Street as depicted in American Architect and Building News, May 5, 1888.151 Brattle Street, CHC photograph.
In 1891, William Chamberlin married Emily Douglass Abbott (1858-1916). The couple acquired a house lot on Clinton Street, at the rear of Emily’s father George Abbott’s residence on Harvard Street. That year, William designed his new house on Clinton Street and a renovation for his father’s new home on Harvard Street. The three houses were all direct neighbors. William Chamberlin’s new home on Clinton Street was the first of his own, after decades of boarding with his father and mother in Central Square. For his own house, William designed a modest, 1½ -story structure with prominent gambrel roof. The house, while altered, exhibits Chamberlin’s eclectic sense of design, which often blends styles into a single composition. William and Emily never had children. One year later, William D. Austin left the firm to partner with Frederick W. Stickney forming Stickney & Austin.
William E. Chamberlin House (1891), 27 Clinton Street, photograph taken 11-2022.1894 Bromley map showing location of William and Emily’s residence on Clinton Street (red); his father’s (blue); and his father-in-law’s (green).
William E. Chamberlin entered a semi-retirement due to his worsening health, which plagued him most of his life but could never fully step away from his passion for design. When he heard about the death of his beloved former professor at MIT, Eugene Letang in 1891, Chamberlin designed a memorial tablet of bronze set into a carved marble surround. This marker still stands in the Boston Public Library, Copley Square branch location. With this work, Chamberlin showed his skill beyond designing buildings. It is possible that he was the designer of many of his family memorial stones in the family plot at Mount Auburn Cemetery.
Eugène Létang tablet designed by W. E. Chamberlin. Ca. 1905 photograph, Boston Public Library collections.
He was hired again by the Cambridge Hospital (now Mount Auburn Hospital) in 1896, designing a Nurse’s Residence just steps away from the Administration Building and Hospital wings he designed over ten years prior. His design for the Nurse’s Residence, like nearly all his work, blends multiple styles effortlessly into a single composition. The brick building displays strong Classical features including the central columned portico and the belt course above the second story windows which reads as a frieze band with ocular windows. Soon after in 1898, he designed the Cambridge Homes for Aged People at 360 Mt. Auburn Street with former partner Stickney and Austin.
Nurse’s Home (1896)Cambridge Homes for Aged People (1898)
Nearly a decade later in 1904, Chamberlin and Boston architect Clarence Blackall completed designs for the new Cambridgeport Savings Bank (where his late father once served as president) in Central Square, Cambridge. The building is perhaps Chamberlin’s most recognizable and stately extant design where he could show-off his architectural versatility. The Cambridgeport Savings Bank is a monumentally scaled limestone-clad structure with a façade dominated by recessed central bays behind an engaged Corinthian portico. The ornate stone parapet which once capped the building was replaced in the 1950s. The Cambridgeport Savings Bank building is Chamberlin’s last known work in Cambridge before his death.
Cambridgeport Savings Bank Building, 689 Mass. Ave. CHC Postcard Collection.
At just 55 years old, William Everett Chamberlin died from a stroke on August 6, 1911, in Manchester Massachusetts, at his father-in-law’s summer house. When news of his passing spread, fellow members of the Boston Society of Architects memorialized of Chamberlin:
William E. Chamberlin was by nature dowered with great personal charm, a clear keen brain, debonair in its perceptions, just in its conclusions; a genius for his profession of architecture which was rare; and a fresh directness of expression tempered by a delicate humor. The active use of these qualities in the work of the great marketplace was first checked and then barred to him by a disease, which prevented his working outside of his home, and for over twenty years he made that home a center of intellectual stimulus to his friends…His noble character vibrated only perfect harmonies, but, unlike the harp in the wind, in him was the soul and the strong will which decreed always, as a duty to his fellow men, that no discords should mar the beauties of this life which, in spite of one great affliction, he found and made so blessed even to the last hour.
Last known photograph of William E. Chamberlin, ca.1910
William E. Chamberlin bequeathed nearly all his sizable estate, estimated at nearly $100,000, to several Cambridge institutions. His widow, Emily D. Chamberlin, received the income from his estate during her lifetime and that after her death. After which, it was distributed in seven parts. Two-sevenths went to the Cambridge Hospital, two-sevenths to the Cambridge Homes for Aged People, and one-seventh each to the Avon Home, the Holy Ghost Hospital, and to the Department of Architecture at MIT, which he remained engaged with throughout his life. Chamberlin’s legacy has lived on not only through his extant buildings, but his generosity, in the William Everett Chamberlain (sic) Prize for achievement in design at MIT and his generous gifts to Cambridge institutions.
William Everett Chamberlin is buried at Mount Auburn Cemetery on Bellwort Path in the family plot. His monument, like many of his family members, was likely designed by himself from his Cambridge home.
William E. Chamberlin’s monument at Mt. Auburn Cemetery. Much of lettering covered by lichen.
View of St. Augustine’s African Orthodox Church, 1964.
On February 22, the Cambridge City Council unanimously voted to designate St. Augustine’s African Orthodox Church a Cambridge Landmark. This designation recognizes only a select number of individual properties that are important to the City as a whole, protecting them so that their unique qualities are maintained for the benefit of all the residents of Cambridge.
Located at 137 Allston Street in Cambridgeport, St. Augustine’s African Orthodox Church is owned by the Trustees of The St. Augustine’s Mission. The church is also the home of Black History in Action for Cambridgeport (BHAC), a non-profit organization dedicated to promoting programs focused on sharing Black culture, arts, history, and education with the general public. BHAC’s mission is to sustain and revitalize St. Augustine’s as a neighborhood center for assembly, empowerment, and outreach.
View of St. Augustine’s African Orthodox Church with recently completed new roof.
The property was originally part of the estate of Mrs. Washington Allston [Martha Remington Dana Allston] as drawn on a survey by William A. Mason and W. S. Barbour dated May 1, 1862 and filed in the Middlesex County (South District) Registry of Deeds, Plan Book 33, Plan 5. The rector of St. Peter’s Episcopal Church in Central Square, Rev. Edward M. Gushee, acquired the property in 1886 to construct a mission of St. Peter’s. Rev. Gushee died in 1917 and bequeathed the property to his son Richard, an Episcopal minister in California. A new priest was appointed by the Diocese of Massachusetts, but the congregation dwindled over the next few years and could not sustain the church financially even though Rev. Richard Gushee continued to own the property. In 1927 Rev. Gushee sold the property to Central Square furniture dealer Morris Bobrick, who may have intended to use the property for storage but who defaulted on his mortgage. The property was bought at auction by Nettie E. Fernandez who in turn sold it to individuals associated with the African Orthodox denomination in 1931. The St. Augustine’s property continues to be owned by the trustees of The St. Augustine’s Mission.
Allston Street was named for Washington Allston (1779-1843), an artist who pioneered America’s Romantic movement of landscape painting. He married Martha Remington Dana, the daughter of Chief Justice Francis Dana, who owned most of the property in this area. Allston Street is a through street parallel to Putnam Avenue and intersecting with the main thoroughfares in the neighborhood, including Magazine, Pearl, and Brookline streets. The neighborhood is characterized by dominant north-south streets, uniform intervals between the cross streets, and sustained setbacks. Only on four streets – Green, Franklin, Allston, and Putnam – can one traverse the entire area in an east-west direction. Early building locations appear to have been determined by land elevation or proximity to Central Square. In 1830 there were only three cross streets; in 1854 there were six; and by 1873 the current street layout was virtually complete. South of Allston Street is a slightly elevated and once heavily wooded area known in the 19th century as Pine Grove. In 1838 Edmund Trowbridge Hastings (1789-1861) and other Dana heirs laid out the Pine Grove subdivision with 131 house lots on Allston, Chestnut, Henry, Waverly, Sidney, Brookline and Pearl Streets. The original plan included a residential square around Fort Washington and another on Brookline Street that became today’s Hasting’s Square. Although some lots were sold, the area was too isolated to attract development even after the Cottage Farm (B.U.) Bridge was completed in 1851. Martha Allston’s land on the north side of Allston Street (including the site of St. Augustine’s Church) was subdivided in 1862 but remained substantially undeveloped until the 1880s, when the neighborhood began to fill up with one- and two-family houses. Construction of the Morse School in 1890 spurred development, and by 1910 the neighborhood was complete. It remains essentially unchanged today, although the school was demolished in 1957 and the site became a park.
From the founding of Cambridge in 1630 to the construction of the West Boston (now Longfellow) Bridge in 1793, only three families lived east of Quincy Street on “the Neck,” a marshy, wooded peninsula formed by the Charles and Millers rivers. The opening of the bridge spurred development. By this time two Cambridge men owned most of the land in Cambridgeport: William Jarvis controlled properties north of Massachusetts Avenue and Justice Francis Dana to the south. (Much of the rest – and all of East Cambridge – fell to Andrew Craigie.)
Jarvis was the U.S. Inspector of Revenue. Dana, who descended from an old Cambridge family and resided on a large estate on Dana Hill, served as Chief Justice of the Massachusetts Supreme Judicial Court from 1791 to 1806. The two men worked with the Proprietors of the West Boston Bridge to lay out Massachusetts Avenue and Main Street but did not otherwise develop a master plan for the area. Justice Dana developed his holdings slowly and carefully. In 1798 Jarvis was convicted of misappropriation of customs duties; the federal government seized his properties and sold them off to multiple owners.
Justice Dana died in 1811, and his heirs continued to develop Cambridgeport in the same careful pattern. What is now Allston Street was a part of Justice Dana’s estate left to his daughter, Martha Remington Dana Allston (Mrs. Washington Allston).
St. Augustine’s African Orthodox Church was built in 1886-87 as St. Philip’s, a mission of St. Peter’s Episcopal Church in Central Square. The remote site was chosen to attract parishioners from the surrounding neighborhood who found it difficult to get to church in Central Square. It was the first house of worship to open in the former Pine Grove neighborhood and attracted so many worshipers that it needed to be enlarged two years later.
St. Philip’s was designed by the New Bedford architect Robert Slack, who oversaw both the original construction and the 1888 expansion and worked with the local builders Kelley & McKinnon. Talented and prolific, Slack did not specialize in one style; he designed private homes, churches, and institutions, including a new wing at Harvard’s Peabody Museum.
The church is reminiscent of an English village chapel but is distinctly American in its wood construction and simple expression. The exterior was shingled and stained dark red with trimmings of dark blue. The 50-foot-tall tower was surmounted by a gilded cross and enclosed a bell made at the Meneely foundry in Troy, New York. The main entrance was through a foyer on the right front. The interior featured an open-timbered auditorium with rows of cane chairs with hassocks for the congregation, double-hung windows with colored lights, and five decorative chancel windows high above the altar. The 1888 expansion involved cutting off the chancel end and moving it back 31 feet and building a section between with a transept on the south side, making the inserted section 31 feet by 34 feet. This increased the overall length from 60 to 90 feet and doubled the seating capacity to about 400. The basement was finished for use as Sunday School and guild rooms.
Image of church after expansion. Note the original side entrance. Cambridge Chronicle, Sept. 15, 1888.
St. Philip’s was a personal project of Rev. Edward M. Gushee, who served at St. Peter’s Episcopal in Central Square until Easter 1888, when he became rector of St. Philip’s. A wealthy, generous man, Rev. Gushee owned the building, presided at services, and was the parish’s sole financial benefactor. Gushee died in 1917, leaving a small allowance to the parish but bequeathing the building to his son Richard, an Episcopal minister in California who apparently had no wish to return to Cambridge. The diocese supplied the parish with a priest for a few years, but the congregation dwindled and could no longer support either a rector or the building. In 1927 Richard put the building up for sale, advertising it as suitable for “storage, church or remodeled for dwelling” (Cambridge Chronicle, August 26, 1927).
In August 1928 Richard Gushee sold the property to Morris Bobrick, a furniture dealer in Central Square who may have used it for storage. Two years later Bobrick sold it to the trustees of a new church, identified in the newspapers as the African Orthodox Society. In 1932 the Cambridge assessors gave the trustees as George Alexander McGuire, Rev. Gladstone St. Clair Nurse, and Elvira Headley.
Historic plaque located on the site.
Bishop George A. McGuire (1866-1934) established the African Orthodox Church in 1921. McGuire was born, raised, and educated on Antigua; he came to the U.S. in 1894 and two years later was ordained an Episcopal priest. He served in numerous parishes and was praised for both his preaching and his organizational skills. In 1910 he attended Boston University’s medical school, but in 1913 he went back to Antigua to nurse his mother.
In 1918 McGuire returned to the U.S. and began to move in a new direction. He campaigned for equal rights for Black Americans and severed his ties with the Episcopal Church to protest its systemic racism and discrimination against Black clergy. McGuire became an associate of Marcus Garvey and worked with Garvey’s Universal Negro Improvement Association (UNIA); Garvey in turn endorsed McGuire’s idea that true equality and spiritual freedom could only be achieved by an all-Black religious denomination – a church attended by people of color and administered by Black clergy. The bishop broke with Garvey in 1924, probably over the latter’s increasingly radical ideas on racial nationalism.
In the fall of 1921, St. Luke’s African Orthodox Church opened at 252 Green Street (now the site of the Green Street Garage). In 1931 the denomination took possession of the dilapidated St. Philip’s and renamed it St. Augustine’s African Orthodox Pro-Cathedral, with Bishop McGuire at its head. (A pro-cathedral is a church named by a bishop to serve as his seat but which remains under the governance of the vestry.) When Bishop McGuire died in 1934 the African Orthodox Church could claim approximately 30,000 members in thirty congregations in the United States, the West Indies, South America, and Africa.
General Sources
Cambridge Chronicle, June 6, 1887; September15, 1888; January 17, 1930.
Cambridge Sentinel, January 13, 1940.
Cambridge Tribune, June 18, 1887; January 28, 1888.
Survey of Architectural History in Cambridge, Cambridgeport. Cambridge Historical Commission, 1971.
Have you ever wondered where Callender Street in Cambridgeport got its name? The original street was approved in 1838 as part of Putnam Place, laid out between 29 Hews Street and 152 Putnam Avenue. In 1874, it was part of Hewes (Hews) Street and extended to 47 Howard Street. For reasons unknown, the street was renamed Grigg Street in 1877 and retained this designation for over seventy years.
Clipping from the Cambridge Chronicle, 8 March 1945
On October 18, 1949, the City Council ordered that the name of Grigg Street be changed to Callender Street in honor of Private First Class George Duncan Callender, a young man killed in action during World War II.
View down Callender Street east of Dodge Street, ca. 1950 (Cambridge Planning Board)
George was born in Cambridge on February 3, 1923. His mother, Gladys Odessa Pyle (1902-1966), was born in Saint Michael Parish, Barbados; his father, Eleazer T. Callender, died in 1925 when George was just an infant. Gladys, who went by Odessa, then married Marcus Elder Sr. (1904-1982) on June 3, 1926. Elder was a painter and immigrant from Castries, Saint Lucia. George graduated from Webster School in 1938 and from Rindge Technical School in 1942. In 1941 Callender, nicknamed “Lefty,” became a founding member of the Aggie Associates, or the “Aggies”, an all-Black basketball team based in Cambridge.
Clipping from the Cambridge Chronicle, 5 March 1942
George Callender (also spelled “Callendar” in some sources) enlisted on April 22, 1943 and was later assigned to Unit 366th Infantry Regiment, Company M.
U.S., World War II Draft Card for George Duncan Callender
At the time of his enlistment, George was living at 49 Grigg Street and working at Wards Baking Company at 140 Albany Street.
Advertisement for Wards Baking Company, published in the Cambridge Sentinel, 8 September 1928
After his enlistment, he trained at Fort Devens, Massachusetts, and at Camp Atterbury, Indiana.
Initial reports stated incorrectly that George died in combat on February 9, 1945, in Tuscany, Italy; later, it was determined that the fight had taken place in Germany. George was laid to rest in Cambridge Cemetery. In 1946 the Aggie Associates were renamed the George D. Callender Associates in memory of him. The house at 49 Grigg, a triple-decker built in 1913 by George B. Blacknell, was later purchased by the Cambridge Housing Authority and demolished in 1953 to make way for the Putnam Gardens housing community. Today, a marker honoring George D. Callender stands at the corner of Putnam Avenue and Callender Street in Cambridgeport.
George D. Callender Square marker, 2021 (CHC staff)
The Orne pharmacy was established in 1838 by Charles G. Wells. When Charles A. Orne (1823-1850) took over the business around 1840 he renamed it “Charles Orne & Co.” His brother Joel Stone Orne joined him and succeeded Charles in 1842. Joel’s obituary states that at that time Cambridge had 8,000 residents served by only two drugstores.
The pharmacy was at 395 Main Street in Lafayette Square (now no. 427) near the intersection of Main Street and Massachusetts Avenue. The Ornes operated the store for 65 years, from 1841 to 1906.
Detail of 1903 Cambridge Bromley Atlas
The brothers lost no time in advertising in the Cambridge Chronicle:
Clippings from Cambridge Chronicle, Volume I, Number 5, 4 June 1846
Sherman’s Worm Lozenges, Smithsonian National Museum of American History. ID number MG.293320.1370.
Bottle for Dr. Kennedy’s Medical Discovery, manufactured in Roxbury, Mass. From vtmedicines.com
Bottle for Bogle’s Hyperion Fluid, manufactured in Boston. From hairraisingstories.com
The Ornes were a prominent family whose ancestors arrived in Marblehead, Massachusetts, around 1630. Their father John Gerry Orne (1786-1838) was the great grandnephew of the fifth Vice President of the United States, Elbridge Gerry. J.G. Orne was married to Ann Stone. Her father, Moses Stone, arrived from England in 1735 and owned a large portion of the land that is now part of Mount Auburn Cemetery. Their sister, Caroline (1818-1905), was a well-known poet who hobnobbed with Longfellow and James Russell Lowell. She was the librarian of the Dana Library at the corner of Massachusetts Avenue and Pleasant Street and became the first librarian of the Cambridge Public Library. The Orne house on Auburn Street had been in the family since 1816 and served as a barracks during the Revolution.
Not much information is available about Charles A. Orne apart from the fact that he died in Panama on March 23, 1850, while returning home from California. He was 27 years old.
Joel S. Orne began in the pharmacy business at the age of 13 when he apprenticed to the druggist Isaac Snow of Boston and was only 16 when he joined his brother’s company.
Joel married Rachel Atwood Brown in 1852, and they had three children. Charles Parker Orne (1853-1912) became a “manufacturing chemist” and druggist at 837 Main Street (now Massachusetts Avenue), at the corner of Trowbridge Street. Daughter Maria became the first licensed pharmacist in the city, practicing alongside her father. Daughter Jennie married Charles Smith Brooks, a boot and shoe salesman.
Joel S. Orne was active in the Cambridge Veteran Firemen’s Association, a member of various Druggists’ Associations, the Sons of the American Revolution, and the Amicable lodge of Masons. He died in 1906.
After his death the business was bought by John Minon:
Clipping from Cambridge Chronicle 8 September 1906
Clipping from Cambridge Chronicle, 20 October 1906
In 1907 the pharmacy was described as having “…a marble floor, walnut fixtures, a neat and attractive soda fountain, and the generally well-ordered appearance of an up-to-date and prosperous place” (Cambridge Chronicle 27 July 1907).
It is unclear what happened to the Orne/Minon Pharmacy after 1912. By 1916, there is no pharmacy listed at 427 Mass. Ave. By 1920, Minon is listed in the Boston Directory as a druggist.
Today’s post was written by CHC volunteer, Kathleen Fox.
Sources:
Cambridge Public Library Newspaper database Ancestry.com FamilyHistory.com Newspapers.com
Mount Auburn Cemetery, the first rural cemetery in the United States, is credited as the beginning of the American public parks and gardens movement. Dedicated in 1831 and marked with classical monuments in a rolling landscaped terrain, Mount Auburn Cemetery marked a distinct break with Colonial-era burying grounds and church-affiliated graveyards. The appearance of this type of landscape coincides with the rising popularity of the term “cemetery,” derived from the Greek word for “a sleeping place,” instead of graveyard. The cemetery, shared by Cambridge and Watertown, has evolved greatly in its nearly 200 years but remains one of the most picturesque landscapes in the country.
General view of Mount Auburn Cemetery with monuments, gravestones, and rolling topography.
When strolling Mount Auburn Cemetery, some monuments and funerary art stand out more than others. Attentive visitors may notice numerous sculptures of dogs that seem to watch over their owner’s graves; a contrast to the fact that dogs, living or deceased, are not allowed onto the cemetery’s grounds. These types of sculpture are known as psychopomps whose primary function is to escort souls to the afterlife. Historically, dogs have symbolized guidance, protection, loyalty, and unconditional love, all important roles for a psychopomp.
Here, we will give a brief history of some of the dogs found in Mount Auburn Cemetery.
Perkins Monument Dog
The Perkins Family Tomb, on Central Avenue at Mount Auburn Cemetery, is guarded by this marble dog. The monument commemorates Thomas Handasyd Perkins (1764-1854), “the Merchant Prince” of the China trade. In 1843 Perkins visited the Italian studio of Horatio Greenough (1805-1852), considered America’s first professional sculptor and one of the first to receive a national commission, and commissioned him to carve Perkins’s Newfoundland dog in Florentine marble. The dog seems to have been installed at the family tomb at Mount Auburn a year later. As a young man Thomas Perkinswas a slave trader in Haiti, a maritime fur trader who transported furs from the American Northwest for trade in China, and then a major smuggler of Turkish opium into China. Perkins invested in textiles and granite quarries. Among his many philanthropic works, he gave his Boston residence to the Massachusetts Asylum for the Blind, which was renamed the Perkins School for the Blind in his honor. Today, however, we can contextualize the multiple layers of Perkins’s life story, including an examination of how he acquired his wealth. Perkins was originally interred at St. Paul’s Cathedral in Boston; he was removed to the family tomb at Mount Auburn in 1914.
Harnden English Mastiff
Further along Central Avenue, this English mastiff is sheltered from the elements by a Neoclassical monument. This marble watchdog remains in excellent condition, his gaze as vigilant as ever and the sharpness of his claws and loose skin folds still remarkably intact. William Frederick Harnden (1812-1845) was the founder of Harnden and Company, one of the first independent express shipping companies in the United States. Harnden died of consumption (tuberculosis) in January 1845 and was buried next to his 10-month-old daughter, Sarah, who had died three years prior. In 1866 the Express Companies of America erected this monument in Harnden’s memory, replacing his original, plainer marker. The corporation hired Boston sculptor Thomas A. Carew to carve the English mastiff as a symbol of fidelity and security on the journey into the afterlife.
Full view of Harnden Monument.
Wingate Whippet
Located on Olive Path, this sculpture of a whippet is a small decorative element at the rear of the Wingate family plot. The dog lies in a crate-like enclosure, measuring 32″ wide x 16″ high x 18″ deep, which was originally made of glass and bronze and has since been replaced with plexiglass that has become somewhat opaque. The sculpture, which dates to 1866, includes a base inscribed “Their Favorite.” This diminutive whippet protects the graves of Abbott P. and William A. Wingate, Jr. (“Willie”), both of whom died in 1865 at ages 20 and 18, respectively (it is believed that they died in the Civil War). Sculptor Martin Milmore is best known for two prominent local memorials to the Civil War dead: the gigantic Sphinx (1873) facing the Bigelow Chapel at Mount Auburn Cemetery and the Soldiers and Sailors Monument on Boston Common (1877).
Richardson Dog
On Oak Avenue at Mount Auburn, the Richardson Dog serves as a psychopomp to William Taylor Richardson, Jr. (1846-1864), an infantryman in the Massachusetts 33rd Regiment during the Civil War. It is unclear in which battle Richardson died, but over the course of the war his regiment lost 104 enlisted men killed and mortally wounded and 77 enlisted men by disease. Young Richardson was was only 18 years old when he was laid to rest at Mount Auburn Cemetery. His parents commissioned Alexander McDonald, who operated a monument works on Mt. Auburn Street, to carve the dog for his grave.
Francis Calley Gray English Setter
Tucked away on Hemlock Path, you will find this mournful English Setter resting atop a granite slab. The memorial marks the tomb of Francis Calley Gray (1790-1856), who served as private secretary to John Quincy Adams and later became a philanthropist, legislator, art collector, and one of the earliest proprietors of the Mount Auburn Cemetery. His vast collection of early engravings and prints made him America’s first great print collector. In 1837 Gray visited Rome, where he met Joseph Gott (1786-1860), a sculptor who specialized in life-like animal and human sculptures; Gray soon commissioned Gott to carve an English Setter in marble. The sculpture was originally intended for placement at Mount Auburn in an unknown location. However, in 1849 Gray gave the sculpture to his friend and fellow art collector William Appleton. Following Gray’s death in December 1856, Appleton had the dog placed on Gray’s grave at Mount Auburn. The setter appears to be in grief, with its head resting on its front leg and eyes open.
Mary Prentiss Saunders Dog
On Larch Avenue in Mount Auburn Cemetery, the smallest of all the funerary psychopomps can be found in the Saunders Family Plot. The dog serves as a guide to little Mary Prentiss Saunders (1843-1849), who died at just 6 years old. Mary was the daughter of William Saunders and Mary Prentiss; she was their first child, born two years after they married. As a wedding gift, William’s father, a housewright, built the couple a stunning Greek Revival house on Massachusetts Avenue. The house was later moved to Prentiss Street and is now known as the Mary Prentiss Inn.
Located at the intersection of Binney and First Streets in East Cambridge, a man named Adolph Sommer lived and died for his business. Adolph Sommer, born and educated as a chemist in Germany, later worked as a druggist in California, where he first studied and then taught at UC Berkeley. There he discovered the formula from which he afterwards made his principal product, Viscol. By about 1890, he removed to Cambridge, and opened a small wooden factory building in the rapidly developing industrial area of East Cambridge. The history of “Viscol” as a trademark began by Adolph Sommer in 1889, as “leather-grease”. Sommer was at the time a resident of California, and the product to which the mark was applied was a liquid preparation made principally from vegetable or animal oils and chloride or sulphur. There is evidence that this preparation was being advertised in California as early as 1891 for sale in cans as “Viscol dressing” for softening, waterproofing and preserving boots, shoes, harness, belting, etc.
Viscol can, CHC Objects Collection.
Viscol box and can, CHC Objects Collection.
Sommer was actively engaged in the operation and development of the Viscol business in Cambridge and during this period of over 40 years, the product was advertised nationwide under the “Viscol” mark in shoe and leather journals and in Montgomery Ward catalogs. Sales during the period were made in small cans to merchandising outlets for retail distribution, and in 5-gallon cans and 50-gallon drums to tanneries for use in processing leather. Sommer oversaw the expansion of the company which coincided with the need for more manufacturing space and employees. The complex consisted of three buildings along First Street.
1930 Atlas map showing extent of Viscol Mfy in blue.
Undated flyer depicting multiple uses of Artgum, an artificial rubber developed by Viscol Company. Original located in CHC Ephemera Collection.
Undated flyer depicting multiple uses of Artgum, an artificial rubber developed by Viscol Company. Original located in CHC Ephemera Collection.Enter a caption
In Cambridge, Adolph lived alone, had no social relations, worked an unusual number of hours everyday, never took a vacation nor allowed his employees to take any, permitted no conversation or cooperation among his employees, and even lived in the manufacturing plant. He was known as being industrious, alert, keen, strong willed and stubborn; yet, he was kind to his employees when they got into financial difficulties, and many worked for him for decades. In 1922, when seventy-one years old, Sommer married a widow of fifty-one, Emmeline Harnden, who had worked in the factory for more than twenty years. At the time of their marriage, Sommer was actively looking for someone to take over his business and generated a written contract with his new wife that upon his death, the company and all holdings would go to his legal heirs, which apart from his widow, were two children of a deceased sister in Germany.
200 First Street, built for Adolph Sommer and Viscol Manufacturing Co. Building constructed in 1904, razed in 1986. Photo taken 1970, CHC Survey Photo.
185 First Street, built for Adolph Sommer and Viscol Manufacturing Co. Building constructed in 1913, razed in 1986. Photo taken 1970, CHC Survey Photo.
On October 1933, 82-year-old Sommer and his plant superintendent, Hans Bloomberg, picked up over $1,000 from the Lechmere Bank on Cambridge Street before driving back to the factory to pay the workers. Upon arriving to the factory, five robbers with pistols trapped the car and demanded the money. One man pointed a gun at the face of Sommer, who was sitting in the driver seat of his vehicle. When he saw the pistol, 82-year-old Sommer is said to have swung the door open and lunged at the robbers gathering his pistol from his pocket. Upon lunging he was shot three times and died, but not before shooting one of the thieves, who got into a get-away car and fled over the Prison Point Bridge to Charlestown.
Boston Daily Globe clipping from October 21, 1933 detailing crime scene.
Boston Daily Globe clipping from October 21, 1933 depicting Mr. Adolph Sommer.
There were few leads besides the witnesses, one of which identified the gunman to Cambridge Police as James Deshler. It was soon after unveiled to the public that Edward Galvin of 22 Lambert Street, was the witness who placed Deshler as the gunman. Within a week of the arrest, three men attacked Galvin in a parking lot, seemingly as retribution and were never identified. Two men were eventually imprisoned for the robbery and murder of Mr. Sommer, James Deshler and Marshall “Hickey” Bowles. After the death of Sommers, the company and properties were sold in 1936 to the Stamford Rubber Supply Company, a Connecticut corporation located at Stamford, Connecticut, which operated the business as one of its own departments until January 1937, later selling again. The complex was used for other industrial and storage uses until they were razed in the mid 1980s.
Boston Daily Globe clipping from October 31, 1933.
It is hard to name an architecture style more identifiable with Harvard than the Georgian style. The oldest extant buildings in Harvard Yard include Massachusetts Hall (1720), the Wadsworth House (1726) and Holden Chapel (1744), just some of a larger group of Georgian buildings constructed before the American Revolution. The Georgian style is eponymous for the first four British monarchs of the House of Hanover—George I, George II, George III, and George IV—who reigned in continuous succession from 1714 to 1830. It is in this time that Harvard, the oldest institution of higher learning in the United States, created its now iconic architectural identity. By the 19th century, other buildings in various styles were designed in the Yard, from University Hall (1815) in the Federal style, to Matthews Hall (1872) a Victorian Gothic dormitory, to Sever Hall (1880) one of the greatest examples of Richardsonian Romanesque architecture in the world; Harvard would later return to the Colonial-era Georgian style. Two great and lesser-known examples are Lionel Hall and Mower Hall.
1930 Bromley map showing recently completed Lionel and Mower Halls enclosing the two small quadrangles.
Current aerial of Lionel (yellow) and Mower (blue) Halls, facing west. Holden Chapel at center.
Abbott Lawrence Lowell, Harvard University President (1909-1933) is responsible for the wide-scale revival of the Georgian style at Harvard through his massive building programs for the Harvard River Houses, dormitories in the Yard, and the new President’s House. Two of the smallest being Lionel Hall and Mower Hall.
Circa 1925 image of Mower (left) and Lionel (right) Halls during construction from Peabody Street. Courtesy of Harvard Property Information Resource Center.
Plans of Lionel Hall (identical to Mower Hall) published in Architectural Forum, Dec. 1925.
Lionel and Mower Halls were built in 1925 in the Georgian Revival style and sited to frame the Holden Chapel and enclose the western edge of the Yard. Appropriately nicknamed “The Holden Twins”, the two dormitory buildings were designed by the firm of Coolidge, Shepley, Bulfinch, and Abbott, who went on to design many later buildings for Harvard, including the River Houses (both the Georgian style and later Modern Houses). Both Lionel and Mower Halls were funded by a building campaign by President Lowell to expand the university and house additional students. They are constructed of red brick with stone trim. Both buildings are near-identical and rise 2 1/2 stories into a gambrel roof. Symmetrical facades and stone entries with fluted pilasters capped with Corinthian capitals over rusticated stone complete the Georgian Revival motif.
Lionel Hall quadrangle facade. Photo by Ralph Lieberman (2012).
Lionel Hall entry detail. Photo by Ralph Lieberman (2012).
Lionel Hall is named after Lionel de Jersey Harvard (class of 1915), an English descendent of John Harvard who was killed in World War I in France. Lionel was the first known relative of John Harvard to attend his namesake’s University. He descended from Thomas Harvard (1609–1637), brother of Harvard University founder John Harvard (1607–1638), who had died childless. Lionel Harvard in 1918 served as Commander of Number One Company, in the British Army and died from mortar fire in March of 1918, during the German Spring Offensive, leaving behind a widow and infant son.
Undated photo of Lionel de Jersey Harvard, Creative Commons.
Mower Hall is named in honor of Thomas G. Mower, by a gift valued over $18,000 from Miss Sarah E. Mower as a memorial to her late father. Thomas Gardner Mower (1790-1853) graduated from Harvard College in 1810 and immediately began to study medicine, later enlisting in the army as a surgeon in the War of 1812. After the war, Mower settled in New York and became a head Surgeon and examiner for the US Army until his death.
While these two modest dormitories do not stand out for their size nor architectural grandeur among the iconic buildings in Harvard Yard, they together showcase how proper design, massing and siting can truly enhance the character of an area without diminishing the significance of nearby buildings.
The Willard Phillips House formerly at 58 Linnaean Street was constructed in 1841 in the then fashionable Gothic Revival architectural style. Willard Phillips was born in 1784 in Bridgewater, MA and graduated Harvard University in 1810. After graduating, Phillips studied law and by 1826, was a member of the legislature and during this time, he was an editor of multiple law review journals which were distributed all over the country. By 1839, he was made judge of probate for Suffolk County and built his home shortly after in Cambridge. He retired from legal practice in 1845 to become the president of the New England Mutual Life Insurance Company, where he remained until 1865 when he retired.
Circa 1930 image of the Willard Phillips House (58 Linnaean Street) courtesy of HOLLIS Images.
After his death, the property remained in the Phillips family who rented the home to Professor John Trowbridge, who was the Director of the Jefferson Physical Laboratory at Harvard. By 1900, 58 Linnaean Street, land which extended from Linnaean Street to Shepard Street and all buildings thereon were conveyed to Radcliffe College, who also purchased the land of Dr. Bemis next door to develop what is known now as the Radcliffe Quad.
1873 Hopkins Map
1916 Bromley Map
Current Condition Map
The Phillips House became known as the Trowbridge House, a dormitory for students at Radcliffe while the larger brick dormitories along Shepard Street were being constructed. As the Radcliffe Quad developed into the 1920s, open space became a challenge, and many wood-frame dwellings and outbuildings were demolished or moved. The Phillips House eventually was razed in 1951 for Holmes Hall, a wing of Moors Hall.
Detail of Phillips House and barn at rear, undated photo in CHC Archives.
The original Gothic style barn as part of the Phillips estate was moved in 1926 to the rear of 61 Garden Street and redesigned by Mary Almy, a Radcliffe Graduate and principal architect of the firm of Howe, Manning & Almy which was started in 1900 by Lois Lilley Howe. Radcliffe hired the firm to convert the former barn structure into a field house for athletics on the Radcliffe Quad.
Photograph of Phillips Estate barn at second location behind 61 Garden Street. Image part of MIT Special Collections. Circa 1926.Photograph of Phillips Estate barn at second location behind 61 Garden Street. Image part of MIT Special Collections. Circa 1926.Location of former Phillips estate barn after renovation to Radcliffe Field House behind 61 Garden Street (Edmands House, dormitory). 1950s Sanborn Map.
The Field House was redesigned in the Colonial Revival style and was nearly indistinguishable from the former barn besides the bargeboards at the side gable of the roof which were retained to showcase the history of the structure.
1968 Photo of Radcliffe Field House taken by CHC.
Ca. 1930s view of Radcliffe Field House, courtesy of HOLLIS Images.
Ca. 1930s view of Radcliffe Field House, courtesy of HOLLIS Images.
Plans and documents which are in the Howe, Manning & Almy Special Collection at the MIT Special Archives showcase the drawings and floor plans of the space even down to the large wooden beam at the mantle on the interior which reads “In Memory of Rosamond Claire Esty 1925”. Ms. Esty, 22, was a recent Radcliffe graduate who was swept from a ledge in Rockport by rogue waves in and despite her brothers attempts to save her, died in the surf.
1930s interior of Radcliffe Field House and carved wooden mantle reading “In Memory of Rosamond Claire Esty 1925”.
Photo of Radcliffe Field House proposed front elevation, original at MIT Libraries.
Photo of Radcliffe Field House proposed first floor plan, original at MIT Libraries.
Photo of Radcliffe Field House proposed second floor plan, original at MIT Libraries.
The Field House was a success and saw heavy use until the 1960s when the building became known by the College as a “necking hangout”. Radcliffe allowed its female students to study in the Field House with a male companion until midnight by requiring students to sign out a key held at nearby Holmes Hall; this made the Field House the only building at Radcliffe legally available to Radcliffe students and their dates every night. Articles explained that the key was often signed out under assumed names and would go missing and unauthorized duplicates later would proliferate through the Quad.
Radcliffe and Harvard Students posing at recently completed Radcliffe Field House, ca. 1930. Image courtesy of HOLLIS Images.
The Field House was razed by 1970 for the construction of the Currier House.
