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17,
DESC~_JPTION
CONDITION
0
E:<cellen!
g:g
Good
(Check
One)
liCJ
A
llered
00
Fair
(CheckOn")
0
Deteriorated
I
ESCRIBE THE
PRESENT
AND
ORJGINAL
(if
known)
PHYSJCAL
APPEARANCE
0
Ruins
0
Unexposed
(Check
One)
0
Moved
!KJ
Ori
gino
I
Site
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~~
The
9affi6:ri""Pr&tt
Hi.rtoric
District
encompasses
about
~
acres,
approximately
~
~ t r u c t u r e s ,
and
is
primarily
resident~al
in
character.
Building
density
1s
moderatethroughout
the
district
and
structures
are
complemented
by
greenery,
particularly
to
the
south
of
Bridge
Street~
The
aistrict
is
visually
coherentalong Bridge,
H a ~ , ; r l e y ,
and
.Market
Streets
and
along
Pomeroy
Terrace,
although the
architecture
of
the
former
area
is
primarily
late
colonial
and Greek
Revival
while
Phillips
Place-Pomeroy
Terrace
is
Victorian
in
ambiance.
The
district'seent:ains
tv~
major
slemGmts,
each
representative
of
the
h£bits
and
tastes
of
a
significant
segment
of
nineteenth
century
Northampton's
populationt,-
the
fashionable
neighborhood
which
developed
to
the
south
of
Bridge
Street
in
the
mid-nineteenth
century·
._.emd=the-
earli:er=a-nd
more
m c : . : u : l e s t ~ h b o . d r o o d - ~ ~ ~ - ~ t h - ~ e - f - - g _ ~ i - E l g e
Street,
populated
by
Northampton'
s
mechanics
and
artisans
al'l·el----ee-ntai-l'li-fl:g-
the
impressive
and
well-preserved
Hamps-hire
C o u n . q z : . . . . H o u ~ s e
of
Cor-rection.
Intrusions
-in----t-h-e----form
of
a
superma-rk-et-{J-960)
and
post
office
(1975)
do
occur but
are-concertera-t-e-d---a-t
the
intersection
of
Hawley,
Ma-rket,
-and--Brci-dg-e-St-l:e-e-ts-.-----'".th-e-.
eastern
boundary
of
.the
district
is
the
natural--bounda-1."-y··pro
v i . : S - e - G - b y : - - t . n . ( $ . . - C o . ~ . e . c t i . c l . l - t
-Ri-v-e-r---f-l-ee-d--13-l.--a.-i..a;
the
we!.t
e
~,
bounaa~y-,~--the.-..ra1lroad.~ed,--allo:ws
a
buffer
o.ne.
huild1ng
deep
at
the
west
•
- - A . t ~ t . l . l . e . ~ . R G - : r ' - t A - - ~ 1 1 - - d - C ! : t ~ - : Y - * l ; ; e G \ t
and
the
Bri
dge-f3-t;-r-eet~-eemet-ery--si:-gni~fi·can-t·Hstructures
-are·
wi~clely
spaced;
,a..t
the
south,:
a-rchitectural-quali-ty
diminishes
ni7~y-.
Architecture
in
the
proposed
historic
district
ranges
from
functional
18th
century
structures
to
rich
and
decorative
Victorian
designs
and
includes
two
fine
examples
of
the early
twentieth
century
bungalow
style.
The
more
ambitious
structures
reflect,
in
their
design,
siting,
and
execution,
the
dictates
of
Victorian residences
in
Northampton:
wood
rather
.than
brick
or
masonry
construction
predominates,
styles
are
generally
later
in
their
introduction
and
more
restrained
in
their
execution
in
Northampton, and
gothic
revival
designs,
while
abounding
in
gables
and
gingerbread,
are
decidedly
regular
and
symmetrical.
(This
last
fact
is
undoubtedly
attributable
to
a
persistant
puritan
suspicion
of
the
emotions
stirred
by
the
romantic
movement
as
well
as to
the
hand
of
a
local archi
teet
whose
early
training
in
the
Greek
Revival
was
never
shaken.)
The
district
derives
its
name
from
two
nineteenth
century
architects,
residents
of
Northampton,
whose
work
in
Northampton
and
surrounding
towns
significantly
contributed
to
the
architectural
herita~e
of
the
Connecticut
Valley.
Isaac
Damon
(1781-1862)
worked
oredominantlv
in
the
Federal
style
and
designed
residences,
'Churches
and·
bridges
in
thearea.
His
work
is
represented
in
the
district
by
the
Isaac
Damon
House
(1812)
at·
46
Bridge
Street.
William
Fenno
Pratt
VI
mm
z
VI
-1
;:o
c:
n
_,
0
z
r
Form 10-300o
(July !969)
UNITED
STATES
DEPARTMENT
OF
THE
INTERIOR
NATIONAL
PARK SERVICE
STATE
NATIONAL
REGISTER OF HISTORIC
PLACES
COUNTY
INVENTORY-
NOMINATION
FORM
-~
(Continuation Sheet)
FOR
NPS
USE
ONLY
-.---~------i
ENTRY NUMaER
I
DATE
I
(Numberallentries)
Description
of
architecture
(2)
(1814-1900)
entered the
orofession
in
Northamoton
in
183@
with
his
design
for
the
picturesque
Gothic
Seminary and
later
produced
designs
for
commercial
blocks,
residences,
and
railroad
stations.
Pratt
inherited
the
trade
from
his
father
Thomas
Pratt
(1784-1868),
trained
young
E.
C.
Gardner
(later
of
Spring
field),
and
bequeathed
the
business
toW.
F.
Pratt,
Jr.,
his
less
talented
son,
about
1880.
Although
W.
F.
Pratt
has
not
achieved
the recognition
which
Isaac
Damon
has,
Pratt
1
s
designs
represent
the
bulk
of
the
early
Victorian
architecture
in
Northampton.
Moving
along
Bridge
Street,
an
early
thoroughfare,
one
encounters
an
early
ensemble
including
the
17th
century
CornetJoseph
Parsons
House
and
the
Isaac
Damon
House (
1812).
Even
in
the
absence
of
its
balustrade
at
the
roofline, the
twin
chimneys,
hipped
roof
and
flat
and
symmetrical
facade
of
the
Damon
House
signal
its
federal
style
associations.
Unlike
the
full
three story
federalresidences
of
prosperous
seacoast
areas
of
Massachusetts,
the
Damon
House
is
a
modest
two
stori-es.
To
the northeast of
the
Damon
House,
the
colonial
Parsons
and
late
colonial
Shepherd Houses
complete
the
trio
of
resi
dences
of
the
Northampton
Historical
Society.
The
Shepherd
House
documents
the
numerous
currents
of
taste
which
followed
its
construction
along
Georgian
lines
in
1792
•.
The
gable
ends
have
been
framed
and
a
later
side
entrance also
exhibits
the
influence of
the
Greek
Revival;
an
airy
gothic
portico
(c.1855)
offers
a
marked
contrast
to
the
solid
and
cubic
mass
to
the
rear
Bays,
porches,
and
bold
Italianate
trim
added
to
the
remaining
early
residences
(1790-1820)
along
Bridge
Street
reveal
the
nineteenth
century
resident's
concern
with
maintaining
a
stylish
appearance
at
modest
outlay.
Opposite
the
Parsons
House
is
the
stately
Lathrop-Butler
residence
(1848)
in
which
flat
roof,
emphatic
pilasters
and
enlarged
and
gracious
windo1.v
:areas
combine
in
a
design
influence~
by
the
Greek
Revival
and
executed
by
W.
F.
Pratt.
Son
of
Isaac
Damon's
contemporary,
architect
Thomas
Pratt,
W.
F.
Pratt
is
responsible
for
many
ofthe
designs
in
the
proposed
historic
district
as wellas
dozens
of
commercial and
industrial
structur
s
in
the
greater
Northampton
area.
Similar
in
design
and~enriched
by
later
additions,
the
Osmyn
Baker
House
(1856)
at
78
Pomeroy
Terrace
is
a
tv.-o
story
brick
and
stucco
structure
whose
ornate
porch
and
cupola
camo
flage
the spare
and
symmetrical
character
of
the
brick
mass.
At
the
time
of
its
construction,
Pratt
had
gained
a
reputation
as
the
residential
architect
in
thearea.
Facing
the
brick
residence are
two
vvooden
structures
which
port~ay
two
popular Victorian
styles
drawn from
European
arch1.tecture.
The deep
mansard
with
dormers
of
the
Second
GP
0
921-724
Form
l0-300a
(July
1969)
(Number
,/1
entries)
UNITED STATES DEPARTMENT
OF THE
INTERIORNATIONAL
PARK SERVICE
NATIONAL REGISTER 0 F HISTORIC PLACESINVENTORY-
NOMINATION
FORM
(Continuation Sheet)
Description
of
architecture
(3)
,------·---·------·--
STATE
FOR
NPS
USE
ONLY
--.------J
ENTRY NUMBER
I
DATE
I
Empire
style
caps
the
L.
G.
Field
House
(1870)
and
the
prominent
tower and
bold
detailing
of
the
H.
F.
Williams
House
(1859)
echo
other
Italianate
designs
like
Henry
Austin's
noted
Morse-Libby
House
in
Portland,
Maine.
Here
the
villa
walls
are
clapboard
,
rather
than
stone:
lacking
stoneto
authenticate
the design,
wooden
siding
was
laid
smoothly
to
simulate
masonry.
Farther
along
Pomeroy
Terrace
is
located
the
William
Gaylord
Villa
(1853),
a
Swiss
cottage
set
deep among
the
trees
and
calculated
to
exploit
the
picturesque
view
ofthe
meadows
below.
Here
the
bracket, ubiquitous
on Pomeroy
Terrace
and
Phillips
Place,
makes
its
most
ornamental
appearance.
Board
and
batten
siding,
a
steeply
pitched
roof
and
pronounced
over
hanging eavesenhance
the
contrasts
of
light
and
shadow
on
the
facade.
Facin~
the
Gaylord
Villa
across
Pomeroy
Terrace
is
a
splendid
sh1.ngle
style
residence
(1890)
whose
skinlike
surface
contrasts
,
..
lith
the
profusion of
ornament
visible
elsewhere
on
Pomeroy
l'errace.
Central
elements
in
the
design
are
a
co<i.n'ler
tower.at
the south
east
and
a
palladium
in
the
generous
north
west
gable.
Turning
off
Pomeroy
Terrace
onto
Hancock
Place
or
Butler
Place,
one
discovers
in
the
Queen Anne
and
Classical
Revival
residences
a
return
to
the
massing
of
late
colonial
structures
on
Bridge
Street.
Opened
in
the
1890
1
s,
these
connecting
streets
are of
a
later
period,
uniform
architectural quality,
and
form
discrete
areas
asthe
result
of the
downward
slope
of the
land
as
one
leaves
Pomeroy
Terrace.
A
third
street
which
today
servesas
a
connector
between
Pomeroy
Terrace
and
Hawley
Street,
Phillips
Place
was
the
first
of
the
group
of
streets
to
be
created
east of
Hawley
and
south
of
Bridge
Street.
Here
is
located
another
cluster
of
mid-nine
teenth
century dwellings
built
shortly
after
the
opening
of
the
street
in
1847.
Two
dwellings
(c.
1850)
of
retarditaire
styling,
with quoining,
hipped
roofs,
and
vaguely
Federal
antecedents
are
located
at
the
base
of the
street.
A
tiny
but
fully
articulated
Swiss
cottage
(1850) designed
by
Pratt
faces
a
second
cottage
design
(1865)
and
a
bracketed
style
(1853).
One
then
encountersseveral
modest
structures
of
contemporary
construction
and
appropriate
scale
before
reachin2
the
late
Federal
(
1848)
C.
M.
Kinney House,
perhaps the
oldest~structure
in Phillips
Place,
and
the
1893
J.
Reid
House,
designed
by
Putnam
&
Bayley
of
Northampton.
The
porches,
turrets,
and
shingled
effects in this
Queen Anne
structure
adapt
its
considerable
mass
to
the
scale
of
the
earlier
structures.
-The
exuberant
asymmetry
of the
Reid
House
contrasts nicely
vnth
the
crisp
geometry
of
the
single
Greek
Revival
structure
in
Phillips
Place.
Although
lacking
a
free-standing
portico,
the
structure
features
corner
pilasters,
closed
p
edirnent, and
a
precisely
denti
llated
cornice.
1 - - - - - ~ - - - - - - - - - - - - - - - - - - - · - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
--------------
GP092!-724
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