Melville Avenue / Wellesley Park
[Note: this reproduction of the information in the Boston Landmarks Area Form may have typographical errors, and for technical matters, the reader may want to consult a copy of the original, which is available at the Boston Landmarks Commission or the Dorchester Historical Society]
Melville Avenue/WellesleyPark ranks among the best places in the Boston area to study unusually stylish and substantial suburban houses dating primarily from the last quarter of the loth century. This area is roughly bounded by Park Street on the north, Gibson Park on the cast, and Lyndhurst Streets on the south and
Washington Street on the west. Included within these boundaries is the cavalcade of commodious, unusually architecturally ornate houses that border Melville Avenue between Washington and Wellesley Park as well as the discrete enclaves of upscale housing bordering Tremlett Park, Centervale Park and Paisley Park. Above all, this area includes Wellesley Park, which ranks among the most extraodinary Late Victorian suburban developments in the United States; substantial, primarily Queen Anne and Queen Anne/ Colonial Revival houses border a large oval green. The great, unbroken sweep of Wellesley Park’s irregular forms, ornate detailing and complex roof configurations represents an extrodinary survival within a neighborhood which has seen considerable socio- economic change. Lyndhurst Street also has its share of noteworthy, well designed Victorian era housing but not with the same consistency of Melville Avenue or Wellesley Park. This area’s great strength lies in its late Victorian housing whose architects did not err on the side of restrained conservatism evident in so many Boston suburbs. This is one of the few areas in greater Boston that approaches the exuberant form and ornamentation, if not always vibrant color schemes associated with San Francisco’s famous “Painted Ladies”. Indeed, if the Boston skyline had been near enough to serve as a backdrop for Wellesley Park’s Queen Annes, this area would rival San Francisco’s famed “Post Card Row” in terms of visual impact.
In general, all of the streets and elliptical parks in this area arc bordered by single- and two -family residences of the 1880s-early 1900s. The oldest structure in this area is the former Dorchester Academy at 18 Lyndhurst. Built in 1831, this temple- form building exhibits a main facade dominated by monumental fluted Tuscan columns which support a low, pedimented attic with heavy entablature and lunette window. Rising from the center of the roof is an octagonal cupola. Consisting of a rectangular, clapboard -clad main block, this building once had extensive rear ells.
The architecturally distinguished residences of Melville Avenue are located primarily between Washington Street and the MBTA Red Line rail road tracks. One of the earliest houses in this linear development is 35 Melville Avenue, designed by and built for City of Boston architect Arthur H. Vinal in 1882. This house is arguably one of the finest upper middle class streetcar-suburb residences built in any Boston area suburb. Compact, yet asymmetrically massed , this Queen Anne house is enclosed by steeply pitched and intersecting hip roofs. Still intact are its slate shingles and terra cotta ridge tiles. The main facade features a rare use of masonry materials in an area of overwhelmingly wooden buildings. Access to 35 Melville Avenue’s main entrance is reached via an open front porch with low rusticated brownstone railings. Rising from these railings are short squat Romanesque Revival columns which support broad segmental arches. Projecting from its main facade is a narrow gable roofed bay. This gable contains raised lattice work detail. To the left of this gable is a polygonal oriel with bell cast , finial topped roof cap. Around the corner, on the east wall is a more grand oriel which presumably lights a stairway. Enlivened by stained glass windows and enclosed by a canopy-like cast metal roof, this polygonal oriel is a particularly noteworthy feature. In general, and in typically Queen Anne fashion, this house’s walls are pierced by windows representing a variety of shapes including standard size, arched and an ornately enframed oval attic window on the Allston Street side. According to architectural historian Douglas Shand Tucci,” 35 Melville Avenue is part of one of the most sumptuous ensembles in the city of late nineteenth century street-car suburb architecture.” This ensemble or group of mostly Arthur Vinal -designed Queen Anne houses includes 29, 33, 37, 39 as well as 35 Melville Avenue.(39 Melville Avenue is attributed to Vinal). Particularly noteworthy is 33 Melville Avenue which was designed by L. Underwood in 1886. This Queen Anne house is characterized by an asymmetrical form and a pleasing blend of materials including granite block basement, brick chimney with ornamental niche (Allston Street facade), clapboard -clad first floor and wood shingles on the upper floors. Memorably addressing the Allston Street/Melville Avenue corner is a three story tower with conical roof cap and copper weather vane. Its Melville Avenue porch features well turned porch elements.
In contrast to the densely massed streetscapes Arthur Vinal was creating around the Allston Street/Melville Avenue intersection, Tucci notes that “several other architects at the other end of the street (near Washington Street) were developing a more spacious variant with more generous setbacks and circular drives leading under porte cocheres to large barns.” The precedent for houses on more spacious lots was introduced to the section of Melville Avenue near Washington Street in 1879 by E.A. Poe at 6 Melville Avenue. This house represents another compact yet asymmetrical Queen Anne house clad with clapboards and patterned shingles. The apex of its facade gable is ornamented with fairly intricate stick work. By far the most spectacular example of a commodious house on an ample lot is 10 Melville Avenue.This Stick Style house represents a miraculous survival. It is the type of large Victorian residence that, because of prohibitive heating and maintenance costs survives only in period photographs.Together with its extensive front lawn, old copper beech trees, and meandering drive way, this house exemplifies the type of estate that has all to frequently disappeared from the Dorchester scene. Designed by George Meacham in 1880, 10 Melville Avenue is a fine example of an asymmetrical Stick Style house which rises 2.5 stories from a granite block basement to an intersecting gable roof gable’s Palladian window strikes [ing?] a Colonial Revival note.
Further to the east 92 Melville Park (1890) is a Queen Anne house noteworthy for its asymmetrical form which includes a large corner tower which is enclosed by a bell-shaped roof. To the left of the tower is a steeply pitched gable which surmounts a trio of small, square attic windows. On the first floor of the Melville Avenue facade is an open front porch with paired Tuscan columns which rise from granite block piers. Rising from the east side of the hip roof is a paneled, yellow brick chimney. 98 Melville Avenue, corner of Upland Avenue was built c.1895-97 and represents a marriage of High Georgian gambrel roofed form with Federal style bow fronts symmetrically located on either side of the center entrance pavilion. Once again, this is a design that eschews an archaeologically correct interpretation of the Colonial Revival style in favor of mixing sub styles of this popular architectural mode. More or less rectangular in form, the center pavilion projects slightly from the main block and exhibits an open front porch with paired Tuscan columns and modillion block-edged pedimented roof.The main entrance is flanked by attenuated pilasters and sidelights. Above the entrance porch is a tripartite window and at the center of the roof is a gambrel gable containing a tripartite window with raised and well-molded enframements. This house represents a sub-trend in Colonial Revival domestic architecture of the mid 1890’s that derived inspiration from the Massachusetts pavilion at the Chicago World’s Fair of 1893, which in turn was inspired by the design of the old gambrel roofed Thomas Hancock mansion which once stood atop Beacon Hill next to the State House. Although the Hancock House was torn down in 1863 it was and is one of Boston’s best remembered “lost landmarks”. This house was a much-studied Colonial touchstone for late 19th century Boston area architects.
Topographically the residential park squares or ovals of the Melville Avenue / Wellesley Park area are situated on the flat plain that runs from the base of the Washington Street ridge to Dorchester Bay. In general the residential enclaves and thoroughfares of this area are bordered by mature trees. Scattered around this area are large and “ancient” copper beech trees like the ones at 10 Melville Avenue which complete an unspoiled glimpse of an 1880 suburban Boston estate or the enormous copper beech at the Washington Street end of Lyndhust Street which serves as a memorable, “placemaking” natural feature which dates to at least the early 19th century.Also included within this area is the Gibson Playground, a recreational area which is essentially a large, flat, open field with trees at its periphery and a c.1920’s park house of little architectural distinction bordering Dorchester Avenue, nearly opposite Gibson Street.This playground contains wooded spectator stands and a baseball field at its Park Street and Dorchester corner.
Wellesley Park was set out in 1897-98 and is characterized by a broad oval green surrounded by two dozen houses. The prevailing architectural style is Queen Anne. These houses are all constructed of wood, rise to a height of 2.5 stories, exhibit street-facing gables and in many cases one and two story porches. Occasionally corner towers with pyramidal roof cap project from rectangular main blocks. A high percentage of these houses are well maintained and painted with appropriate Late Victorian paint colors. It is difficult to single out buildings around the park as being of particular architectural significance since Wellesley Park as a suburban residential enclave is in many ways greater than the sum of its parts. Noteworthy residences and groups of residences include 40 and 42 Wellesley Park East, 24; 26; 30; 32 Wellesley Park East and 27; 29; 31;33 Wellesley Park West.
Both 40 and 42 Wellesley Park East are rectangular 2.5 story residences rendered assymetrical by a polygonal three story corner tower. Both house feature two story front porches and possess three -story polygonal corner towers. While number 40 ‘s tower culminates in a flat roof, number 42’s tower is crowned by a truncated and ribbed pyramidal roof cap.Both houses exhibit attic windows with elaborate enframements. Number 40 ‘s double attic windows are set within a swans neck scroll with center urn eframement.The octagonal shingles of the attic are earned over to the third floor of the tower.
Its front porch exhibits paired Ionic columns which rise from stone piers. Particularly memorable are the attic surface treatments of 42Wellesley Park East which encompass double windows with raised enframements featuring Ionic pilasters and entablature as well as an ornamental balcony. Above these window s are a pair of high relief plaster laurel wreaths which ornament a broken pediment. The entire attic gable is enlivened by a covering of diamond shaped shingles which contrast with the rectangular shingles of the lower floors.
24; 26; 30 and 32 Wellesley Park East represent rectangular 2.5 story late 1890’s 2-family houses. The porches, second floor porch railings and projecting gables of these Queen Anne houses constitute a pleasing, rhythmic repetition of forms, adding interest to the parkscape by virtue of their similar designs. 32 Wellesley Park East deserves recognition for its extraordinarily beautiful painted surfaces with the raised, well crafted diamond shapes.
27, 29,31, 33 Wellesley Park West , on the other hand, represents the diversity of Queen Anne design utilized by Wellesley Park’s architects. Number 27 is an asymmetrical wood shingle clad residence with a front porch featuring short and paired Tuscan columns situated on wood shingle clad piers. The columns support a broad arch. Particularly noteworthy is this house’s picturesquely rendered roof line. Rising from the center of the porch roof is a polygonal dormer with finial topped pyramidal roof cap. To the left of this dormer is a higher, narrow, steeply pitched gable containing an oriel window with curved corners. Number 29 exemplifies the gambrel roof variation on the more typical A-shaped gable. Number 31 is a rectangular residence rendered asymmetrical by a three story polygonal tower with a flat rather than pyramidal roof. Number 33 represents the boxy Queen Anne house with overhanging front gable that appears with considerable frequency around Wellesley Park.
Before considering this areas three small residential parks mention should be made of Upland Avenue which is a north-south street between Paisley and Centervale Parks and Wellesley Park. This thoroughfare is built up with stylish and substantial Queen Anne and/or Colonial Revival residences. Particularly noteworthy is the c.mid 1890’s 10/12 Upland Avenue. This T-shaped Colonial Revival residence celebrates the gambrel roof profile with 3-bay side walls culminating in broad, overhanging gambrels. The 3-bay main facade features a projecting center pavillion which also culminates in a gambrel roof with a deep overhang.Particularly noteworthy is the main facade’s full length front porch with granite block piers which support short, square posts.The lower half of these posts is smooth the upper half is fluted. The posts capitals consist of egg and dart moldings. Porch railings feature well-proportioned Georgian Revival balusters. The projecting center porch roof pediment is noteworthy for its beautifully carved swans neck scroll which is superimposed against an elliptical fan. Like 98 Melville Avenue mentioned above, this house illustrates the 1890s penchant on the part of architects for blending Georgian and Classical elements in creative but non archaeologically correct Colonial Revival designs.
Bordering the east side of Upland Avenue are Paisley and Centervale Parks.Set out during the mid 1890s, the thoroughfare called Paisley Park is currently completely paved with asphalt. Its narrow oval park strips disappeared at an undetermined date. Compared to Centervale Park, Paisley is more densely built -up, its front lawns are smaller and its housing is less ornate. Nevertheless, Paisley Park has its share of noteworthy turn- of- the- century two-family houses. 4 Paisley Park was built between 1894 and 1898. Noteworthy as an asymmetrically massed Queen Anne house it retains original clapboard and wood shingle fabric. Enclosed by intersecting gables, a three- story tower with ornamental panels and conical roof cap is situated at its northeast corner.
More typical of Paisley Park residences are 5 and 7 Paisley Park. The former is a rectangular, 2-story’, two-family Queen Anne house with broad street facing gable. Its originally-open first and second floor porches were enclosed at an undetermined date. The latter is a rectangular, 2-story, two family house which is enclosed by a hip roof. Projecting from the center of the roof is a double dormer topped by a swans neck scroll. Indeed, the south side of Paisley Park is characterized by every other house being enclosed by a hip and gable roofs./
Centervale Park was set out C.1890-1894 and is noteworthy for its two narrow elliptjcal parks bordered by fairly substantial residences of considerable design merit. Particularly noteworthy is 2 Centervale Park which is a square, two story rectangular Colonial Revival house. Built c.1894-98, this house, like so many others in this area, illustrates the non archaeologically correct phase of the Colonial Revival suburban house. Instead of its main facade having symmetricalbow fronts, this house’s recessed center entrance is flanked by a bow and a flat bay. The bow is surmounted by a pedimented gable which is much wider than that of the pedimented gable above the flat bay. The broader gable contains a Palladian window while the narrower gable contains a modified Palladian window with wide pilasters taking the place of windows flanking an arched window. The main facade’s gables project from a hip roof. This house’s edges are accented by Ionic corner boards. Access to the main entrance is gained via an open, Tuscan columned porch. The c.1900 7 Centervale Park ranks among the most intriguing and unusual stylistic hybrids in Dorchester. The Queen Anne, Colonial Revival and Bungalow styles converge at 7 Centervale Park to form one handsome, cohesive design. This L-shaped, hip roof cottage in typically Bungaloid fashion features a roof slope that sweeps down to enclose an open front porch with tall rubble stone piers which support paired Tuscan, Colonial Revival columns. The Queen Anne style is in evidence in the broad, polygonal bay of the main facade and above all, in the modified, one story tower with distinctived bell-shaped roof cap. This tower rises from the intersection of two hip roof segments. 5 Centervale Park represents a relatively rare Melville Ave/Wellesley Park area foray into the Shingle style. Covered with a “skin” of dark brown shingles, the architect of this boxy rectangular house utilized the gambrel roof in a manner more aligned with the Shingle rather than Colonial Revival style. At 5 Centervale, the main facade’s roof slope sweeps down over the front porch. Interspersed between the shingle covered porch posts are two dimensional, boldly curved Georgia Revival balusters. At the center of this roof slope is a gambrel containing a projecting, square oriel lit by a tripartite window. A curious, retardataire feature for a house of the early 1900s is the arched Stick Style bracing and modified king post which appears at the apex of the side wall’s gambrel. Representing a variation on a straightforward front gable design is 10 Centervale Park. Built between 1894 and 1898, this house is noteworthy for its deeply recessed front porch with Colonial Revival porch elements, bowed oriel at its southwest corner and broad gable which contains a double, recessed attic window which is flanked by curved, wood shingle clad walls. The lower floors are clad -clapboards and edged by narrow corner boards. The aforementioned houses speak to the diversity of late turn-of -the century architectural styles and combinations of styles bordering Centervale Park.
Bourneside Street, a north-south street located between the Gibson Playground and Paisley-Centervale Parks serves primarily as a fine backdrop for the ample expanse of the recreation area’s lawn. Its Queen Anne/Colonial Revival houses, built for a solid middle class citizenry, are perhaps viewed to best advantage from Dorchester Avenue looking west across the playground. The houses of Bourneside Street represent well-crafted two family dwellings that barely hint at the architectural treasures situated to the west of their back lot lines.
Situated to the west of Wellesley Park is Tremlett Square, another residential park noteworthy for its felicitously-designed collection of Queen Anne and/or Colonial Revival residences built during the 1890’s and early 1900’s.Tremlett Square is perhaps most memorably approached from the west, walking along Tremlett Street, down the steep slope of the Washington Street ridge towards this long elliptical green space.
Evident from this elevated vantage point is the pleasing w ay the houses bordering the corners of the elliptical park arc stepped back from the street in a way that gradually reve.ls one house after another.The tree-dotted elliptical “square”, itself, extends eastward over the beginnings of a flat plain that extends to the sea. Each house faces a lawn which is slightly more ample than those of Paisley and Centervale Parks.
In terms of architectural design, Tremlett Square’s houses represent fairly individualistic approaches to the Queen Anne, Shingle and Colonial Revival styles. On the south side of this park, 35; 37; 41 and 43 Tremlett Square provide a “snap shot” of typical middle to upper middle class housing ranged around this green space. At 35 Tremlett Square, a lower gambrel roof slope sweeps down to partially shelter the three bay main facade and open front porch with Colonial Revival elements. The overhang of this L-shaped house’s roof slope is supported by boldly curved brackets. Contributing to the Medieval sensibility of this house are its dark brown wood shingle covering and pair of dormers with steeply pitched gable roofs. 37 Tremlett Square is another boxy, L-shaped house whose main facade represents a playful employment of bowed walls. Situated to the right of its Tuscan columned entrance porch is a one- story bay whose bowed form is echoed in the second floor oriel; an oriel which rests atop the roof of the entrance porch. Situated between the second floor bow and a standard size window is a key stone-edged oval window. This hip roofed house’s clapboard-clad walls exhibit narrow corner boards. Its main facade’s single roof dormer is surmounted by a splayed arch roof cap. 41 Tremlett Square represents another whimsical foray into Colonial Revival design via the Queen Anne styles disregard for standard window size, shape or symmetrical surface placement. This L-shaped, hip-roofed house is clapboard -clad and edged with narrow corner boards. Opening onto the Tuscan – columned front porch is a sidelight – flanked main entrance and a Palladian window above the entrance bay. Its single dormer is surmounted by a semi-circular, finial-topped arch with a roof configuration that continues the arch shape.43 Tremlett Square provides further evidence of the popularity of the gable front, Queen Anne residence. This assymetrical house features a Colonial revival entrance porch with paired and attenuated Tuscan columns which support a pedimented roof with a heavy entablature. Its steeply pitched gable features a modified Palladian window. Pairs of gable roof dormers protect from the long, side roof slopes. Situated at the head of Tremlett Square is 21 Waldeck Street. This boxy, essentially rectangular hip roofed house exhibits a highly symmetrical main facade.Its handsome Tuscan columned entrance porch is flanked by two storfy, 2-bay bow fronts. At the center of the second floor is a tripartite window which opens on to a porch with slat-work railings. This house is crisply accented by base, side, fascia and Doric corner boards.
Mention should be made of Tremlett Street which runs eastward from Washington Street over level ground to a point four or five houses before Hooper Street where the land abrubtly slopes down to the level land containing Tremlett Square. Hugging the side of this steep hillside is the asymmetrical, towered house at 23 Tremlett Street. Painted in colors appropriate for a Queen Anne house of c.1885-93, this house is composed of a T-shaped main block and three story round tower at its northeast corner. Its front porch exhibits well turned posts, saw cut post bracing ornamented with circular bosses and punched and cut railing balusters. Its main block is enclosed by a broad street-facing gable with double attic windows recessed within curved walls. The remaining houses on Tremlett Street tend to be earlier than those of the mid 1890’s Tremlett Square houses by 5-10 years and almost uniformly represent various approaches to Queen Anne architectural design.
Finally, Lyndhurst Street, the southern-most street in this area runs between Washington Street and Allston Street. In several instances, its housing represents a continuation of the fine late 19th century suburban residential design bordering Melville Avenue. Particularly noteworthy is 92 Lyndhurst Street at Allston Street. Occupying an ample corner lot, this mansion-scale residence is essentially rectangular in form with its long 3-bay main facade facing Lyndhurst Street. Its walls are sheathed with clapboards and it is enclosed by a hip roof.
Melville Avenue/Wellesley Park’s historical significance lies primarily within the annals of late 19th century Boston area street car suburb development. Its upscale, unusually elaborate residences have significant historical associations with City of Boston architect Arthur H. Vinal and other prominent architects of the period 1880-1910.Additionally, this area encompasses the Dorchester Academy, an important local 19th century educational institution that was founded in 1831.This area also has important, if somewhat tenuous historical associations with the Walter Baker & Co. Chocolate via the Walter Baker heirs’ ownership of land that was carved up into Paisley and Centervale Park’s during the 1890’s.
During the 17th century, the Mellville Avenue/Wellesley Park Area was part of the Great Lots.This vast area of pasture, woodland and marsh land was located south of the primary areas of Puritan settlement at Allens Plain, Savin Hill and Meeting House Hill.The Gibson Playground at Bourneside Street, Park St and Dorchester Avenue represents a remnant of the Town Field purchased by the Town in 1693 with the money left by Christopher Gibson for the support of the schools. Gibson came to Dorchester in 1630 and remained in the Town until 1646. At that time he settled in Boston and became one of the founders of the North Church. He was a soap-boiler by trade and was a prominent figure in the community serving as a selectman in 1636, 1638 and 1642. Gibson died in 1674, willing a portion of his estate for “the promotion of learning in the Town of Dorchester.” Part of Gibson’s legacy was used to buy the Town Field which was used for many years as a cow pasture.It is difficult to say when the Gibson Playground acquired its current configuration, but certainly by 1874. It is interesting to note that during the late 19th century, community activist Amos R. Storer expressed concern that the Gibson field had fallen into the hands of destructive parties. Storer noted that “the Gibson field is used by Norfolk, Suffolk and Middlesex Counties for baseball, foot ball, fruit stealing, and general profanity, – a kind of learning which Christopher Gibson never contemplated. There never was a more flagrant violation of the sacred trust than in the use which has been made of this land during the last twenty years. It should have yielded and might have yielded, fifteen hundred dollars to the schools of Dorchester.”
By the mid 18th century, one of the very few buildings in this area was Intervale, Walter Baker mansion which stood on Washington Street at the corner of Park Street. No longer extant and located just outside the boundaries of this area, Intervale was the birthplace of Dorchester Academy. The Academy’s original building is still extant within this area. Constructed by an unidentified builder, the Baker Mansion’s first recorded occupant was Lieutenant Governor Oliver.He left this house soon after the close of the Revolution. Colonel Benjamin Hitchhom bought it in 1781 and occupied it as a summer residence until his death in 1817. International luminaries such as General Lafayette and Presidents Jefferson and Madison were entertained during Hichborn’s occupancy. By the time of Hichborn’s death, this area represented the northern outskirts of the village at Codman Square. The Codman Square area became an important focus for the spiritual life of Dorchester when the Second Congregational church was founded in 1806 by John Codman. By 1830, James Penniman occupied the Walter Mansion. According to Dorchester historian William Dana Orcutt, Penniman was ” a well -known merchant and was closely identified with the interests of the town. He was especially interested in the Dorchester Academy and did much to encourage it. For the first six-eight months of the Academy’s existence, classes were conducted in a room of the Penniman House as it was then called.” Before continuing with the story of Dorchester Academy it should be noted that Walter Baker acquired this house c.1840. He was the grandson of James Baker who started a chocolate industry in Dorchester in 1780. This business passed to Walter’s father in 1804 and Walter Baker entered into a partnership with his father in 1818, taking full control of the company upon his father’s retirement in 1824.Walter Baker & Co. chocolate became a household word in both America and Europe. Walter Baker died in 1852. His widow lived in the old Georgian house al Washington and Park until her death in 1891.The Baker estate included the land of Paisley and Centervale Parks in the Melville Ave-Wellesley Park area.
Dorchester Academy was established in 1831, in the Greek Revival temple form structure still extant at 18 Lyndhurst Street. As previously noted, the beginnings of this important Dorchester educational institution lie in the Oliver-Hichborn-Penniman – Baker House. Its first board of trustees was composed of the Second Church’s Rev. John Codman, president; James Penniman, treasurer; Joseph Leeds, secretary, and Thomas Tremlett. The first principal was the Rev. Dr. Riggs who later was a missionary in Istanbul. By 1832, this shoo had 103 pupils enrolled. Orcutt notes that “the trustees spared no pains to make the academy a model in every way, their attention being equally divided upon the branches of study and deportment.” The Dorchester academy building was converted into a private residence by c.1890 and was moved to its present lot at 18 Lyndhurst Street during the 1890s to accommodate apartment buildings.In recent years, one of its rooms was converted into a primate theatre in which to screen an extensive collection of silent movies from the 1910s and 20s.
By 1850, this area was still open countryside and farm land with no cross streets. Melville Avenue was surveyed by architect Luther Briggs and set out from Washington Street to a point representing about half its present length in 1863 and was completely cut through to Dorchester Avenue by 1874. Until as late as 188), this area represented primarily the extensive back lots of houses bordering Washington Street. Reading from north to south from Park Street, this area’s lots included Eleanor J. W. Baker’s 1600 square foot tract which extended eastward from Washington Street to Gibson Field.
Covering what is now Tremlett Street and adjacent lots was the Alexander Beal estate. This estate was followed by a much smaller tract at Melville and Washington ownedby an N. A. Leigh . The south side of Melville Avenue, near Washington Street was bordered by a long rectangular Tract owned by the heirs of Thomas M. Vinson.
The Vinson tract stretched from Washington to Allston Streets. Lyndhurst Street was set out along the center of Edwin H. Sampson’s land and also extended back to Allston. The heirs of Thomas Vinson owned land on both sides of the railroad tracks, including a cul de sac that lead to Melville RR. Station , now the site of the Shawmut Red Line M.B. T. A. Station.Today,Wellesley Park occupies most of what was the easterly half of the Thomas Vinson heirs’ land. Paisley and Centervale Parks as well as Upland Avenue were set out over two large parcels owned by the estate of Walter Baker.
Melville Avenue, sometimes locally referred to as Melville Park, despite its lack of mid-street green space, was built-up with unusually ornate residences during the late 1870s and early 1880s. The lavishly detailed Queen Anne house with its unusual stained-glass window at 35 Melville Avenue, corner of Allston Street, was designed by the then city architect of Boston, Arthur H. Vinal, as his own home. Vinal was also responsible for the design of neighboring houses, apparently as Douglas Shand Tucci notes “to stimulate development and control it carefully by establishing the street’s character.” Vinal designed 29, 35, and 37 Melville Avenue and is credited with the design of 39 Melville Avenue by Tucci. Additionally, the towered,well-detailed house at 33 Melville Avenue was designed by L. Underwood in 1886 and together with the Vinal-designed residences “constitutes one of the most sumptuous ensembles in the city of late nineteenth-century streetcar-suburb architecture.” Arthur H. Vinal (1854-1923) was Boston City architect during the mid 1880s and while serving in that position was responsible for many public schools, engine houses, police stations throughout the city including the Boylston Street Police and Fire Station, corner of Hereford Street, Back Bay (1884) and the Joy Street Police Station, Beacon Hill (1888). He also designed many houses along developing Bay State Road including 58-60, 158-164, 166, 196-202, 204, 207-213 and a 10-unit apartment building at 96. Vinal was also the architect of 493 Commonwealth Avenue and the “Colonial” apartments at 382 Commonwealth Avenue, both dating from 1895. From the late 1870s through the 1890s,Melville Avenue’s new residences became home to affluent Boston businessmen_ Listed below is a roster of early owners and architects responsible for some of Melville Park’s exceptionally well-designed houses:
2 Melville Avenue was built ca. 1885-93 for Louisa M. Smith who lived here during the 1880s-early 1900s.
3 Melville Avenue was built in 1881 from designs provided by E.A. Poe Newcomb, perhaps best known for his enormous, three-turreted Second Empire Lowell Rail Road Station (1871-79) which was torn down in 1927 to accommodate the Boston Garden.
4 Melville Avenue was built ca. 1875-83 for M. L. Merrihew, treasurer of an unspecified company located at 43 Milk Street. By 1894 this house was owned by Annie S. and Edward F. Dunham of Clotman, Dunham, boots and shoes, 112 Summer Street.
6 Melville Avenue was built in 1879 from designs provided by E A. Poe Newcomb, architect of 3 Melville Avenue . By 1884, this building was owned by the Second Parish Church of Codman Square, Dorchester and evidently served as a rectory.
10 Melville Avenue was built in 1880 by George Meacham, designer of Boston’s Public Garden in 1860. It was originally owned by John W. Field of J.W. Field & Company, leather, 105 Smith Street, Boston.
12 Melville Avenue was built in 1883-84 for Sarah C. and Benjamin B. Whittemore, Insurance, Kilby Street, Boston. It was designed by the aforementioned Boston City architect Arthur H. Vinal. This house’s builder was H.P. Caseman of Neponset.
17 Melville Avenue was built ca. 1885-93 for an unidentified owner and represents the work of E.L. Clark, architect and F.D. Morrell, builder .
18 Melville Avenue was built ca. 1885-93 for Nellie and William Terhune manager of “Boot and Shoe Recorder, 11 Columbia”.The Terhunes lived here until at least the early 1900s.
20 Melville Avenue was built ca. 1885-93 for a George O. Lamphear (occupation?).
24 Melville Avenue was built ca. 1885-1893 for Mary E. Mansfield. She is also listed as the owner of this vacant lot in 1884.
25 Melville Avenue was built ca. 1885-93 for Clara F. Pierce.
27 Melville Avenue was built ca. mid 1890 from designs provided by Maine architect E. B. Blaisdale.
28 Melville Avenue was built in 1891 for Hester W. and Robert Brown Jr.. Brown was also the architect of this house and its builder was Julian H. Mason. The cost of this house’s land, which had been owned by the Pettingill family in 1884 was $4,700.00.
29 Melville Avenue was built ca. 1884-93 for Juliette N. Spaulding from designs provided by Arthur Vinal.
30 Melville Avenue was built ca. 1875-83 for an H.M. Rogers. By 1894, this house was owned by Helen R. and Edward S. Farwell who commuted to an unspecified business at 13 Bromfield Street, Boston.
31 Melville Avenue was built ca. 1885-93 for Annie J. Weston.
32 Melville Avenue was built ca. 1875-83 for Emily K. and Charles F. Bush who worked for an unspecified company at 387 Washington Street, Boston.
33 Melville Avenue was built in 1886 for Joseph Breckenridge, foreman, 31 Hawley Street, Boston.Designed by architect L. Underwood, it was built by R.M. Parks.
34 Melville Avenue was built between 1875 and 1883 for Horatio B. Alden, Secretary of the India Mutual Insurance Company, 17 Congress Street, Boston.
35 Melville Avenue was built and designed by and for Arthur H. Vinal in 1882. By 1894, a W.T. Sullivan lived here.
36 Melville Avenue was built ca. 1885-93 for Royal Whiton, General Manager and Eastern agent for the Ogdensburg Transit Company & Canada Atlantic F.F. Line, 260 Washington Street.
37 Melville Avenue was designed by Arthur H. Vinal c.mid 1880s. By 1894, its owner was Sophia B. Adams.
38 Melville Avenue was built c.1875-83 for Julius Pratt, insurance agent whose offices were located at 55 Kilby Street, Boston and the Field Building, Dorchester. Evidently Pratt lived at 19 Beach Street , Clam Point, Dorchester during the 1890s while retaining ownership of the Melville Avenue house.
39 Melville Avenue has been attributed to Arthur H. Vinal and was built for Charles W. Bartlett of Bartlett and Anderson, a law firm at 31 Hawley Street, Boston. It was built ca. 1885-93.
41 Melville Avenue was built ca. 1885-93 for Albert Eaton, clerk, 256 Federal Street, Boston.
Standing at the southern entrance to Wellesley Park, 56 Melville Avenue was built c. 1899-1909.This house’s land was owned by W.H. Haddock and C.W. Allen in 1898. Haddock and Allen were the developers of Wellesley Park during the 1890s. Haddock was a carpenter who was probably responsible for the construction of this house. During the 1910s this house was owned by Harriet A. Greenwood. By 1933 it was occupied by Harry Mandelstam, lawyer, 294 Washington Street, Boston and George A. Vail of Vail’s Buffet Lunch.
92 Melville Avenue was built ca. 1885-93 and was owned by the Fuller (1890s), Thompson 1910s) and Lawler families (1930s).
98 Melville Avenue was built on land that owned by the Walter Baker Trust in 1894. By 1898, this house was owned by Helen H. and Elisha B. Worrell, lecturer. By 1918, this house was owned by Caroline M. andAmbrosio Piotti, President of the Piotti Contracting Company.
Set out over the former Vinson farm, Wellesley Park, first appears on a plan of September 1, 1897 which shows houselots on the east and west sides of a one acre oval park extending back to Upland Avenue and the Shawmut Branch of the New York, New Haven and Hartford Railroad, respectively. Developers Haddock and Allen, together with civil engineers Frank A. Allen and Charles F. Dexter were responsible for the lay-out of this remarkable enclave. Clayton W. Allen is listed as an architect on Boston Building Department permits while W.H. Haddock was a builder. Actually, both Haddock and Allen are listed as the builders of Wellesley Park houses. Wellesley Park’s detached wooden houses, for all their lively Queen Anne surface treatments and boxy forms, occasionally made asymmetrical by corner towers, are essentially middle class houses that do not begin to approach the complex forms and profuse ornamentation evident in the upper middle class residences of Melville Avenue. Wellesley Park may be seen as a descendant of the urban park “squares” designed by Charles Bulfinch at the Tontine Crescent in downtown Boston (mid 1790s) or Louisburg Square (1830s) on Beacon Hill. A more direct prototype for Wellesley Park may have been Chester Square in the South End (1850s). Further research is needed on the work of Haddock and Allen.
By 1898, fourteen houses and eighteen vacant lots bordered Wellesley Park. Lots cost between $4,000.00 to $5,000.00. Judging by a sampling of building permits, Haddock and Allen were the builders and original owners of a fair number of these houses, including 32; 38; 42; 44 / 50 Wellesley Park West ; 41 Wellesley Park East.
26 Wellesley Park was built in 1898 for Harvey Wait of Third Street, South Boston. It was designed by C. W. Allen and built by Haddock and Allen. 27 Wellesley Park East was built in 1899 for George T. Richards from designs provided by A. Warren Gould. Richards is also listed as this house’s builder. 57 Wellesley Park East was standing by 1898 and was originally owned by Andrew Erickson, sail, tent and awning maker.
Wellesley Park, has been the subject of preservationists’ concerns twice in its existence. During the early 1900s, Haddock and Allen almost spoiled what is probably their greatest creation. Although the new homeowners had been assured by the developers that the center piece would remain open space, they were amazed to discover the commencement of house construction activities and surveyors taking measurements on the park oval. Following a meeting of all Wellesley Park residents, Haddock and Allen were unsuccessfully approached about their concerns for this green space. The residents brought their concerns about this incipient encroachment to the attention of Alderman Frank Brand of Melville Avenue and the matter was subsequently taken up with the City of Boston Board of Alderman. The Aldermen told the residents that the City had no money to buy the land but if the residents were willing to buy the park and give it to the City of Boston, the City would keep it as an ornamental park. The Aldermen promised that this park would never be utilized for the purposes of recreation or strolling. According to Adelaide M. Robertson of 56 Wellesley Park, writing in 1959, “The money was subscribed for the purchase of the center piece of land by every home owner, each one paying an equal amount. A lawyer by the name of Smith who lived in the Nickerson home, but not an owner, offered to take care of the legal side of the transaction.”
By the fall of 1908, all of the money had been collected from the Wellesley Park residents for the purchase of this land. To celebrate this achievement, a banquet was held at the Hotel Thorndike which once stood on Boylston Street opposite the Public Garden. During the spring of 1909, the City began to transform the park from an ordinary field into a center plot that was shaped, curbed and seeded along with the planting of young maple trees and gardens; new sidewalks were put in with green lawn and curbing. Beautiful tulip beds blossomed every spring and towards the end of May they were replaced with other flowering plants. According to Miss Robertson, “a gardener was stationed here four or five days a week in the summer to weed, water and mow.” F2ch resident was assessed for the park maintenance work performed by the City; this was called a Betterment Tax and was payable in equal amounts over a period of years.
The names of those who paid for the park included east side residents: E.A. Uerbach, Charles Brandt, Edwin E. 13t77ell, L. Isabelle Cohen, Isaiah Hinckley, William Houseman, James H. Robertson (father of Wellesley Park historian Adelaide M. Robertson), G. Carlton Russell, Howard G. Salisbury, Daniel J. Sullivan, Charles H. Wait (committee leader), Charles S. Wentworth and Frank T. Fuller; west side residents included: John F. Dacey, Mary H. Erickson, John L. Farrell (treasurer), Henry H. Green, Hosea Harden, Eliot D. Jacques, Ellen M. Murphy, Ada M. Nickerson, Frank R. Thurston, Solomon Weiscopf, John C. Weston, Arthur H. Woodcock and Alex Mc Kinley.
Ongoing since c. 1970 has been a second effort on the part of residents to preserve the unique architectural heritage and landscape features of Wellesley Park through the exterior and interior restoration of the houses and a renewed interest in the maintenance of the center piece. In 1979, the Melville-Park Neighborhood Association sponsored a tour of ten houses in this area which included a Haddock and Allen -designed house on Wellesley Park.
Wellesley Park, however, was not the first residential park enclave in this area. By 1894, three other parks, including Tremlett Square, Centervale Park and Paisley Park were either in the planning stages or well on their way to complete development.
Tremlett Square represents a continuation of Tremlett Street which was set out through the Alexander Beal estate between 1874 and 1884. By 1884, Tremlett Street extended as far as Hooper Street. 12 Tremlett Street is evidently the Beal House shown on the 1874 Atlas and moved back slightly to the north to accommodate Tremlett Street; this atlas shows the Beal stable (demolished) straddling the path of Beal Street By 1894, Tremlett Square and been set out and was bordered by nineteen houses, representing the first park square to be completed in this area Jacob Brodie, manager of the National Supply Company, 45 Temple Place, Boston owned a number of properties around this square in 1894, including 37 and 46 Tremlett Square along with lots on either side of these houses. 43 Tremlett Square and 46 Tremlett Square were extant by 1894 and owned by James N. Clark (occupation?) and Gertrude E. Morris, respectively. By 1910, Tremlett Square was completely built up with middle class Queen Anne and Shingle Style houses.
Centervale and Paisley Parks, on the east side of Upland Avenue were set out between 1891 and 1894 over part of the extensive Walter Baker estate. In 1891, Eleanor Jameson Baker, widow of Walter Baker of the Baker Chocolate Company died at Intervale, her mansion (demolished) at the corner of Park and Washington streets. Mrs. Baker’s heirs, capitalizing on transportation improvements of the 1890s such as the electric trolley as well as proximity to the existing New York, New Haven and Hartford commuter line, set out these residential park enclaves. Centervale Park was originally called Intervale Park and its two narrow elliptical parks are shown for the first time on the 1894 Atlas. In that year, three houses were extant bordering this park including, 6 Centervale Park owned by the Baker heirs, 17 Centervale Park, owned by Louis S. Galloup, employed by the C. E. Cummings & Co., furniture dealers and 15 Centervale Park which was owned by Mary S. and Charles B. Tolford an electrician with a business at 182 Freeport Street, Dorchester. Walter S. Baker owned the remaining 12 lots. By 1898, four more houses had been built along these green spaces, including, 1 Centervale Park, home of Jennie A. Reidel, 2 Centervale Park, home of Isaac H. Eddy, partner in the famous Darius Eddy & Sons Refrigerator Co. at 336 Adams Street, Dorchester. Mr. Eddy grew up on Parkman Street in the Kings Square area. 3 Centervale Park was owned by Robert Riedel, furrier and 10 Centervale Park, home of Agnes Mc Carthy, widow of Daniel. By 1910, Centervale Park was completely built up with houses targeted for economically secure, middle income home owners.
The last of these residential enclaves to be developed, Paisley Park appears on the 1894 Atlas as a street containing two narrow eliptical green spaces bordered by undeveloped land owned by Walter S. Baker. Unlike Centervale Park, the majority of Paisley Park’s houses were built to accommodate two families. Paisley Park’s houses have fewer pretentious to “cutting edge” design and were evidently intended for a slightly less affluent clientele than the predominantly single family homes of Paisley Park. Today, Paisley Park’s green spaces are no longer extant. Further research is needed to determine when these parks disappeared or if they were ever set out. By 1898, the north side of Paisley Park was completely built-up, while the south side remained undeveloped. In 1898, Paisley Park’s houses included, 4 Paisley Park, owned by Jabiet W. Murray (occupation?); 6 Paisley Park , owned by Estella A. Howard; 8 Paisley Park,owned by Catherine O’Neil; 10 Paisley Park ; owned by Celine and Elizabeth A.D. Bassett, 12 Paisley Park , owned by Charles H.Buxton clerk, 26 Franklin Street, Boston; 14 Paisley Park , owned by Mary C. and George G Lazzarro, hairdresser; 27 State Street, Boston, 16 Paisley Park, owned by Emily and Aaron Wolfson, employee of the New England Railroad; 18 Paisley Park , owned by Henry W. Stone of Leopold Sporting Garment Manufacturers, 37 Essex Street and 20 Paisley Park, owned by Charles H. Noone.
By 1910, Paisley Park was completely built- up with the houses; the majority of the dwellings on the south side of the “park” were owned by Gideon L. Davidson, builder. He was probably responsible for the construction of the dwellings numbered 11 to 21 Paisley Park. Mr. Davidson’s own house was at 9 Centervale Park, then called Intervale Park. In 1910, 27 Paisley Park was owned by Melvin F. Gilpatrick (occupation?). 31 Paisley Park was occupied by James Slattery, printer and William F. Slattery, insurance broker. 35 Paisley Park was owned by John G. Rheinhardt, (occupation?). Paisley Park’s early residents were of Irish, Italian, Jewish and German backgrounds, many of whom may have been the first generation of their families born in America or may in fact have been born outside of this country. Paisley Park undoubtedly represented the fulfillment of a dream to live in the suburbs, far from the urban density of Boston neighborhoods like the North, South and West Ends.
Adjacent to Centervale and Paisley Parks on the west, Upland Avenue was also developed on Eleanor and Walter Baker heirs land between 1891 and 1910. One of the grandest houses on this street is 10/12 Upland Avenue which was built ca. 18941897 for Flora A. Moulton and Mary Moulton, teacher. By 1910, this house was owned by Frances Meisel, president of the Meisel Press and Manufacturing Co. at 944 Dorchester Avenue. 21 Upland Avenue was one of several properties in the Melville Avenue/Wellesley Park area built and originally owned by real estate engineer Charles F. Baxter. This Colonial Revival house dates to c.1894 and is reputed to have Lincrusta wallpaper in the vestibule and a mahogany fireplace mantle in its parlor.
Lyndhurst Street was set out during the 1880s. Lined with the houses of the middle and upper middle class, this street possesses a fine collection of Queen anne houses. 92 Lyndhurst Street represents one of the largest residences built in the Melville Avenue/Wellesley Park area. Built for a wealthy and as yet unidentified home owner, it was designed in the Queen Anne/ Colonial Revival style by Boston architect A.B.Pinkham in 1899. That a large, richly-detailed residence was built at this location has to do with its proximity to the enclave of ornate houses around the Allston Street corner on Melville Avenue designed by Arthur H. Villa’ during the 1880s. It is said that this house was built by craftsmen and artisans frfom the Chickering Piano factory in the South End. Lavishly appointed within, this house is reputed to have an alabaster fireplace with ceramic logs in the parlor, Lincrusta wallpaper on the library’s walls and a pressed, hand painted ceiling in the dining room. 55 Lynhurst Street was built in 1892 by and for builder Joseph H. Beals from designs provided by Thomas L.Barlow. Further research is needed on the houses of this interesting street.
The only non-residential building in this area and representative of early 20th century growth more directly associated with the Codman Square area is the Dorchester Municipal Court Building at 508-512 Washington Street. It was built in 1925 by Thomas O’Connor and Co. from designs provided by Mulhall and Holmes.
The Melville Avenue/ Wellesley Park area , like Carruth’s Hill and Ashmont Hill, is a fascinating example of the type of “railroad suburb” suburb that evolved before the later “street car suburbs” of post-1890. Melville Avenue, in particular, is illustrative of an enclave designed for families of considerable means whose heads of households commuted to white collar jobs in downtown Boston, enjoying the proximity of the New York, New Haven and Hartford Commuter train which was introduced to this area in 1870. By the 1890s, the electric trolley and the partitioning of Walter Bakers’ extensive Intervale estate made this area accessible to a more middle class clientel of home buyers. By 1910, this area was substantially built up with housing, that in many cases represents the best in ca. 1875-1900 suburban residential design by the leading architects of the day, including Arthur H. Vinal, A. B. Pinkham E. A. Poe Newcomb and A. Warren Gould.Further research may show a trend after 1930 toward subdividing a number of the larger single family residences into apartments. Further research may show a trend after 1930 toward subdividing a number of the larger single family residences into apartments.
By 1910, Paisley Park was completely built- up with the houses; the majority of the dwellings on the south side of the “park” were owned by Gideon L. Davidson, builder. He was probably responsible for the construction of the dwellings numbered 11 to 21 Paisley Park. Mr. Davidson’s own house was at 9 Centervale Park, then called Intervale Park. In 1910, 27 Paisley Park was owned by Melvin F. Gilpatrick (occupation?). 31 Paisley Park was occupied by James Slattery, printer and William F. Slattery, insurance broker. 35 Paisley Park was owned by John G. Rheinhardt, (occupation?). Paisley Park’s early residents were of Irish, Italian, Jewish and German backgrounds, many of whom may have been the first generation of their families born in America or may in fact have been born outside of this country. Paisley Park undoubtedly represented the fulfillment of a dream to live in the suburbs, far from the urban density of Boston neighborhoods like the North, South and West Ends.
Adjacent to Centervale and Paisley Parks on the west, Upland Avenue was also developed on Eleanor and Walter Baker heirs land between 1891 and 1910. One of the grandest houses on this street is 10/12 Upland Avenue which was built ca. 1894-1897 for Flora A. Moulton and Mary Moulton, teacher. By 1910, this house was owned by Frances Meisel, president of the Meisel Press and Manufacturing Co. at 944 Dorchester Avenue. 21 Upland Avenue was one of several properties in the Melville Avenue/Wellesley Park area built and originally owned by real estate engineer Charles F. Baxter. This Colonial Revival house dates to c.1894 and is reputed to have Lincrusta wallpaper in the vestibule and a mahogany fireplace mantle in its parlor.
Lyndhurst Street was set out during the 1880s. Lined with the houses of the middle and upper middle class, this street possesses a fine collection of Queen anne houses. 92 Lyndhurst Street represents one of the largest residences built in the Melville Avenue/Wellesley Park area. Built for a wealthy and as yet unidentified home owner, it was designed in the Queen Anne/ Colonial Revival style by Boston architect A.B.Pinkham in 1899. That a large, richly-detailed residence was built at this location has to do with its proximity to the enclave of ornate houses around the Allston Street corner on Melville Avenue designed by Arthur H. Vinal during the 1880s. It is said that this house was built by craftsmen and artisans from the Chickering Piano factory in the South End. Lavishly appointed within, this house is reputed to have an alabaster fireplace with ceramic logs in the parlor, Lincrusta wallpaper on the library’s walls and a pressed, hand painted ceiling in the dining room. 55 Lynhurst treet was built in 1892 by and for builder Joseph H. Beals from designs provided by Thomas L.Barlow. Further re arch is needed on the houses of this interesting street.
The only non-residential building in this area and representative of early 20th century growth more directly associated with the Codman Square area is the Dorchester Municipal Court Building at 508-512 Washington Street. It was built in 1925 by Thomas O’Connor and Co. from designs provided by Mulhall and Holmes.
The Melville Avenue/ Wellesley Park area, like Carruth’s Hill and Ashmont Hill, is a fascinating example of the type of “railroad suburb” suburb that evolved before the later “street car suburbs” of post-1890. Melville Avenue, in particular, is illustrative of an enclave designed for families of considerable means whose heads of households commuted to white collar jobs in downtown Boston, enjoying the proximity of the New York, New Haven and Hartford Commuter train which was introduced to this area in 1870. By the 1890s, the electric trolley and the partitioning of Walter Bakers’ extensive Intervale estate made this area accessible to a more middle class clientel of home buyers. By 1910, this area was substantially built up with housing, that in many cases represents the best in ca. 1875-1900 suburban residential design by the leading architects of the day, including Arthur H. Vinal, A. B. Pinkham E. A. Poe Newcomb and A. Warren Gould.Further research may show a trend after 1930 toward subdividing a number of the larger single family residences into apartments. Further research may show a trend after 1930 toward subdividing a number of the larger single family residences into apartments.