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for the execution of the original scheme. It is also evident that
Bulfinch's approaching financial ruin precluded the construction of anything so costly as the projected northern crescent. As it was, the architect was hopelessly in debt when he began building on the north side of Franklin Place, probably in December 1794. The earliest reference to the project is in Pemberton's description of the recently completed Crescent: "The opposite side is intended to be built in a straight line, and in a varied style of building." On October 15, 1795, the eastern half of one of the buildings, Number 22, was sold to John McLean for $ 8,000, and it is presumed the range of four brick double houses was completed shortly thereafter. The entire property, including the houses in the Crescent and the four double ones in Franklin Place, was assessed in the Direct Tax of 1798 at something over $ 125,000. By that time, five years after the beginning of construction on Franklin Place, all twenty-four properties had been sold and were occupied by the families of prominent businessmen and men of letters.
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somewhat larger in area. The end houses were placed obliquely to the middle ones and thus corresponded to the east and west pavilions of the
Crescent; the slight angle helped keep the street openings as wide as possible. The houses on both sides of the street had identical fanlight entrance doors, and despite Pemberton's prediction of variety in architectural treatment, the double houses were quite similar to the opposing Crescent. The major stylistic differences were Bulfinch's exclusive use of swag panels in the Crescent and recessed brick arches in the houses across the way. No floor plan has been discovered but it is presumed the double houses had the traditional arrangement of two rooms on either side of a transverse hallway divided, as in the Crescent, by main and service staircases. The two center units were much larger than the pairs at the ends and included tiny fenced-in front gardens. The row faced south on the enclosed grass plot and was considered at the time the most modern and pleasant range of houses in Boston.
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496:. Two women owned houses: Abigail Howard, a founder of the Boston Library Society, and Elizabeth Amory. While wealthy merchants and prominent men of letters inhabited both the Crescent and the houses across the street, it was the free-standing houses that became the most fashionable, even though they were more expensive and the side yards were very narrow; Bostonians had a deep-seated preference for even the narrow yards of semi-detached houses as opposed to the block of connected houses, two walls in each of which had to be windowless. The pattern held true in the late 19th and early 20th centuries: except for a few houses in the
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central building. Despite the rooms' long, narrow configuration, lavish entertainment could still take place, in part because the high ceilings made the rooms seem larger. Bulfinch's drawing of the
Crescent suggests that the first- and second-floor windows were of the same height; this is consistent with the interiors shown in the painting and contrasts with London terraces of the period, where the second-floor parlor windows were usually taller. The furnishings that Sargent depicts represent contemporary high-style Boston interiors, in most respects similar to what could be found in London. The dining room in
160:. Bulfinch completed the project, including its complementary file of four double houses facing across the grass plot (17-24 Franklin Place), but in so doing sacrificed both his and his wife's fortunes. As events proved, the Crescent was far too ambitious an idea for either the man or the times, and he and his family were ruined by his determination to finish it at all costs. However, he was gratified "in knowing that not one of my creditors was materially injured, many were secured the full amount, and the deduction on the balance due to workmen did not exceed 10 PC on their entire bills."
206:, Boston still had enough space in most locations to accommodate single dwellings with small gardens. However, as land values began to rise, many newer dwellings began to be built with their narrow ends to the street and their entrances on the side. With his long row of attached houses, Bulfinch gambled that wealthy individuals would not mind living in relatively cramped quarters. Knowing that most wealthy Londoners living in garden squares also had country estates, he believed perhaps that potential residents of Franklin Place would also have summer homes with large gardens elsewhere.
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53:, in 1793–95, included a row of sixteen three-story brick townhouses that extended in a 480-foot curve, a small garden, and four double houses. Constructed early in Bulfinch's career, Franklin Place came after he had seen the possibilities of modern architecture in Europe and had determined to reshape his native city. It was the first important urban housing scheme undertaken in the United States, and the city's first row-house complex. However, years of decline and the push of industry into the area forced its demolition in 1858.
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318:. While much smaller than its London counterparts, the garden was important for recreation, and its shape echoed that of the surrounding buildings. Also unlike in London, where gated streets allowed entry only to residents, access to the garden was not restricted and it could be enjoyed by visitors to the Library and Historical Societies, as well as by theater- and church-goers. As
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256:'s attic. (Granted, Bulfinch and his partners did realize it might be difficult to find buyers for the two pavilion rooms, potentially unsuitable for residences.) The Library Society remained there until the building's demolition in 1858, when the city paid it $ 12,000 for its room, while the Historical Society stayed until 1833, moving next to the
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pavilion, slightly higher than the
Crescent's wings, with a large arch that spanned a passageway passing entirely through the structure, an attic story and two secondary pavilions projecting 6' forward from the middle section. The form was suggested by Queen's Square in Bath, constructed more than half a century earlier by
187:, which Bulfinch knew both as a center of Neoclassical building in London and as the haunt of exiled Tory relatives and family friends. (Adelphi too was a financial disaster, and the Adam brothers saved their project only through a lottery and the sale of their art collections; Bulfinch lacked such resources.)
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Between the
Crescent and the double houses was a wrought-iron-fenced semi-oval grass plot 40' wide at its center and about 280' long, with shade trees; it was at the heart of the city's first garden square. In 1795, Bulfinch placed a large Neoclassical urn (similar to one executed by Robert Adam) and
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in the 17th century. Money for the enterprise was to be raised by selling shares of stock to the members of the public, who would later share in the profits from the sale of the homes. It is essentially an annuity, the shares passing on the death of each beneficiary to the surviving partner until all
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The
Tontine Crescent and the other houses in Franklin Place were acquired by the city "for the public convenience" and razed in 1858 to make way for blocks of large stone stores and granite warehouses in Franklin Street. These buildings, along with a single elm remaining from the garden (plus three
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As the site plan made for the
Historic American Buildings Survey shows, the axis of the Crescent and the double houses opposite was along the line of Arch Street with the Franklin Urn serving as a focus. The four double houses were of the same architectural proportions, although the middle pair was
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An economic downturn meant that subscriptions came too slowly to meet bills, and
Bulfinch went bankrupt in January 1796, turning from a comfortable situation as a gentleman concerned with architecture to a laborious life of architectural practice and public service. Financial troubles continued to
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The four double houses in
Franklin Place substituted for the northern half of what was planned as a double crescent separated by an oval of grass. This solution, although less aesthetically successful, was dictated by difficulties in acquiring sufficient land adjoining the estate of Thomas Barrell
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building in London was another inspiration for the central building. The houses' brick exterior walls were painted gray to simulate masonry and the architectural detail, apparently all of wood, was painted white. Delicate decorative devices were present on the handsome three-floor houses, each 27'
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Shortly after the
Crescent's completion, the newly widened Arch Street was extended through the center archway, and other connecting streets were opened to the south and east. The addition of these new streets reflected the growth of the downtown business area immediately surrounding the complex;
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and the façade of the Kirstein Business Branch of the Boston Public Library (built 1929–30), which replicates the entire central portion of the Tontine. Despite residents' general aversion to connected structures, hundreds of brick row houses in the area draw inspiration from the Bulfinch
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must have been adjoining parlors, most likely on the second floor above the first-floor dining room. The graceful archway connecting the two rooms in the picture is a Neoclassical architectural detail used by Bulfinch to relate the interior of the house to the Palladian window on the Crescent's
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were developing an exclusive residential neighborhood on Mount Vernon just to the west of Beacon Hill that was beginning to lure affluent residents farther from the central business district, middle-class residents began to move in. The single-family dwellings were soon converted into boarding
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called the style "the most improved of modern elegance" and was especially impressed by the spacious rooms and the attention given to household conveniences: "Each house will have annexed to it a pump, rain water cistern, wood house, and a stable, and a back avenue will communicate to all the
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Thomas Pemberton described the Crescent at the time of completion as "a range of sixteen well built and handsome dwelling houses, extending four hundred and eighty feet in length ... The general appearance is simple and uniform." As Bulfinch's elevation shows, the chief feature was a central
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houses. The new residents were less concerned with the neighborhood's overall appearance, as seen from late photographs that show the garden overcrowded with small shrubs planted randomly among the trees, and a wood picket fence replacing the original iron posts and chains.
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stables." Bulfinch was also praised for presenting the large room behind the Palladian window above the arch to the Boston Library Society and the attic above to the newly founded Massachusetts Historical Society, which at the time was lodged in the northwest corner of
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and lunettes. The plan, which featured two large rooms (about 18' x 18') on each floor offset by a hallway with main and service staircases, was traditional with London row-house builders since the 17th century. Indeed, the Neoclassical façade of the Adam brothers'
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Jeremy Belknap's sketch of September 20, 1794, shows the completed Tontine Crescent but gives no indication of building on the north side of Franklin Place. The sketch is in Belknap to Ebenezer Hazard, same date, Belknap papers, Massachusetts Historical
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are lighter in feeling, more feminine, and ornamented with many French and Italian decorative objects. The women are adorned with the latest and most expensive fashions of the day—column-like Empire gowns with accompanying shawls.
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Still, perhaps because it was so tiny, it was never mentioned in advertisements for the crescent houses; unlike in London, where the garden was the main selling point, here it was the houses' architectural style. Goodman, p.
226:, and its main architectural distinction, three ranges of pilasters rising two stories above an architectural basement, is taken from the Adelphi. Moreover, the structure contained all the Neoclassical elements of the new
145:, State-Street." By the end of the month a sufficient number of subscriptions had been received to warrant the letting of contracts for "the framing, and the door-cases and window-frames of the proposed Tontine Building."
500:, Bostonians at every class level utterly rejected the connected town house block and instead turned back to some version of the 18th- and early 19th-century ideal of the garden lot and free-standing town house.
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structure, including Worcester and Chester Squares in the South End; West Hill Place and Charles River Square on Beacon Hill; a set of fifteen attached brick and half-timbered town houses on Elm Hill Avenue in
535:. The graceful curve and unusual width of Franklin Street today below Hawley Street are reflections of the Crescent's ground plan. Architectural descendants include the Sears Crescent near today's
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granite accessible, Bulfinch began at once to use it in his work. Shand-Tucci, p. 11. However, he was also inspired by the painted stucco over brick examples he had seen in London. Goodman, p. 30.
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are held by a single shareholder, or being divided among surviving stockholders at the end of a stated period. Although this method of financing was in rather wide use in Europe at the time, the
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Once finished, the Crescent received unanimous praise from contemporaries. Asher Benjamin claimed it "gave the first impulse to good taste; and to architecture, in this part of the country."
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This innovative project for a new and fashionable residential district south of the central business district was located in an undeveloped, unpromising bit of fields and marshlands between
519:, published in 1858 just as demolition was underway: "There were the shrubs and flowers in the Franklin-Place front-yards or borders; Commerce is just putting his granite foot upon them."
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wide, but ornament was so restrained that there were no frames around the windows. The identical doorways were spaced two to a porch. Each floor consisted of two large rooms, described by
345:, and were a bold move, considering that Puritan Boston had banned theatrical performances until December 1793 and had displayed religious intolerance throughout its history.
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plague him, such that he spent July 1811 in debtors' prison, but the Crescent and Franklin Place helped transform Boston from an 18th-century town into a 19th-century city.
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Bulfinch's first attempt to introduce monumental town planning into Boston, the Crescent was an interesting failure, unlike any other building in America. In fact, not even
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Contrast with the traditional English leasehold system, in which buyers purchased houses already built by speculative builders and then signed leases with the estate owner.
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1824). These probably represent actual parties that took place in Sargent's home at 10 Franklin Place, on the Crescent. Based on Bulfinch's plan, the two rooms depicted in
198:—Bulfinch's former employer, who had a house on Summer Street—had partially drained and converted into a fish pond in his garden. Its western edge intersected today's
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141:, in a central situation, and a scheme of tontine association. The proposals for subscription, and the plans of the Houses, may be seen at the office of Mr.
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683:, December 4, 1793. While the houses were complete by autumn 1794, apparently the last were sold in 1796, the sale being delayed by Bulfinch's bankruptcy.
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Building began with less than 50% of the shares taken up and continued in a discouraging atmosphere created by the prolonged negotiations over the
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is quite masculine, with mahogany furniture and large portraits suitable to the gathering of gentlemen, the two parlors or drawing rooms shown in
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observed in 1794, the garden "will contribute to the ornament of the buildings, and be useful in promoting a change and circulation of air."
171:—a memory reinforced by a folio of Bath pictures preserved in his library. The Crescent no doubt also owed something to the well-known plan
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230:: attenuated pilasters on the central pavilion and two end pavilions that projected forward several feet, swag panels, and delicate
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In theory, the deeds reserved the garden "for the accommodation, convenience and beauty" of residents alone, but this was not
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this long-lasting push by businesses into the area would eventually doom Bulfinch's buildings. After about 30 years, when the
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Franklin and Arch Streets, as viewed from where the central pavilion once stood. (Shows extension of Arch Street after the
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Highlands originally called Harris Wood Crescent; and a block of fifteen red-brick connected houses on Beacon Street in
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church, directly opposite the theater at the southeast end. These additional amenities for residents recalled what
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refused articles of incorporation and the project ultimately rested on Bulfinch's meager business talent.
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as "spacious and lofty", with a hallway on one side containing both the main and service stairways.
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had a crescent at the time; the architect relied for his model primarily on examples he had seen in
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The public are hereby informed that a plan is proposed for building a number of convenient, elegant
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What the social life in Franklin Place was like is suggested by two paintings, now held by the
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pedestal in the square's center; he had purchased these in Bath and brought them home from his
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In all, then, these were four-story houses: two residential floors, a basement, and an attic.
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329:(1793), the first theater built in Boston, placed at the northeast end of the square, and
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214:; the arch, with Palladian window, was probably taken from the Market in High Street,
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38:, an 1855 illustration demonstrating the street's bustle of carriages and pedestrians
218:, traditionally attributed to Wood also. However, in style the Tontine Crescent was
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A material that was a relatively new innovation for Boston dwellings of the period.
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Leading through toward Summer Street, the arch gave origin and name to Arch Street.
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devised for two half circles of connecting houses as an extension of London's
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of 1785–87. Soon after 1858, the urn, which served as a memorial to the late
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Stone was not easily available and consequently very costly; when the
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empty circular pits that once held trees), were destroyed in the
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The name "Tontine" derives from a financial scheme originated by
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and Summer Street that consisted in part of a quagmire that
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A Topographical and Historical Description of Boston, 1794
202:, and on the east it ended near Federal Street. Until the
621:, p. 20. Hoboken, New Jersey: John Wiley and Sons, 1996,
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85:
77:
69:
904:, p. 64. Cambridge, Massachusetts: Da Capo Press, 1968.
587:, p. 53. Cambridge, Massachusetts: Belknap Press, 2000.
619:
Master Builders: A Guide to Famous American Architects
559:
Kirstein Business Branch of the Boston Public Library.
468:, James Perkins, merchant and principal donor to the
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burying ground because of cramping and fear of fire.
1769:
Demolished buildings and structures in Massachusetts
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Bulfinch's grave, topped by the urn from the garden.
183:. In architectural detail, the Crescent recalls the
179:, as well as certain examples Bulfinch had seen in
600:, p. 60. Boulder, Colorado: Westview Press, 1979,
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1724:denote streets and squares that no longer exist.
583:Whitehill, Walter Muir and Kennedy, Lawrence W.
1141:A History of Architecture: Settings and Rituals
907:
863:
782:
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149:The cornerstone was laid on August 8, and the
89:Bulfinch's elevation and plan for the Crescent
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456:Notable residents of Franklin Place included
1799:Buildings and structures demolished in 1858
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1202:
598:A Concise History of American Architecture
325:Also as part of the complex were included
97:Bulfinch's drawing of the central pavilion
1112:: University Press of New England, 2003,
452:Franklin Street, which retains its curve.
694:The Life and Letters of Charles Bulfinch
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1764:Residential buildings completed in 1795
998:, pp. 86, 100. Amherst, Massachusetts:
902:Charles Bulfinch: Architect and Citizen
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14:
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1075:, p. 110. Boston: Beacon Press, 2007,
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1759:1795 establishments in Massachusetts
1125:The Architecture of Charles Bulfinch
1053:Whitehill and Kennedy, pp. 129, 131.
516:The Autocrat of the Breakfast-Table
56:
24:
617:Maddex, Diane and Lewis, Roger K.
153:was completed the following year.
25:
1810:
1000:University of Massachusetts Press
488:, and his literary associate Dr.
1499:Veterans of Foreign Wars Parkway
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1092:Whitehill and Kennedy, pp. 54-5.
280:Numbers 23 and 24 as painted by
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585:Boston: A Topographical History
333:(begun 1800), the city's first
860:Founded 1791; room given 1794.
851:Founded 1792; room given 1796.
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662:
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611:
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428:Franklin Street looking west,
133:carried the following notice:
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1:
1652:Nubian Square (Dudley Square)
1098:
967:Boston Women’s Heritage Trail
721:Whitehill and Kennedy, p. 53.
692:Bulfinch, Ellen Susan (ed.).
1106:The Garden Squares of Boston
939:the case. Goodman, pp. 31-2.
842:, VI (February 1794), p. 67.
640:The Garden Squares of Boston
7:
124:Massachusetts General Court
10:
1815:
1789:Charles Bulfinch buildings
1779:Financial District, Boston
1444:Jersey Street (Yawkey Way)
1717:
1522:
1364:
1351:
1232:
1180:42.3554361°N 71.0580250°W
1127:, pp. 78–81, 89–90.
533:Great Boston Fire of 1872
511:Oliver Wendell Holmes Sr.
442:Great Boston Fire of 1872
117:, which he introduced in
1794:Crescents (architecture)
1738:Transportation in Boston
1133:Harvard University Press
1129:Cambridge, Massachusetts
830:, preface. Boston, 1833.
828:Practice of Architecture
571:
506:Mount Vernon Proprietors
1733:Neighborhoods in Boston
1224:Streets and squares in
1185:42.3554361; -71.0580250
1145:Oxford University Press
994:Shand-Tucci, Douglass.
743:, p. 250. Boston: 1794.
513:noted these changes in
1784:19th century in Boston
1139:Kostof, Spiro (1985).
1110:Lebanon, New Hampshire
840:Massachusetts Magazine
696:, p. 99. Boston, 1896.
568:
560:
527:
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375:
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320:Massachusetts Magazine
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249:Massachusetts Magazine
242:Massachusetts Magazine
147:
106:
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82:
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65:Central pavilion, 1853
39:
1290:Melnea Cass Boulevard
708:(begun 1754) and the
642:, p. 31. UPNE, 2003,
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558:
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485:North American Review
462:Judith Sargent Murray
451:
439:
427:
420:Demolition and legacy
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316:Mount Auburn Cemetery
301:Other characteristics
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237:Royal Society of Arts
135:
129:On July 6, 1793, the
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88:
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72:
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51:Boston, Massachusetts
30:
1514:West Roxbury Parkway
1449:Massachusetts Avenue
1147:. pp. 619–620.
370:, by Henry Sargent,
355:, by Henry Sargent,
264:17-24 Franklin Place
212:John Wood, the Elder
1489:Turtle Pond Parkway
1454:Morrissey Boulevard
1365:North–south streets
1320:Soldiers Field Road
1250:Commonwealth Avenue
1176: /
1071:Morgenroth, Lynda.
739:Pemberton, Thomas.
490:John S. J. Gardiner
472:'s first building,
380:Museum of Fine Arts
204:American Revolution
1672:Post Office Square
1509:West Boundary Road
1382:Blue Hills Parkway
1305:New Chardon Street
1280:Gallivan Boulevard
1108:, pp. 25–35.
1104:Goodman, Phebe S.
972:2007-10-11 at the
957:Goodman, pp. 33-4.
948:At Goodman, p. 31.
891:Pemberton, p. 250.
730:Goodman, pp. 26-7.
681:Columbian Centinel
638:Goodman, Phebe S.
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454:
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361:
343:St. James's Square
290:
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131:Columbian Centinel
107:
105:Elevation and plan
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91:
83:
75:
67:
40:
1774:Squares in Boston
1746:
1745:
1597:Downtown Crossing
1542:Blackstone Square
1504:Washington Street
1414:Dorchester Avenue
1285:Huntington Avenue
1233:East–west streets
669:Colubian Centinel
548:, built in 1907.
479:Monthly Anthology
474:William Tudor Jr.
331:Holy Cross Church
312:Benjamin Franklin
144:
140:
16:(Redirected from
1806:
1677:Roxbury Crossing
1657:Packard's Corner
1637:Louisburg Square
1617:Haymarket Square
1567:Cleveland Circle
1419:Enneking Parkway
1399:Brookline Avenue
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1123:Kirker, Harold.
1093:
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1032:. Archived from
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826:Asher Benjamin.
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671:, July 31, 1793.
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651:
636:
630:
615:
609:
596:Roth, Leland M.
594:
588:
581:
537:Boston City Hall
470:Boston Athenaeum
409:The Dinner Party
388:The Dinner Party
353:The Dinner Party
282:Benjamin Nutting
142:
138:
115:Lorenzo de Tonti
57:Tontine Crescent
47:Charles Bulfinch
21:
18:Tontine Crescent
1814:
1813:
1809:
1808:
1807:
1805:
1804:
1803:
1749:
1748:
1747:
1742:
1713:
1709:Winthrop Square
1694:Thompson Square
1689:Sullivan Square
1647:Maverick Square
1612:Franklin Square
1602:Egleston Square
1518:
1429:Franklin Street
1409:Columbus Avenue
1377:Atlantic Avenue
1360:
1359:
1349:
1255:Congress Street
1245:Boylston Street
1228:
1222:
1184:
1182:
1178:
1175:
1170:
1167:
1165:
1163:
1162:
1155:
1101:
1096:
1091:
1087:
1070:
1066:
1062:Goodman, p. 36.
1061:
1057:
1052:
1048:
1039:
1037:
1028:
1027:
1023:
1019:Goodman, p. 34.
1018:
1014:
996:Built in Boston
993:
989:
985:Goodman, p. 33.
984:
980:
974:Wayback Machine
965:
961:
956:
952:
947:
943:
934:
930:
924:
920:
916:Goodman, p. 32.
915:
908:
899:
895:
890:
886:
880:
876:
872:Goodman, p. 35.
871:
864:
859:
855:
850:
846:
838:
834:
825:
821:
811:Middlesex Canal
808:
804:
799:
795:
791:Goodman, p. 27.
790:
783:
779:Goodman, p. 29.
778:
765:
760:
756:
751:
747:
738:
734:
729:
725:
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667:
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616:
612:
595:
591:
582:
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526:Sears Crescent.
422:
303:
266:
185:Adelphi Terrace
59:
34:Franklin Street
23:
22:
15:
12:
11:
5:
1812:
1802:
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1706:
1701:
1696:
1691:
1686:
1683:Scollay Square
1679:
1674:
1669:
1667:Peabody Square
1664:
1659:
1654:
1649:
1644:
1639:
1634:
1632:Kenmore Square
1629:
1627:Jackson Square
1624:
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1609:
1604:
1599:
1594:
1589:
1584:
1579:
1574:
1569:
1564:
1559:
1557:Chester Square
1554:
1552:Central Square
1549:
1547:Brigham Circle
1544:
1539:
1534:
1526:
1524:
1520:
1519:
1517:
1516:
1511:
1506:
1501:
1496:
1491:
1486:
1484:Truman Parkway
1481:
1476:
1471:
1466:
1461:
1456:
1451:
1446:
1441:
1436:
1434:Hanover Street
1431:
1426:
1424:Federal Street
1421:
1416:
1411:
1406:
1404:Charles Street
1401:
1396:
1393:Brattle Street
1389:
1387:Bowdoin Street
1384:
1379:
1374:
1368:
1366:
1362:
1361:
1353:
1352:
1350:
1348:
1347:
1342:
1340:Tremont Street
1337:
1332:
1327:
1322:
1317:
1312:
1310:Newbury Street
1307:
1302:
1297:
1292:
1287:
1282:
1277:
1272:
1270:Dedham Parkway
1267:
1262:
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862:
853:
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832:
819:
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781:
763:
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723:
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710:Royal Crescent
698:
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652:
631:
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589:
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494:Trinity Church
421:
418:
335:Roman Catholic
327:Boston Theater
302:
299:
265:
262:
196:Joseph Barrell
177:Portland Place
58:
55:
45:, designed by
43:Franklin Place
9:
6:
4:
3:
2:
1811:
1800:
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1707:
1705:
1704:Uphams Corner
1702:
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1642:Mass and Cass
1640:
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1628:
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1620:
1618:
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1613:
1610:
1608:
1607:Fields Corner
1605:
1603:
1600:
1598:
1595:
1593:
1590:
1588:
1585:
1583:
1580:
1578:
1577:Copley Square
1575:
1573:
1572:Codman Square
1570:
1568:
1565:
1563:
1560:
1558:
1555:
1553:
1550:
1548:
1545:
1543:
1540:
1538:
1537:Andrew Square
1535:
1533:
1532:
1528:
1527:
1525:
1523:Intersections
1521:
1515:
1512:
1510:
1507:
1505:
1502:
1500:
1497:
1495:
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1490:
1487:
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1482:
1480:
1479:School Street
1477:
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1472:
1470:
1467:
1465:
1462:
1460:
1459:Morton Street
1457:
1455:
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1427:
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1383:
1380:
1378:
1375:
1373:
1370:
1369:
1367:
1363:
1357:
1346:
1345:Winter Street
1343:
1341:
1338:
1336:
1335:Summer Street
1333:
1331:
1330:Storrow Drive
1328:
1326:
1323:
1321:
1318:
1316:
1313:
1311:
1308:
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1291:
1288:
1286:
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1281:
1278:
1276:
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1268:
1266:
1265:Day Boulevard
1263:
1261:
1258:
1256:
1253:
1251:
1248:
1246:
1243:
1241:
1240:Beacon Street
1238:
1237:
1235:
1231:
1227:
1219:
1214:
1212:
1207:
1205:
1200:
1199:
1196:
1192:
1189:
1168:42°21′19.57″N
1156:
1154:0-19-503472-4
1150:
1146:
1142:
1137:
1134:
1130:
1126:
1122:
1119:
1118:1-58465-298-5
1115:
1111:
1107:
1103:
1102:
1089:
1082:
1081:0-8070-7132-3
1078:
1074:
1073:Boston Firsts
1068:
1059:
1050:
1036:on 2007-08-05
1035:
1031:
1025:
1016:
1009:
1008:1-55849-201-1
1005:
1001:
997:
991:
982:
975:
971:
968:
963:
954:
945:
938:
932:
922:
913:
911:
903:
900:C. A. Place.
897:
888:
878:
869:
867:
857:
848:
841:
836:
829:
823:
816:
813:of 1803 made
812:
806:
797:
788:
786:
776:
774:
772:
770:
768:
758:
749:
742:
736:
727:
718:
712:(begun 1767).
711:
707:
702:
695:
689:
682:
677:
670:
665:
656:
649:
648:1-58465-298-5
645:
641:
635:
628:
627:0-471-14402-9
624:
620:
614:
607:
606:0-06-430086-2
603:
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534:
524:
520:
518:
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501:
499:
495:
491:
487:
486:
481:
480:
476:, founder of
475:
471:
467:
463:
459:
450:
443:
438:
431:
426:
417:
414:
413:The Tea Party
410:
405:
404:The Tea Party
401:
397:
396:The Tea Party
393:
389:
385:
384:Henry Sargent
381:
373:
369:
368:The Tea Party
365:
358:
354:
350:
346:
344:
341:had done for
340:
336:
332:
328:
323:
321:
317:
313:
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287:
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278:
270:
261:
259:
258:King's Chapel
255:
250:
245:
243:
238:
233:
229:
228:Federal style
225:
224:Neo-Palladian
221:
217:
213:
207:
205:
201:
200:Hawley Street
197:
193:
188:
186:
182:
178:
174:
170:
166:
161:
159:
154:
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134:
132:
127:
125:
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112:
103:
95:
87:
79:
71:
63:
54:
52:
49:and built in
48:
44:
37:
35:
29:
19:
1721:
1699:Union Square
1681:
1587:Dewey Square
1531:Adams Square
1529:
1494:Union Street
1464:North Street
1391:
1325:State Street
1300:Neptune Road
1260:Court Street
1171:71°3′28.89″W
1161:
1143:. New York:
1140:
1124:
1105:
1088:
1072:
1067:
1058:
1049:
1038:. Retrieved
1034:the original
1030:"Chapter 11"
1024:
1015:
995:
990:
981:
962:
953:
944:
936:
931:
921:
901:
896:
887:
877:
856:
847:
839:
835:
827:
822:
805:
796:
757:
748:
740:
735:
726:
717:
701:
693:
688:
680:
676:
668:
664:
655:
639:
634:
618:
613:
597:
592:
584:
579:
550:
529:
514:
502:
492:, rector of
483:
477:
455:
429:
412:
408:
403:
399:
395:
391:
387:
377:
371:
367:
356:
352:
324:
319:
304:
295:
291:
285:
254:Faneuil Hall
248:
246:
241:
222:rather than
220:Neoclassical
208:
189:
162:
155:
148:
143:JOHN MARSTON
136:
130:
128:
108:
42:
41:
31:
1662:Park Square
1622:Hyde Square
1592:Dock Square
1562:City Square
1315:Park Street
1295:Milk Street
1183: /
192:Milk Street
173:Robert Adam
1753:Categories
1582:Day Square
1469:Park Drive
1439:Jamaicaway
1099:References
1040:2007-11-24
815:Chelmsford
706:The Circus
394:1821) and
308:Grand Tour
272:Number 19.
158:Jay Treaty
111:Neapolitan
81:The garden
546:Brookline
339:St Albans
232:fanlights
73:Side view
1729:See also
1474:Riverway
1372:Arborway
1002:, 1999,
970:Archived
937:de facto
882:Society.
498:Back Bay
482:and the
466:Abby May
151:crescent
36:, Boston
32:View of
1722:Italics
1135:, 1969.
542:Roxbury
216:Bristol
113:banker
1275:Fenway
1226:Boston
1151:
1116:
1079:
1006:
646:
625:
604:
432:1860s.
165:London
139:HOUSES
119:France
572:Notes
374:1824.
359:1821.
288:1850.
181:Paris
1149:ISBN
1114:ISBN
1077:ISBN
1004:ISBN
644:ISBN
623:ISBN
602:ISBN
460:and
458:John
169:Bath
926:31.
430:ca.
400:ca.
392:ca.
386:'s
372:ca.
357:ca.
286:ca.
1755::
1131::
909:^
865:^
784:^
766:^
464:,
444:.)
382::
284:,
1217:e
1210:t
1203:v
1157:.
1120:.
1083:.
1043:.
1010:.
976:,
650:.
629:.
608:.
398:(
390:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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