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The Hope Cemetery Guide

The Granite Sculptures.

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History.
Each year visitors from all over the world tour Hope cemetery in Barre, Vermont to see some of the finest examples of memorial design and granite craftsmanship ever produced.

Situated in the "Granite Capital of the World" Hope cemetery presents a rich and distinguished history of memorial art in stone, one of the oldest expressions of American Culture. For these reasons, Hope exerts a profound influence on the memorial art of other cemeteries throughout the country.

Hope cemetery was established in 1895 and originally contained 53 acres. Since that time it has expanded to a total of 65 acres. Edward P. Adams, a nationally known landscape architect, created the original plan for the cemetery. Each new section of grounds is the result of expert counsel and modern design. The careful planning and architectural standards of Hope reflect the most progressive principles in cemetery development.

Cemeteries are judged on their attractiveness to the community, their ease of maintenance and the opportunities they provide for families to memorialize and honor life. Hope Cemetery has achieved outstanding success in fulfilling these standards.

We hope your visit to our cemetery will be a rewarding experience and that you will obtain a better understanding of the importance of family memorials.

A Tale of Two Cemeteries.
A very interesting piece of writing about Hope Cemetery and Elmwood cemetery in Barre giving descriptions on some of the monuments and insights into Barre History. A highly recommended read.

Hope Cemetery has a variety of memorial designs. Here is a representative group of memorials together with their locations in the Cemetery.

Text and Map from "A Visitors Guide to Hope Cemetery"

brochure from the Barre Granite Association.

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A Tale of Two Cemeteries
Elmwood And Hope Cemetery.
By Sally Cary

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Sally Cary has lived in the Barre area for 35 years, coming originally from Connecticut. She has a degree in English from Russell Sage College in New York. She's done research for aldrich Public library on cemeteries and has developed a special interest in cemetery history.

When I was very much younger, I thought cemeteries were places to be avoided, places where there were ghosts who haunted and things that went bump in the night. One shut one's eyes and held one's breath until the cemetery had been passed. Now that I am older, I find cemeteries are fascinating places ­ fascinating because of the beauty of memorial art, the various styles and designs, the skills and craftsmanship that go into the cutting and sculpting a material as hard as granite. Many memorials are truly works of art. Hope and Elmwood cemeteries are often termed "the show places of the Barre Granite Industry."
Elmwood cemetery is the older of the two. It is located at the intersection of Washington and Hill streets in Barre. In 1808 the Congregational Church building was completed just east of the present site of Lincoln School in what was then called Gospel Village. At that time Ezekial Wood, a deacon of the church, donated four acres of his farm for a church-yard burial ground in the manner of the English burial grounds. In 1854, the plot was expanded in size and appropriately named Elmwood cemetery because of its many stately trees. Again in 1920 there was a need for further expansion to the present size of approximately twenty-seven acres.
At Elmwood one can see a variety of styles in monumental design from the very early colonial tablets through the more elaborate and romantic designs of the Victorian era to the contemporary art of the twentieth century. The earliest monuments are found in the "old part" nearest Lincoln School and date from the early 1800s. Most are made of slate or marble; however, local granite predominates in Elmwood. Scattered here and there are a number of zinc metal monuments which were popular after the Civil War. One of particular note is the D. A. Camp memorial. Another zinc monument is on the back side of the cemetery. Legend has it that during prohibition a panel could be removed and bootleg liquor could be stored inside.
Elmwood holds much historical interest. Early residents are buried here ­ Dr. Robert Paddock and his son Dr. Lyman Paddock, first doctors in Barre; John and Rebeckah Goldsbury , first settlers; Rev. Aaron Palmer, the first Congregational minister; Robert Parker, first quarrier; Chapin Keith, judge and tavern-keeper; Joshua Twing, owner of the first foundry and mill; Ira Day who entertained General Lafayette at his tavern in South Barre; Pliney Wheaton who furnished the granite for the state capitol building in Montpelier. And interred here are many more men and women who have contributed to the early life and growth of Barre.
Over on the back line are granite fence posts marking the boundary. Further along is the monument for Levi Bolster and his wife Calista. Take note of the beautifully carved cherubs at the four corners of the family name stone. Mr. Bolster was a business man and banker and founded what is now the First Vermont Bank in Barre. Further along is the monument to William Barclay, Sr. It is a unique, handcarved spiral column rising some thirty feet and topped with a polished urn. Not far from there is the "Jackson Angel" memorializing Dr. J. Henry Jackson and his son Dr. Joe Jackson. It is an unusual piece sculpted from one block of granite. The background cross is "shell rock pitch," all done by hand and now an almost forgotten art.
There is the monument of Jacob and Mary Spaulding ­ a marble statue on a granite pedestal erected by grateful students in remembrance of "his enduring work of faith and labor of love." (Spaulding High School was named after him.) One of my favorites is "Little Max," a charming statue in memory of a curly headed, three-and-a-half year-old boy, dressed as little boys were in the 1890s with his high button shoes and a dress.
Dr. D. C. Jarvis is interred in Elmwood ­ many of many interests ­ a physician, a musician, a nutritionist and author. There is R. A. Nichols, a railroad engineer, whose memorial features a handsome 19th century engine and cab carved on polished granite. Beyond is the Carrie Wheelock monument. She was an active social and civic leader and founder of the Barre Historical Society.
Nearby is a life-size bust of William LaPointe, former Barre mayor, playwright and friend of labor. Further along is the W. G. Cumming mausoleum with a beautiful bronze door embellished with pine cones, laurel and lilies. Mr. Cumming was a machinist and manufacturer of granite cutting tools. On the lawn facing Hill Street is located a granite watering trough moved from the City Park in 1960. There are four bronze lion heads on each side of the base. Since horses no longer refresh themselves there, the Granite City Garden Club fills the trough each year with flowers which bloom until frost. The John G. McLeod memorial is beautiful in its simplicity, a sarcophagus with a lovely mourning figure.
Some works of memorial art executed by hand a century or more ago would be difficult to duplicate today. One is filled with awe and respect for the artistry, the skill and craftsmanship of the designers, the cutters and the polishers. Each craft has made a contribution to the beauty of Elmwood. Truly a walk through Elmwood is a walk through history.
Where Elmwood is Barre's link from the past to the present, Hope is Barre's link from the present to the future. Hope is a uniquely beautiful cemetery that boasts of some of the finest examples of memorial art ever created in this country.
The entrance to Hope cemetery from Upper merchant Street is one of simple, dignified beauty. The figures represent Peace and Salvation. It was sculpted by Carlo Abate, cut by Gino Tosi and Enrico Mori, three unusually gifted men. This entrance sets the mood of artistic merit and serenity one finds with. Hope cemetery was established in 1895 and consists of approximately seventy-five acres, beautifully cared for and landscaped.
Perhaps the one memorial that stands out is the one to Elia Corti. He was a truly gifted young Italian who carved, among other things, the four panels on the Robert Burns statue on the front lawn of Spaulding Graded School. Please take a close look at those panels. They are beautifully and meticulously carved with great attention to detail.
On Elia Corti's grave site is an outstanding piece of memorial art. It is extraordinary because it is cut from one block of granite. It is life size and we are told that it is a remarkable likeness of the man. Mr. Corti is seated in front of a shell rock pitched stone. His hand rests on a shortened column. It is complete in every detail showing the seams in his coat, the folds of his tie and the creases in his trousers, the buttons and button holes down to the last thread. The tools of his trade, calipers, chisel, square and hammer are at the foot of the shortened column. The palm leaf on the other side symbolizes Spiritual Victory. This memorial was lovingly and carefully carved by his brother William Corti and his brother-in-law John Comi.
The tragic story of Elia Corti at the age of thirty-four years is a tale of human interest. According to the Barre Daily Times of October 5,1 903: "He was shot in the stomach and mortally wounded at a meeting in the Socialist building on Granite Street. Corti died at midnight last night at Heaton Hospital in Montpelier having lived about thirty hours after he received the bullet. The shooting occurred at 7:15 PM on Saturday evening and was the outcome of a general discussion between the socialists and anarchists present. Andrew Garetto was arrested and charged with the shooting. Garetto was sentenced to serve not less than ten nor more than twelve years in state prison." On his release he returned to Barre but left shortly after and it is believed that he went back to Italy. Elia Corti and his monument are very much a part of the story of memorial art.
If you check the death dates on the stones at the north end of the cemetery, you will see that many died during the flu epidemic in 1918 and 1919. If you look at the birth and death dates on many of the other monuments, you will note that those interred died at a relatively young age anywhere between thirty-five and fifty years. Silicosis, tuberculosis and allied lung diseases were the cause. It is said that you could stand at one end of a granite shed and not see the other end, the stone dust was so thick. Dust collectors and suction devices were made obligatory in 1934.
It is difficult to pick out any one special monument. Each is different, each reflects the wishes of the individual buried and the creative talents of the designer. There is the Vanetti mausoleum with the stainless steel doors that frame beautiful granite filigree inserts. On the back is a stained glass window depicting the "Last Supper." Nearby is the Palmisano monument featuring a faithful reproduction of Michelangelo's "Pieta."
Look for the Dente Angel, the Bettini chair and the Ladrie cross. Find the bird in the floral front of the Bilodeau stone. Look at the four little angels at the top of the Comolli spire. "(It is in back of Elia Corti.) And while you are there look closely at the carving on the G. Colombo monument. Speaking of angels, please see the Brusa "Sitting Angel." Then there is the Calcagni colonade, the Russo ship, the contemporary design of the Yaeger stone, the Bianchi Celtic cross ­ and many more outstanding pieces of art sculpted in stone. Hope is as much an art gallery as it is a cemetery.
Monument decoration is symbolic whether it is religious or secular. It is easy to recognize and interpret the symbolism. Here are a few: the Chi Rho, a contraction of the name Christ in Greek, IHS is a Latinized contraction of Jesus, the Alpha and Omega or the Beginning and the End. Some of the crosses used are the Maltese, the Latin, the Celtic as well as the Christian cross.
Flowers are universally used and each has its meaning: morning glory ­ resurrection; pine and cone ­ healing; rose ­ love; palm ­ spiritual victory; oak ­ honor; ivy ­ friendship; lily ­ purity; grape and vine ­ Christ and His followers; thistle ­ Scotland, and the acanthus leaf usually seen at the top of a column meaning heavenly gardens. A broken tree trunk or shortened column means cut down in the prime of life. A draped urn is sorrow, the anchor is hope, the lamb is a favorite to commemorate a child and the flame means eternal life. Some people have had their hobbies or their life style or whatever else is meaningful to their lives sandblasted on a polished surface.
Why did the Europeans and the Italians in particular come? America was the land of golden opportunity. Italy at the end of the nineteenth century was in turmoil, a loose group of city states and fiefdoms all quarreling with one another. There was a great deal of economic, social, religious, and political unrest. Those Italians who had been trained in carving stone in the northern area of Italy felt that they could better themselves and the lives of their families in this country. They came to Quincy, Massachusetts; Westerly, Rhode Island; Rutland and Barre, Vermont.
There was unrest over most of Europe. The Scots and the English came as well as the Norwegians and the Spanish. Each nationality made its contribution to the monumental stone industry. Lady Liberty in New York harbor had beckoned. And so we have benefited, our heritage enriched and it shows in our beautiful cemeteries, a lasting tribute.

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Historic Places To See While In Historic Cental Vermont.

No trip to central Vermont would be complete without these visits. You can’t miss the gold dome of the VERMONT STATE HOUSE. Even though Montpelier is in a hollow, the building is “bling,” as a couple of local teen rappers recently phrased it. It’s open to the public all summer — barring any special legislative sessions — with weekday tours every half hour from 10 a.m. to 3:30 p.m. On Saturday, it’s 11 a.m. to 2:30 p.m. If all the old portraits pique your interest, follow up at the VERMONT HISTORICAL SOCIETY MUSEUM in the Pavilion Building. Its permanent 5000-square-foot exhibit “tells the story of Vermont’s people from 1600 to the present,” according to the website. “Using Vermont’s motto, ‘Freedom and Unity,’ as its thematic cornerstone, the exhibition shows visitors how Vermonters have always balanced individual freedoms and community.”
Friends of the State House, 10 Baldwin St., Montpelier, 828-0386, www.vtstatehouse.org VHSM, Pavilion Building, 108 State St., Montpelier, 828-2291, www.vermonthistory.org

Perhaps because it hosts the political establishment, Montpelier tends to take a rebel stand. A small town with no McDonald’s, it’s got good, albeit crunchy, taste — and three New England Culinary Institute-operated restaurants in town. The Saturday CAPITAL CITY FARMERS’ MARKET is among the top 10 in the country, according to Eating Well magazine. The Hunger Mountain Co-op is first-rate. Capital City Farmers’ Market, www.vermontagriculture.com/agdev/farmmkt.htm

Montpelier does a lot with a little: The independent Savoy Theater is completely devoted to smart, “art-house” fare and the popcorn comes with optional brewers’ yeast; Bear Pond Books hosts readings by local award-winning authors; and in the era of Amazon, Borders and Barnes & Noble, Buch Spieler remains a real music store. The city supports two local theater companies — at least in the summer. LOST NATION THEATER works tirelessly all year round at Montpelier City Hall. And 10 miles north on a dirt road, UNADILLA THEATER presents the opposite of “summer fare” — O’Neill, Nickolson and Orton.
Lost Nation Theater, Montpelier City Hall, 229-0492, www.lostnationtheater.org
Unadilla Theater, 501 Blachly Rd., Marshfield, 456-8968, www.unadilla.org

The forest is never far away when you’re in central Vermont. In Montpelier, there’s a 28-acre reserve on Elm Street. The NORTH BRANCH NATURE CENTER maintains a network of hiking trails along the Winooski River and through Hubbard Park that links up with a similar system in East Montpelier. Nature programs for all ages include summer camps for kids, lecture series and amphibian monitoring programs. 713 Elm St., Montpelier, 229-6206, www.northbranchnaturecenter.org

If there were railroad tracks between Barre and Montpelier, Barre would be “on the other side” of them. It’s a working-class city that sprang up around the region’s remarkable granite quarries, which are still producing world-class stone. The original laborers were immigrants from Italy and Scotland. Contemporary quarriers are still at work at the ROCK OF AGES QUARRY, where you can observe artisans cutting massive blocks of stone as well as sculpting the memorials. Tours run from 8:30 a.m. to 5 p.m. on weekdays and start at 10 a.m. on the weekends. The new VERMONT GRANITE MUSEUM OF BARRE documents the history, geology and technology of the dangerous trade that cut many Vermont lives short. The personalized memorials they made for each other — and many other people — are all over the city’s remarkable HOPE CEMETERY. Don’t miss Elia Corti’s grave. A socialist activist, he got shot at a rally in the OLD LABOR HALL, which has just been restored.
Rock of Ages, 558 Graniteville Rd., Graniteville, 476-3119, www.rockofages.com
Hope Cemetery, www.vermonter.com/hopecemetery.asp
Vermont Granite Museum 60 Depot Street, Barre, 476-4605, www.granitemuseum.com

How do the people of modern-day Barre blow off steam? If it’s summer, they go to the THUNDER ROAD SPEED BOWL, atop Quarry Hill. Every Thursday night and Sunday afternoon, thousands make the trek to “the nation’s site of excitement” to watch mostly local drivers compete in street-stock and late-model races. There’s even a state senator — Phil Scott — tearing around the track.
Thunder Road Speed Bowl, 244-6963 or 244-6964, www.thunderroadspeedbowl.com

Budweiser and fried dough aren’t your speed? As of 2005, there’s a non-motorized way to explore quarry country: THE BIKE TOURING CENTER AT MILLSTONE HILL in East Barre maintains a 40-plus-mile network of bike trails — both challenging singletrack and more moderate ones — that circle dozens of old quarries and “grout” pile lookouts. One hundred years ago, it was the site of a small, independent quarry operation, one of more than 75 in the area. Millstone offers camping, too, and indoor accommodations start at $180.
Bike Touring Center at Millstone Hill, 422 Websterville Road, East Barre, 479-1000 www.millstonehill.com/touringcenter.html

No trip to central Vermont would be complete without a hike up HUNGER MOUNTAIN. The four-hour hike is considered “advanced” by the Green Mountain Club. The reward — on a clear day — is stunning views of the Green and White mountains. The most popular approach is from the Waterbury side, but you can also get there from Middlesex.
www.middlesex-vt.org/html/recreation.html
www.greenmountainclub.org/page.php

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Where In The World Is Barre, Vermont ?

Barre (pronounced bar'ee) is situated in Central Vermont, an area of New England known for great skiing, spectacular foliage, and year-round natural beauty. Barre is adjacent to the state capital of Montpelier and is home to a variety of cultural and recreational attractions, including the Vermont Philharmonic, the Thunder Road raceway, the Barre Opera House, excellent fine dining, family style restaurants, and wonderful lodging.

Barre is approximately 2 1/2 hours drive from either Montreal or Boston, and 50 minutes from Burlington. The nearest airports include Burlington International Airport and the Barre-Montpelier Airport which is available for small private planes.

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Early Barre History.

Somber, Sensational and Otherwise

by Richard Bottamini

First a farmer and then a doctor, Barre's first physician, Dr. Robert Paddock, came to the new town of Wildersburgh in 1793, just in time to watch the memorable fist fight over the naming of Barre. Not only did he watch the Thompson-Sherman scrap, which took place on a new hemlock barn floor, but after the fight, he removed hemlock splinters from the back and buttocks of Sherman, the winner.

A man of action, he was described as being "exceedingly wroth" when deacons of the Congregational Church refused to permit the funeral of a non-member to be held in church.

Dr. Paddock enlisted the aid of a sturdy buddy in the person of Judge Chapin Keith. Neither man was a member of the church, but that didn't stop them. Armed with axes, they marched right up to the church doors on the day of the funeral. They were met by the church deacons, who barred the way. But seeing the glint in the eyes of the doctor and the judge and noting the axes, the deacons decided to retreat. However, they let it be known that they had done their duty toward protecting the church of God from invasion, and that all responsibility rested on the heads of the "invaders."

Dr. Paddock took care of the ailments of his fellow Barreites for 49 years (1793-1842), after which his son, Dr. Lyman Paddock, took over the practice. In 1814, the elder Dr. Paddock built a brick colonial house that was perhaps the finest dwelling in Barre at the time. It still stands, majestically, at the corner of South Main and Circle Streets.

Barre's first lawyer was James Fisk, a Baystater, a Revolutionary War veteran, and a Universalist preacher. He came to town in 1798 and earned his livelihood by being both a farmer and a preacher. Two years later, the townspeople sent him to the Vermont Legislature as a representative, and they re-elected him to that post no less than seven times. Later, he served in the U.S. Senate, and became a close friend of President James Madison.

Shortly after being admitted to the Orange County Bar in 1803, he gave up being a preacher-farmer to earn his living as a Barre lawyer. It is said that Fisk, described as a "small-sized, keen-eyed, ready-witted and really talented" individual, enjoyed a brisk business. He became chief judge of the Orange County Court, a Vermont Supreme Court judge, and a U. S. collector of customs for Vermont, moving to Swanton when he was named collector. Fisk, in the 20 years he lived in Barre, captured enough honors for several lifetimes.

Discipline in the early churches of the town was stern, tough and unrelenting. If any member failed to attend church meetings, it was held to be the "indispensable duty" of the church to find out the reasons why. Church members were told not to attend dances and not to "join with the wicked in any of their vain amusements or misspent time and money at taverns or unnecessarily associate with the wicked." A dark chapter in Barre's early history centers on its care of the poor. Take, for example, "Miss Braughton," a town pauper, who in 1804 was vendued (auctioned) off to the lowest bidder, that is, to the person who would agree to keep her at the least expense to the town. Malum Stacy, the successful bidder, offered to take the "keep" of the woman for sixty-six cents a week. It was considered "good business" on the part of the town to place the poor out in the homes of individuals with as little expense to the town as possible.

The birth of Barre's public school system took place at the town's March meeting in 1794 when citizens voted a tax to support schooling but rejected a proposal to establish religious services.

The voters simply cast over Article 16, "To see if the town will erect some cheap log cabin in the center of said town for the purpose of holding their meetings to do town business and to meet in on Lord's Day for the public worship of God." A few years later, however, the Universalists, Methodists and Congregationalists did establish themselves in the area.

And the town's people also voted that "swine should not run at large in the present year."

Such was life in early Barre. For sure, it was never dull.

This is a condensed version of an article published in Central Vermont Magazine Summer 1989 issue. For information on where to locate these magazines contact the chamber at 229-5711.

Thanks are extended to Earline Marsh, Alan Noyes, Elizabeth Ralph, Sally Finn and Jack Belding for their time selecting and editing Central Vermont Magazine articles for publication on the web.

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How Did Barre Get Its Name ?

by Richard Bottamini

Through a fist fight, some people claim.

No, no says another group. It was through a gift of money.

Which group is right? Read the evidence and render your own judgment.

The story really begins in 1788 when two pioneers -- John Goldsbury and Samuel Rogers -- and their families decided to quit their places in Massachusetts and trek up into the Green Mountain wilderness, where land was cheap and they could set up new homes. Other pioneers followed in short order, coming from Massachusetts, Connecticut, Rhode Island and New Hampshire. They all settled in Wildersburgh, nearly 20,000 acres of wild land chartered to William Williams and 60 others in 1780. But none of these original chaps ever settled there. It took Goldsbury and Rogers to lay the groundwork.

Within a few years, five areas made up Wildersburgh: the Upper Village, now South Barre, the largest of the settlements; the Lower Village, now Barre; Jockey Hollow, the south end of the Lower Village; Gospel Village, now the vicinity of Lincoln School and Elmwood Cemetery; and Thwingville, now North Barre.

Now comes the fight scenario. As far as the early settlers were concerned, the name Wildersburgh was for the birds. They wanted something snappier.

If you stop by the present West Hill Farm in Barre Town, you will find on one of the buildings an attractive sign bearing this inscription: "At a town meeting held at this site September 3, 1793 occurred a fight between Jonathan Sherman of Barre, Mass., and Capt. Thompson of Holden, Mass. for the privilege of naming the town. Sherman won and named the town Barre."

Alack and alas, the town records fail to mention any fight. Hence, the second legend, which is backed up by town records.

The townspeople, at a meeting in September, 1793, decided to erect "a house of worship" and voted that the person kicking in the most money for the building should have the right to name the town. Ezekiel Dodge Wheeler came through with £62 -- equal to approximately $310 -- and promptly named the town Barre.

But historian J.W. Ramsay refers to the fight and goes on with this eye-opening sentence: "This (the fight) is corroborated by the action of the town which, 12 years later, in September 1805, 'voted to destroy the note given by Mr. Wheeler and not collected,' thus carrying the impression that the note was never given a bona fide business transaction."

So there you have it -- two legends, one backed up by town records and the other coming to us from the distant past by a tradition that just won't go away.

Which legend are you picking: the fight or the gift of money?

See Also: Barre's Ethnic Roots

Barre's First Physician, First Attorney

This is a condensed version of the article appearing in the Winter, 1988, issue of Central Vermont Magazine. For information on where to locate these magazines contact the chamber at 229-5711.

Thanks are extended to Earline Marsh, Alan Noyes, Elizabeth Ralph, Sally Finn and Jack Belding for their time selecting and editing Central Vermont Magazine articles for publication on the web.

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Barre: Ethnic Bouillabaisse.

by Robert C. Lagor

See also: Barre's Early Years and How Barre Got Its Name

History of the Aldrich Public Library

Barre, Vermont, began attracting Scots and Italians almost a hundred years ago. The city's booming granite industry offered a fine opportunity for workers skilled in the stone trades to start new lives in a new land. Evidence of the skill of these worker artisans can be seen all over the country. A visit to the beautiful Hope Cemetery in Barre is like a stop-over in an outdoor museum of sculpture.

Barre is a unique Vermont community in many respects. No small part of this uniqueness is the unusual mixture of nationalities which makes Barre a colorful patchwork of cultures and languages. This mix of people has helped Barre grow into the exciting place it is today.

On any day, a visitor to Barre may hear several languages spoken freely on the streets and in the stores. It is a pleasure to see faces which reflect roots in different lands and yet somehow fit into a pleasant mosaic of peoples.

In 1976, the groundwork for a program of Ethnic Studies was laid, and the following year, the Vermont State Department of Education recognized the efforts in Barre and secured a $43,000 federal grant. In November, 1977, Karen Lane, a gifted folklorist, was hired.

Operating from space provided by the Aldrich Public Library, which served as project sponsor, the work of the new team began. In short order, their headquarters had begun to be called the "Roots Cellar." Rare books, pictures and other materials were gathered from families, individuals and private and public records.

Interviews with senior citizens were taped, and school children undertook special projects.

In July, 1978, a two-day Ethnic Heritage Festival was held that attracted 5,000 people. The downtown area was blocked off from traffic and became a pleasant mall. Lebanese, Spanish, French, Swedes, Scandinavians, Poles, Italians, Scots - in all, twelve nationalities celebrated together. The foods were authentic and delicious. Store owners were proud of lovely window displays portraying Scottish, Jewish, German, English or other cultural treasures.

The real message of the Barre Ethnic heritage project lay in the building of a community which celebrates life in all its various forms of expression.

Old suspicions and separations often kept the various national groups in Barre socially distant although they worked together each day. At times, there was open hostility as new immigrant groups came to the area and job security was threatened. As in other places, the melting pot concept was taught in the schools, not always with good results. On a more positive level, particularly in recent years, Barre citizens have begun to realize the immense potential for growth and the common good which rests in their diversity of culture and national origin.

See also: Barre's Early Years and How Barre Got Its Name

This is a condensed version of the article appearing in Central Vermont Magazine Winter 1978-79 issue. For information on where to locate these magazines contact the chamber at 229-5711.

Thanks are extended to Earline Marsh, Alan Noyes, Elizabeth Ralph, Sally Finn and Jack Belding for their time selecting and editing Central Vermont Magazine articles for publication on the web.

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About The Barre Granite Industry.

Barre Granite Monuments Are The Bedrock For Central

Vermont's History and The Economy.

Barre Granite Monuments Are Everywhere.

It has been estimated that one-third of the public and private monuments and mausoleums in America -- and they are millions in number -- are products of the Barre quarries and Barre's "international" community of sculptors, artisans, mechanics and laborers. This has made the Barre Gray- a stone known around the world for its fine grain, being suitable for detailed carving and producing mirror-like finishes.
The Moriches Bay Memorial Garden in honor of the victims of Flight 800 is made of BArre GRAnite, as are the steps of the east wing of the U.S.CApital. THe stone was used to build the Vermont State Capital building in 1830 and rebuild it after a fire in 1859. Memorials range from modest headstones, like that of composer Stephen Foster, to monuments and masoleums commemoarting the rich and famous. Harry and Bess Truman are memorialized in Barre Gray, along with Phillip B. Armour, Walter Chrysler, Sidney Colgate, John D, Rockefeller, Booth Tarington, F.W.Woolworth and yes Colonel Sanders.All this has been largely accomplished since the closing decades of the last century. It has made Barre one of the most unique industrial art centers of the world.

The Ethan Allen Monument in Burlington.s Green Mount Cemetery was made from Barre granite. An igneous rock formed from magma, according to the Vermont Geological Survey, Vermont granites are roughly the same age, dating from 380 to 330 million years old. This intrusion into the Silurian-Devonian metasediments, called a pluton, is estimated to be approximately four miles long, one to two miles wide and 10 miles deep. Early settlers were aware of the stone, quarrying the outcroppings dotting the surrournding hillsides for millstones, hearthstones, lintels, fence posts, doorsteps, foundations, and boundary markers. Robert PArker was the first recognized professional stonecutter in Barre. He realized that the region's granite had tremendous economic potential, opening the first commercial quarry and finishing business. Pliny Wheaton subsequently opened a quarry on Cobble Hill and won a contract to furnish materials for the State House. Transportation of the Barre granite to the building site poses many formidable problems. Ox teams hauled the stone accross the hils to Montpelier. When orders for Barre Grey came from elsewhere, the granite was transported 10 miles by ox team to the nearest railroad station. Transportation costs made it cost-prohibitive, which slowed the industry.

Transportation issues became less of an issue with the advent of the railroad, particularly when The Central Vermont Railroad built the Barre Quarries Spur that connected the town to Montpelier.
News traveled, and master quarrymen and artisans from all over the world descended upon Barre. Workers arrived from Scotlan, Italy, Scandinavia, Spain, Greece and LEbanon. FRench Canadians emigrated southward to join in the boom.
Immigrants formed labor organizations that were similar to the guilds active in Europe for centuries. After Labor Day was instituted as a holiday in 1894, Barre was the first Vermont community to celebrate the holiday. The State Legislature made Labor Day a legal holiday in 1898. By 1900, more than 90 percent of Barre's skilled granite workers had been unionized.
"Barre has a rich history around the labor force," says John Castaldo, executive director of the Barre Granite Association. " THe OLd Labor Hall in Barre is a historic building where works and their respective unions held many meetings over the years. The fact that Barre and the granite industry had an influence over Labor DAy comes as no surprise to a city that was built by "Labor."
There were at least 42 quarries operating in Barre in 1905, owned by two dozen firms. By 1908, more than 136 firms employed approximately 5,000 stoneworkers.
Labor-saving devies helped propel the industry forward. E.L>Smithe utilized a gaalvanic battery-powered system for blasting caps, as well as the first steam-driven quarry drill.
Lane manufacturing build the first overhead traveling yard crane installed at the McDonald & Buchan shed; Mackie & Sons installed the first non-pneumatic surfacing machine.
Wet quarry drilling was introduced, cutting down the dust that caused dreaded lung diseases inherent in the industry. The problem was further addressed when Fred Healy introduced stone shed dust-removal devices at Canton Granite Company in 1915.
Stonecutters have been the backbone of the industry, just as the granite industry is still considered the backbone of the Central Vermont economy.
"The fact is that the Barre-Montpelier area grew up around the granite industry," Castaldo says. "The industry employs approximately 1,200 people, mostly in the Central Vermont area, and is still one of the strongest economic drivers in place today for Central Vermont.

"Add to that the trucking companies that bring the product from Barre to all over the country and the world over, and THe Hope Cemetery which has become a large tourist stop over the years, and the industry becomes a major power player for this area."
Barre Gray is the only stone allowed for memorials in The Hope CEmetary and the results are spectacular. Since the cemetary opened in 1895, the stone carvers have created monuments ranging from a Bi-Plane to a full sized chair,and yes a full size Mercedes Benz Automobile. Some others denote a racecar, a couple sitting up in bed, a soccer ball, a motorcycle, baseball player and a colonnaded mausoleums.
Perhaps the most poignant is on Louis Brus'a grave, "THe Dying Man," depicting a man held by his wife as life leaves him. Brusa, who carved many of the monuments in The Hope Cemetery, died from silicosis in 1937.
Oliver Wendall Holmes was quoted in a pamphlet advertising in the World's Columbian Exposition Exhibit of Barre Granit: "I always take off my hat when I stop and speak to a stonecutter. 'Why?' You ask me. Because I know that his the only labor which is likely to endure."

The Moriches Bay Memorial Garden in honor of the victims of Flight 800.

There is a small part of Barre, Vermont in almost every hamlet, village, town and city in America, commemorating the resting-places of those who have been loved and lost. Long centuries after other products have passed into oblivion, these Barre granite memorials in churchyards, cemeteries, battlefields, parks and town squares will permanently designate and commemorate the ideals, the tradition, the sentiment and the devotion of the American people.

Former President Harry S. Truman and his wife Bess, Walter Chrysler, John D. Rockefeller, Sr., Harvey Firestone, F.W. Woolworth, Sidney Colgate, Booth Tarkington, Julius Fleischmann, Phillip B. Armour and many, many more are but a few of the innumerable celebrities in government, science, commerce and the professions who are commemorated by monuments and mausoleums quarried and finished in Barre. These memorials constitute but a fraction of the Barre granite memorials erected by the American people because someone lived.

It is the millions of smaller or less pretentious markers, tablets, monuments and war memorials erected by the American people that have given the Barre quarries and producers their enviable reputation with memorial dealers, cemeteries and the nation. These memorials range from the modest headstone at the grave of Stephen Foster, the composer, to millions of monuments to unsung heroes and individuals and families in America.

Our Story.

The story of Barre and of the Barre granite industry, is a story of true Americanism, a story of pioneers, immigrant artists and craftsmen, and of an art form born of Old World tradition and New World ideals and methods. When, in 1778, John Gouldsbury and Samuel Rogers obtained their grant to the territory which now includes Barre, they little realized that the picturesque hills would bring world wide fame to their settlement.

It was not until the days of the War of 1812, however; that the commercial production of Barre granite is mentioned in historical essays and documents. Prior to that time Barre had been occupied with agriculture, lumbering and dairying. True, the hardy farmers had utilized granite out-croppings for house foundations and millstones. But according to records, it was not until Robert Parker, a veteran of Bunker Hill and the War of 1812, returned to Barre that his high-grade granite was utilized for other commercial purposes. Robert Parker and one of his associates, Thomas Courser, opened the first quarry in the town. The quarry was later known as Wheaton's.

The First Contracts.

The first of the contracts awarded to these enterprising quarriers and stone cutters was the State Capitol building in Montpelier, completed in 1838, an outstanding example of early American classic architecture. Pessimistically, they predicted it would be their last contract. The huge blocks of granite were laboriously transported to the Capitol site by means of drays drawn through muddy roads by thirty or more oxen. The heavier operations were left for winter when the blocks could be drawn over the snow with sleds. The facilities for shaping and carving the unyielding granite were likewise primitive. Other problems also presented a discouraging outlook. But their skepticism proved to be unjustified.

When the beautiful new capitol was completed, public response and praise gave these pioneer quarriers new courage, soon fortified by an order for ten million paving blocks for the City of Troy, New York. It was a contract, which brought many stone workers into the community. Barre was rapidly gaining a reputation in the stone industry that was attracting the interest of businessmen in the community. Among the earliest of these enterprising citizens were J. Parker and E. Hewett, the father-in-law of Emory L. Smith, the first mayor of Barre and one of the earliest manufacturers of Barre granite.

Emory L. Smith, a veteran of the Civil War, established his company in the spring of 1868. He was an alert and resourceful executive whose vision, enterprise and ideals inspired associates and contemporaries alike to anticipate the enormous demand for granite from the pioneer quarries on "Millstone Hill."

Transportation Problems Resolved.

Barre was the first to install permanent derricks, the first to utilize the steam drill, the first to use the electric battery in blasting and the first to introduce many innovations which revolutionized quarrying and production of granite in many lands. But there was a missing link: efficient transportation.

Despite remarkable progress in perfecting quarrying and production economies, Barre remained handicapped by transportation problems. The cost of moving heavy stones from the quarries to the "shops" and then moving the finished work to the nearest railway was a burden upon the industry and upon the purchasing public. In 1875, the Central Vermont Railroad extended a branch from Montpelier to Barre. Barre in turn, in 1890, established a railroad called the "Sky Route," with a grade of 250 feet per mile from the Barre Terminus to the quarries on the "Hill." This all-rail route from the quarries had a tremendous economical and psychological effect upon the community. New quarries and new manufacturing establishments followed. Barre was fast becoming, in truth, the "granite center of the world."

The Word Goes Forth.

The news of what was going on in Barre reached master artists and artisans in foreign lands and many of these craftsmen emigrated to Barre. They came from Italy, Scotland, England, Norway, Sweden, Finland, France, Spain, Germany and other European stone centers. It is easy to understand why these artists and artisans in the new community were not long in exercising a direct and profound influence upon their fellow workers, upon their employers and upon one of the most important industrial arts in America -- the art of commemoration.

Centuries of ancestral training and experience constitute the antecedents of Barre's granite men. Many of the Italian designers, sculptors, carvers, artisans and manufacturers can trace their ancestry back to Medieval times, when Michaelangelo and other immortals of the era relied upon the superb traditional skill of the marble workers and carvers in famed Cararra, Italy, for accurate interpretation of their models or drawings. So likewise the Scotch artisans who located in Barre take pride in their heritage in the art of working stone, dating back to the earliest days of the 11th Century.

Great Changes Take Place.

But a great change took place in the industrial arts during the 20th Century. Mechanical means of production have gradually replaced the more laborious and therefore costlier "handwork" or manual craftsmanship. The advent of mechanical laborsaving machinery at first created resentment among these artist-craftsmen. But this resentment soon gave way to a more practical viewpoint. A pneumatic tool in the hands of an expert carver, for example, is more efficient--and far more economical--than the old hammer-and-chisel. The same is true of modern abrasive shaping and carving of granite. But these machines and methods are useless without the master-hand of the artisan. And that is the reason why these skilled artisans of Barre, old and young, led the way in perfecting the technique of using these modern devices to produce art in stone.

As in all other industrial art centers of the nation, the veteran artisans of Barre at the turn of the century, were skeptical of the tendency toward mechanical production. Like other artists they deplored the machine age in Art. They were fearful that machines would break down the high ideals and traditions of their craft. But as in other industrial art centers, these men of Barre became reconciled to the value and importance of laborsaving machinery. They not only became reconciled but they became the most ingenious, resourceful and successful creators in the field of design and in the techniques of modern production. They opened new vistas and brought the expression of beauty within the reach of a vast public, which could not afford the cost of hand carved memorials.

Workers Health Protected.

Barre has established a precedent in American stone production for safeguarding the health of its workers. Stone working had always been a hazardous vocation. Inhaling stone dust generates the dreaded disease known as silicosis, and the machine age multiplied the danger before it solved the problem. Barre was among the first of the mineral industries to install dust-removing equipment for combating silicosis. Barre was in the vanguard of those who adopted other innovations to safeguard the health and increase the efficiency of the worker.

In these and in other corrective programs, Barre has consistently led the industry with a policy of humanitarian interest in the welfare of the employee. Just as Barre has lead the industry in progressive industrial policies so likewise "the memorial art center of America" has been the dominating influence in American memorial design.

In all industries identified with the arts and crafts, the professionally trained designer-- schooled in the technical and commercial problems of his field--is a cardinal factor in the success of sustained progress of this industry. Barre was the first industrial art center in the memorial crafts to establish a comprehensive course of professional training in design.

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Vermont Granite Museum Of Vermont.

Located within an authentic turn-of-the-century granite manufacturing plant, the museum's mission is to create stimulating, interactive environments for learning about the geology, technology, history, and art of Vermont's unique granite heritage art, industry, capabilities and cultural heritage.

Barre, Vermont, is called the "Granite Center of the World", internationally recognized for high-quality stone, manufacturing, and artistry. Barre Gray granite, used for products since the late 1700's, was also found to be ideal for monumental work in the 1800's due to its even coloring and texture. This drew hundreds of immigrants to Barre, making it Vermont's own "Ellis Island". The technological advances in cutting stone, the railroad, and the popularity of ornate Victorian-style memorials and family mausoleums created an economic boom for Barre. Today, with $75 million in annual sales, the stone trades are one of Vermont's largest and most enduring industries.

Vermont Granite Museum Of Vermont.

A bright future is forecast for Barre for many reasons: it boasts a 4,500-year supply of Barre Gray yet to be quarried, according to geological estimates; it's the largest stone sculpting community in the country; and over 100 varieties of stones are brought here from around the world to be manufactured for a variety of purposes (monumental, architectural, and industrial uses). Our community contains some of the most advanced and world recognized artists in stone cutting, etching and sandblasting.

NOTE: Festival Slated Sept 15, 2007.

Below is the 2005 schedule of events. Update for 2007 will be posted when available.

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Downtown Barre Sculptures.
"Granite Capitol of the World".

As the reputation of Barre granite grew, natives of Arberdeenshire, Scotland, began emigrating to Barre, seeking employment in the neophytic granite industry. Small numbers of Scots came to Barre in the 1880's; however, they began coming in greater number in the 1890's. Shortly after the turn-of-the-century, Scots comprised about 20% of Barre's burgeoning population. As a result of this influx of Scots, various Scottish civic groups arose.

Scottish immigrants in Barre took it upon themselves to honor one of their native country's greatest poet's, Robert Burns. It was decided that a statue would be erected in recognition of the 100th anniversary of the death of the poet. (The statue was actually unveiled on the 100th anniversary of Burns' death.) At the time of its unveiling, July

24, 1899, more than 18,000 people were in attendance.

“A warm, sultry July day was closing; the sun had sunk behind a canopy of golden clouds and the rugged peaks of the green mountains, and as she sank from sight there disappeared one full century since the death of Robert Burns, the peasant poet, the world’s pride.” The date was July 21, 1896, and the Burns Club of Barre, Vermont, met to celebrate the centennial of Robert Burns’ death. At that meeting the idea of erecting a monument to Burns was discussed and endorsed. The entire town became involved in the project and three years later the monument was ready to be dedicated.

The sculptor was J. Massy Rhind, born in Edinburgh. His other works include “The Expulsion of Adam and Eve,” the design for the doors of the Trinity Church, New York, the Memorial Fountain to Senator Rufus King in Washington Park, Albany, New York, the Calhoun statue, and the decoration for the Commence-ment Hall at Princeton.

On the day of dedication “lowering skies hung dark over Barre..., typical perhaps of the clouds that shrouded the life of the great Scotch poet.” Eighteen thousand people witnessed the events of the day. There was a procession fully a mile in length which included the Royal Scots Band from Montreal. The orator of the day was the Honorable Wendell Phillips Stafford of St. Johnsbury. It was a great oration. A copy of the entire speech is now in our files.

“And now citizens of Barre, I present to you, through your mayor, Mr. Gordon, this monument, and hope that you will see to it that it is carefully protected and preserved, so that in future years, when we who are present here today shall have vanished into the obscurity of the past, this monument shall still stand a noble and lasting tribute to the memory of the world’s greatest poet,” remarked Robert Inglis, president of the Burns Club. From recent pictures, it appears that Barre, Vermont has carefully preserved the monument.1

The figure of Robert Burns stands atop an enormous Barre granite base, intricately carved with bas-relief depictions from his poetry. The figure was carved by sculptor Samuel Novelli; the panels by sculptor Eillia Corti, based up on models by Scottish sculptors J. Massey Rhind and James B. King. The Robert Burns statue is located on Washington Street (Route 302) on the lawn of the former Spaulding Academy building.

As WW I ended and Barre veterans began returning home, a "victory archway" was erected in City Park to

commemorate the occasion and to pay tribute to those who had served their country. The archway was elaborate, but ethereal. It was composed of the same type of plaster that the Barre sculptors used to create models for their work. It was determined that a more permanent memorial should be created.

In 1924 the Soldiers' and Sailors' memorial, also known as "Youth Triumphant", was erected. The monument was carved from Barre granite by local artists Gino Enrico Tosi, Enrico Mori and John Delmonte from a model created by New Your sculptor C. Paul Jennewein. The figure of a noble young warrior supplicating for peace soon became a trademark of Barre and was adopted as the city seal.

The warrior sits atop a Barre granite base inscribed with verses from poet Laurence Binyon's "Ode for the Fallen". A graceful, sweeping granite bench completes the memorial. Created by John Mead Howells, the bench is often referred to as the "whispering wall" because the graceful curve "carries" sound from one end of the bench to the other. The monument is located on Route 302 (North Main Street) in Barre, Vermont.

Many Italians migrated from Northern Italy to Barre, beginning in the 1890's. Many of these men were gifted sculptors who brought their talents and greatly contributed to the growth of the fledgling Barre granite industry. Most of these early Italian immigrants chose to live near one another. The majority settled in the northern section of Barre City. Here they developed their own community, complete with shops and their own newspapers, printed in Italian, of course.

For many years Barre lacked a significant tribute to the Italian heritage of many of Barre's citizens. This oversight was corrected in 1985 when the Italian-American monument was erected in Dente Park in the northern part of Barre. The apron clad figure of a sculptor with chisel and hammer in hand is 23 feet in height and weighs 43 tons. The monument, designed by Elmo Peduzzi, was sculpted by Philip Paini from a model crafted by sculptor Giuliano Cecchinelli. The memorial is dedicated to sculptor Carlo Abate who came from Italy to Barre at the turn-of-the-century and established the first art school in which students could learn drafting, design and other skills associated with the granite industry. The statue is carved out of Barre granite and is located on Route 14 (North Main Street) in Barre, Vermont.

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Barre's Italian Pride.

It all began in October 1982, when Vico Masi, City Clerk for the City of Barre, gathered some of his Italian friends together to talk about public recognition of what they described as "Italian pride." That group of first and second generation Italians pointed to the contributions made by their countrymen to the Barre granite industry over the past century and agreed that something should be done to publicly recognize the artistry and skill that has been sculpted and carved into millions of monuments that populate cemeteries in all areas of the United States."

Three years later, in October 1985, a twelve and a half foot tall Barre granite statue, "The Sculptor"' was set on a ten and a half foot tall pedestal, "erected by descendants and friends of all Italian-Americans whose achievements have' enriched the social, cultural and civic vitality of this city, region and state."

Another Barre sculptor, Giuliano Cecchinelli made the model, from a design concept created by Elmo Peduzzi. Peduzzi's concept was the winner of a design competition sponsored by the Italian-American Memorial, Inc.; a non-profit group organized specifically to carry out the project.

The monument was dedicated to Carlo Abate, an Italian immigrant who came to Barre in 1896 and has been described as "the personification of the Italian immigrant in Barre." Abate was an artist, a sculptor more specifically, and possessed with a skill not common to many people.

When he died in 1941 at the age of 81, he was generally considered to be one of Barre's foremost sculptors. He was an instructor at the Barre Evening Drawing School where he taught drafting to many, many youngsters who grew up in the Barre granite industry.

The sculpting process began when a 30-ton block of Barre granite was taken from the quarry, and trucked to a saw plant. Once trimmed, the block was taken to a manufacturing plant where the sculptor began the laborious process of relieving huge chunks of stone to create rough outline.

The project was completed when the statue, estimated to weigh about eight tons, was place atop its Barre granite pedestal in Dente Park, in the section of Barre where Italian immigrants established their homes, There are broad smiles on the faces of many Italian descendants in Barre today because the tribute to "Italian pride" is a permanent part of the Barre landscape.

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Historic View of Barre Downtown Historic District. Photograph Courtesy of The Library of Congress. PAN US GEOG - Vermont, no. 36 Click here for a high-resolution panorama of Barre   Individual buildings of the Barre Downtown Historic District. Photographs by CB Johnson and The Vermont Division for Historic Preservation

The commercial and public buildings that form the Barre Downtown Historic District reflect the city's rapid transformation in the 1880s from a rural farming community to an urban, industrialized environment. The area was rich in granite, and quarries were established by the early 19th century. Granite for an early Vermont State House was provided from Barre quarries, transported by teams of horses and oxen. Until the railroad arrived, the community remained small and isolated, and the downtown area was comprised of a collection of widely spaced houses and a few businesses. The first line opened in 1875, in the center of Barre, and a second quarry line was connected in 1888. With this new ability to import and export goods, the granite industry soared, and by 1902 the city had 68 granite quarries. Consequently, Barre and its residents experienced a great period of prosperity and growth, reflected in the buildings erected during that time.

Downtown was rapidly transformed from a small domestic village to a streetscape of tall and massive commercial, institutional, and industrial blocks. As a result, most buildings within the district reflect architectural styles popular at the end of the 19th century. Many new buildings, supporting the growing city, were erected in the 1890s, including numerous commercial buildings in styles ranging from Italianate to Neo-Classical, the Spaulding School (a Richardsonian Romanesque high school) and adjacent 1899 memorial statue to Scottish poet Robert Burns, churches with Gothic and Romanesque motifs, the Queen Anne Montpelier and Well River railroad station, and the Barre City Hall and Opera House which stands across from the focus of the district--the triangular town green.

The need for accomplished stone workers resulted in a wave of immigrants. English, Swedish and French Canadians came to work in the quarries, while skilled immigrants from Scotland and Italy came to work in the granite sheds where the stone was shaped. In contrast to other Vermont communities, Barre was uniquely shaped by the variety of cultures, political ideas and traditions these immigrants brought with them. Their craftsmanship, as well as those of local artisans, is reflected in the quality and character of the historic district. Furthermore, the variety and degree of granite concentrated in the downtown area is indicative of the community's pride in this local resource.

Today, the downtown district is a vital part of the community of Barre, still the "Granite Capital of the World." Many of the buildings have undergone renovations fostered by federal historic preservation tax credits and strong local support for downtown revitalization. Most recently True Value Hardware received just such a tax credit for the successful renovation of 180-190 North Main Street.

The Barre Downtown Historic District is generally those buildings bordering Depot Square, Main and Washington Sts., and bordered to the west by the Montpelier and Barre Railroad right of way. It is a mixture of public and private buildings. A walking tour is available. Further information can be obtained from an Information Booth on Main Street., open seasonally 8:00am to 5:00pm.

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Currier Park Historic District. Photograph by Tracey Martin, Courtesy of The Central Vermont Chamber of Commerce   Individual houses within the Currier Park Historic District. Photographs Courtesy of The Vermont Division for Historic Preservation

The Currier Park Historic District lies northeast of Barre's Downtown Historic District. It is a well preserved planned residential development dating from the late 19th and early 20th centuries. Currier Park reflects the expansion of the local granite industry, made possible by the arrival of the railroad in Barre, and illustrates the town's greatest period of prosperity.

Steadman C. Chubb was largely responsible for the development of the neighborhood. The land which now comprises the Currier Park Historic District was the last large farm adjacent to the central business district, known as Currier Farm and purchased by Chubb in 1881. After briefly raising cattle, Chubb began developing his land in 1883 as a new residential neighborhood. He laid out streets and building lots, and donated to the city a two acre plot now known as Currier Park--the focus of the district, and the city's only neighborhood park. Between 1870-1890, Barre's population grew by almost 5,000 people. The large residences surrounding the park were constructed for the wealthiest of these citizens who prospered from Barre's economic growth. Currier Park Historic District is characterized by elm and maple tree lined streets and large lots with one to two and a half story frame homes with uniform setbacks. The houses are representative of architectural styles popular at the turn of the 20th century, and include many fine vernacular and high style examples of Queen Anne, Second Empire, and the Italianate, Colonial and Greek Revival styles. Of particular interest are the remaining outbuildings, primarily barn/garages. The adaptive use of the original barns as garages reflects transition in transportation from horse drawn carriage to the automobile during the early 20th century.

Currier Park Historic District is comprised of numerous private homes which are not open to the public. It is roughly bounded by Park St., Potash Brook, East St. and Academy St. Currier Park, the center of the district is a public park.

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Twing Gristmill. Photograph courtesy of the Vermont Division for Historic Preservation   Interior of Twing Gristmill. Photograph courtesy of the Vermont Division for Historic Preservation

Designed by regionally prominent millwright and mechanic, Joshua Twing, the Twing Gristmill was originally part of an industrial mill and iron castings complex. Twing developed his industrial complex over several decades as his base of operations, where he experimented with the latest mechanical technology. The brick gristmill, the only building to remain of the large complex, is representative of Barre's pre-railroad industries. Built in 1844, when Twing was sixty, the gristmill was based on the latest technological innovations and developments. For a utilitarian building, Twing's gristmill was unusually ornamented, especially the interior, possessing a double spiral staircase, paneled walls, marbleized columns, and wallpaper. These features, common in high style Greek Revival domestic interiors, were applied to the mill to enrich its industrial function. Decorative granite trim was liberally applied to the exterior.

After Twing's death in 1865, the mill complex continued to operate, with the addition of water wheel technology, for more than 20 years. Subsequently, by 1910 the building became a storage house for most of the 20th century. The site is currently the base of operations for Hill-Martin Corporation, which sells heavy equipment. In the late 1970s, with virtually nothing remaining of the interior mechanical systems, the company undertook the rehabilitation of the mill for their offices. Many of the original interior details exist and were adapted into the office space.

The Twing Gristmill is located at 450 North Main St. It currently contains the business offices of the Hill-Martin Corporation, and is not open to the public.

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Barre City Hall and Opera House. Photograph Courtesy of The Vermont Division for Historic Preservation   Historic postcard view of the Barre City Hall and Opera House, circa 1900. Photograph Courtesy of The Vermont Division for Historic Preservation

Completed in 1899, the Barre City Hall and Opera House contains one of the best preserved late 19th century small theater interiors in northern New England. Facing the town common, the building is one of Barre's most important landmarks. The imposing Neoclassical building was designed by George G. Adams, a well-known Massachusetts architect who was responsible for many public buildings throughout New England. The building represents an era when citizens had great public pride in their civic buildings, as well as the economic prosperity and growth Barre experienced at the end of the 19th century.

One hundred years later, the building still functions as it did originally. Offices for City Hall occupy the first floor, while the Opera House encompasses the upper floors. When it opened in August 1899 the Opera House was considered the finest theater in the State. Leading New York, Boston, and Chicago theater companies graced the stage, while John Philip Sousa, Helen Keller, James O'Neill, and Tom Mix (who appeared with his horse) were a few of the many individuals who entertained Barre audiences. Opera was quite popular with Barre's Italian population, several of whom formed their own company and performed Italian operas on the Barre stage. Unfortunately, the Opera House experienced a decline in use after World War I, after which it was mainly used to show motion pictures, and eventually closed in 1940 for a period of more than 40 years.

The Opera House reopened in 1982, although in need of much repair. It was renovated over the next decade, and in 1993 a grand reopening took place showcasing the theater and three nights of local talent. Many of the original interior details remain including the original balcony and ornamented boxes, proscenium arch, art glass fanlight and pressed metal ceiling. The exterior of the yellow and red brick structure, like so many in Barre, features ornamental granite.

The Barre City Hall and Opera House is located at 12 North Main St. in Barre, 802-476-8188. It is open from 8:30am to 5:00pm. Ticket prices for performances vary.

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Socialist Labor Party Hall. Photograph Courtesy of The Central Vermont Chamber of Commerce   Children of striking Lawrence, MA textile workers in front of Labor Hall, 1912. Photograph by Aurora Galli, Courtesy of The Aldrich Public Library

Located in the former Italian section of Barre, the Socialist Labor Party Hall is a two story flat-roofed brick structure with a gambrel-roofed single story rear hall. It is associated with Barre's rich ethnic heritage, specifically the vital Italian community that immigrated to Barre at the end of the 19th century. The building was constructed in 1900 by volunteers of the Italian community as a meeting hall for the Socialist Labor Party, a political group dedicated to social and labor reform. Its design reflects no particular architectural style, but its form does illustrate the building's function as an assembly hall. The exterior is simply ornamented with Barre granite details. The most important of these is a carved medallion depicting an arm bearing a hammer, the symbol of the Socialist Labor Party, and the initials SLP.

The direct association of this property with the labor movement, community, and the immigration of Italians makes it one of Barre's most important buildings. The Hall provided the community with a place to meet, organize, and socialize. Dances, boxing and wrestling matches were held here. In 1901, the Co-Operative store was started in the basement to provide necessities for the community. When the Hall opened in 1900, more than 90 percent of Barre's workers belonged to one of 15 local unions, many of them probably attended union meetings and political rallies held here. From 1900 to 1936 the building held the offices and meetings of the Granite Cutters International Association, at the time the largest local union of granite workers in the country. Labors leaders such as Eugene Debs and Samuel Gompers are known to have visited Barre and, although unconfirmed, likely spoke at the Hall. During textile strikes taking place in Lawrence, Massachusetts, the Italian community in Barre sheltered 35 children of those striking workers, all of whom were received at the Hall. During one political gathering, illustrating the sometimes volatile nature of political groups at this time, an argument broke out between socialists and anarchists, ending in the fatal shooting of Elia Corti, a prominent Italian stone carver responsible for the panels on the Robert Burns Memorial statue in Barre. In 1936, the Hall was sold and converted to a warehouse for The Washington Fruit Company and later the Vermont Pak Tomato company. In 1995 the Hall was purchased by the Barre Historical Society, with much support, to restore it as a library, community meeting hall, and social club.

The Socialist Labor Party Hall is located at 46 Granite St. It is undergoing restoration and is currently closed to the public.

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Wheelock Law Office. Photograph Courtesy of The Central Vermont Chamber of Commerce   Historic view of Wheelock's home and the Law Office, on the right.

The Wheelock Law Office, erected in 1871, is a good example of domestically scaled Second Empire commercial architecture. Many of the building's original elements remain which characterize the Second Empire architectural style, including a slate mansard roof, projecting entrance tower, deep moldings, and arched and pedimented windows and doors.

The building was constructed for Langdon Chieves Wheelock, a renowned Barre lawyer, for use as his law office and a local courtroom. A Vermont native, born in Calais in 1822, Wheelock migrated to Barre as a teacher in the village school. Studying the law under Newell Kinsman, another prominent Barre lawyer, Wheelock took over Kinsman's practice in 1850 after he was admitted to the Vermont Bar. At that time, Wheelock also purchased Kinsman's 1825 Federal brick home. Late in life Wheelock built his law office on property adjacent to his home. The Law Office design was complimentary to the domestic architecture of the residential neighborhood and differs greatly from the commercial buildings constructed along Main Street later in the century. It had been complete for only two years when Wheelock died of diphtheria in 1873. The Granite Savings Bank and Trust Company occupied the building in the 1880s, at a time when the nature and character of the neighborhood were rapidly changing.

The Wheelock Law Office today stands wedged between massive commercial buildings in the downtown business district. It is the only domestically-scaled building to remain on its end of N. Main Street and continues to reflect the street's 19th-century character--a wide tree-lined thoroughfare flanked by imposing residences. Many small retail businesses have occupied the building throughout its history. Since 1975, it has housed the Barre Senior Citizen Center. Although the building has undergone some significant alterations on the first floor, the second floor is still intact.

The Wheelock Law Office is located at 135 N. Main St. and is currently occupied by a local senior citizens group. It is not open to the public.

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History of the Spaulding Building
Home of the Vermont Historical Society.

The Vermont History Society's new home, the Vermont History Center, is in the Spaulding School, an historic building overlooking the city of Barre since 1891. The building was designed by Vermont architect and builder Lambert Packard (1832-1906). Trained by his father as a carpenter, Packard found employment as a draftsman and a patternmaker before becoming the carpenter foreman and later the company architect of E. and T. Fairbanks and Company in St. Johnsbury, Vermont.

Packard designed many of St. Johnsbury's notable buildings including the Fairbanks Museum and the North Church. According to biographer Allen D. Hodgdon, "During his career Packard was called upon to design practically every kind of building known to the profession." He designed over 800 buildings during his Vermont career from 1866 to 1906.

The Spaulding School is Packard's interpretation of a popular mid-19th Century architectural style known as Richardsonian Romanesque, named for the work of prominent Victorian architect Henry Hobson Richardson (1838-1881). In red brick and Barre granite, Packard referenced the weighty, polychromatic Romanesque style with large, round-arched entranceways, recessed windows with

contrasting sills, carved capitals, and

the characteristic towers and turrets.

The school was named for Jacob Shedd Spaulding (1811-1880), principal from 1852 to 1880 of the Barre Academy, the private school that occupied the site from 1852 to 1885. Spaulding was a graduate of Dartmouth College and a successful teacher at the Bakersfield (Vt.) Academy before coming to Barre. He was a respected Vermont educator of "sound morals and religious principles."

On August 15, 1891, former Academy graduate and Barre businessman Charles A. Smith declared the cornerstone, "a fine specimen of Barre granite," to be "well laid." The new school, dedicated in September of 1892, contained nine large classrooms, a chapel, a chemical and physical laboratory, a library and two teachers' rooms; it housed high school and younger students.

As other schools were constructed around the city, the earlier grades moved out, leaving grades nine through twelve in the building that was renamed Spaulding High School in1895. In order to serve Barre's expanding population, an annex containing six new classrooms, an auditorium and a gymnasium was built in 1914 to complement the original facility. In 1964 a new, larger high school building was constructed on Ayers Street and the old school began to serve grades six through eight. In 1995 a new K-8 facility was built on Parkside Terrace, consolidating the functions of the neighborhood schools scattered around the city, and the Spaulding School building stood vacant.

In 1996 the Vermont Historical Society, looking for a new building to house its collections and expand its services, approached the City of Barre about the possibility of using the empty school. In September 2000, the VHS purchased the old Spaulding building from the city for $1.00. Renovations began in October of that year. Architects for the renovations were Black River Design of Montpelier; the general contractor was H. P. Cummings Construction. The partially completed facility opened to the public on July 20, 2002.

The first phase of the renovation included finishing space for the Society's library on the second floor of the original building; offices, a book store, and a meeting room on the first floor of the 1891 building; and library and museum collections storage in the basement of the entire building. Future plans include renovating the 1914 building for museum exhibits on the first floor; classroom and meeting space on the second floor; and an additional classroom and catering kitchen on the third floor. The auditorium, also located in the 1914 building, will be renovated to its former glory.

Today the first and second floor reception foyers feature the school's original wainscoting made of American chestnut, now an endangered species.

Original pressed tin ceilings have been cleaned and

restored; they are visible throughout the 1891 building. In the stacks room on the second floor, stained glass windows, recently hidden by a suspended ceiling, have been exposed and restored. The original school bell still hangs in the tower, although it can no longer be rung from below.

The Spaulding Building, with the addition of two new floors in a former courtyard, now contains 60,000 square feet of space. One third of this space is hallways; the library occupies 7,500 square feet on the second floor (including hallways); a little over half of the space (two floors in the 1891 building and the entire basement) has been renovated for use by the Vermont Historical Society. The library has 3798 linear feet of shelving in public areas and an additional 6786 linear feet on mobile shelving units in the basement. There are three different environments for the library collections. The basement is kept at 60°F and 35% Relative Humidity; the stacks are kept at 72°F and 40% Relative Humidity; and the open reference area is a general office environment.

Spaulding model now available.
The Vermont Historical Society has created a model of the Spaulding school building, a perfect gift for alumni, history buffs, or architectural enthusiasts. Order yours online! more...

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Aldrich Public Library.

From the book "Where The Books Are"

Written by Patricia W. Belding,

Potash Book Publishing.

Histories of Other Libraries In & Around Central Vermont

The Aldrich Public Libray is located on a well-chosen lot across from City Park on Washington Street (US Route 302). Dedicated on September 22, 1908, it is part of an unusual historic district composed of five churches and city hall with its recently-restored opera house. Each of these buildings is at least a decade older than the library which was built with money from the estate of Leonard Frost Aldrich.

Barre's early libraries began about 1855 with small book collections in two stores on North Main Street: Dr. A.E. Bigelow's drug store and Nathan Morse`s shoemaker shop. A library history recalls that a customer could take Robinson Crusoe (or some other book popular at the time) from a book shelf behind the woodstove and read a few pages while waiting to be measured for a pair of shoes. An agricultural library in Stillman Wood's drug store operated from about 1860 to 1865.

On December 8, 1873, Rev. A. Chandler, a Congregational minister, helped establish the Barre library Association with 80 members paying membership fees of $2.50 each. After 1887, the books were housed in the Wheelock law office, a historic building on North Main Street (now a center for the Barre Senior Citizen

group.) In 1889, a $2,500 bequest from Ephraim E. French provided for the purchase of reference, history, science, and biography books, but no fiction. Called the Barre French Library, it was fortunate to share space as well as the librarian with the association.

Starting in 1890, the libraries occupied the Henry Wood building on Elm Street, the last location before the move to the aldrich library. In 1895, the year the village became a city, an innovative idea was written into the charter: the city would give a portion of the dog tax--about $500 annually--to the library's book fund. This practice survived for nearly a century.

That same year, in spite of ill health, aldrich made plans to build the library. A native of Barre, he was a successful businessman known for his good works. Especially interested in education, he had served as trustee of Barre Academy and had helped oversee the construction of Goddard Seminary in 1869. He felt that the best thing he could do for Barre was to build a library. Unfortunately, he died in 1898, ten years before the the two-story building was erected.

Penn Varney of Lynn, Massachusetts was architect and William E. Jackson of Montpelier was contractor for the $39,000 Classical Revival building of gray brick. Barre granite, originally planned as the exterior stone, proved too costly, but the foundation is of granite as is the entrance with its two huge polished columns, steps, and delicately-carved frieze depicting "The Passing of the Torch of Learning."

An elaborate entryway leads to the main floor with its original oak furniture and woodwork, classical columns, and two skillfully-finished fireplaces. Above the rear book stacks is an opaque glass floor that intrigues and delights young patrons. The first floor looks much the same as when the library was built, except for the electric lights that replaced gas fixtures, and the open stacks, originally closed off by wooden gates connected to the imposing circulation desk.

The remodeled basement contains a children's room and space for processing, storage, and kitchen purposes. In 1984, empty space was converted into a gallery on the second floor. Named in honor of George E. Milne, longtime library trustee now deceased, the room is used for meetings as well as exhibits. The upstairs also contains a museum of Barre history, and archives which include an excellent ethnic-heritage collection, considered one of the finest in Vermont.

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Kellogg-Hubbard Public Library.

Montpelier, Vermont

From the book "Where The Books Are"

Written by Patricia W. Belding,

Potash Book Publishing.

Histories of Other Libraries In & Around Central Vermont

The Kellogg-Hubbard Library, a prominent granite building on Main Street, has served the capitol city since 1895. An addition built on the rear in 1975 increased the space and provided physical accessibility. Although this popular library was born of contention and haunted off and on by controversy, it ranks second in the state in circulation and fourth in collection size.

Montpelier had several libraries in the 100 years before the Kellogg-Hubbard opened. In 1794, a circulating library that offered only novels and religious books was probably run by Parley Davis. Ezekial Walton, who started a literary debate club called the Franklin Society in 1807, claimed that all the members were upstanding, intelligent citizens, except for one who was thrown out because of profanity.

The Village library Society, founded in 1814, existed until 1850 when it turned its books over to the Young Men's library Association, a group that lasted only a brief time. Other short-lived literary attempts included the Agricultural library about 1860, and two reading rooms between 1860 and 1880 that provided newspapers and popular magazines free to the public.

In 1882, the Woman's Christian Temperance Union sponsored a fund drive to raise $5,000 in subscriptions for a public library.

In 1884, the women were successful and on March 16, 1885, the Montpelier Public library Association was established. Although only stockholders who provided the funding could use the library at first, by 1895, the 5,000-volume collection was entirely free to the public. The Young Men's Christian Association rented space for the library in the Vermont Mutual Fire Insurance Company building.

Meanwhile, in 1889, the Kellogg-Hubbard saga began when Martin M. Kellogg, a New York City real estate magnate born in Barre, died of a heart attack; three months later his widow, the former Fanny M. Hubbard, a Montpelier native, also died and left a $300,000 estate. The couple had agreed that their money should be given to the city to construct ornate entrance gates for the Green Mount cemetery and to build a public library.

But Fanny's nephew, John E. Hubbard, contested the will. After witnesses testified at a probate court hearing that they hadn't realized they were signing a will, the judge ruled in Hubbard's favor. Town fathers filed a counter suit and after three years of dispute--with residents taking sides--Hubbard agreed to build the library; ironically, he eventually paid $30,000 more than the amount called for in the will.

Groundbreaking took place in 1894 and by the summer of 1895, the $60,000 library was open for business. Mary E. Macomber, who had resigned as head of the library association, took over at the Kellogg-Hubbard. She left volunteers to run the association until 1897 when members of the latter group placed their books in the new library for 10 years, eventually agreeing to a merger.

In the meantime, the Vermont Legislature had granted a charter stating that five trustees should manage the library in perpetuity. When the impressive building of rough, light-colored granite from Dummerston was completed, a dedication was held on January 2, 1896. The two-story entrance with its four columns, the ample windows with unusual portholes under the eaves, and the rounded bays give this Classical Revival library a distinctive look.

In 1896, after the trustees asked the city to appropriate funds, several citizens fought the proposal and won, starting another feud that was to surface from time to time for nearly a century. By 1899, the board threatened to close the library if the local funds weren't forthcoming. At the first polling, the vote was positive, but a second ballot included the condition that the board turn management over to the city. The five trustees refused to comply and closed the library for a time.

Four months later, Hubbard died, and in 1903 his $125,000 bequest went to the library. Since money woes were over, the library was open every day except Sundays and holidays for a very generous 48 hours per week (today the hours number 52). Around 1907, the library was open on a trial basis for nine Sundays when the janitor--a Mr. English who was reportedly very efficient--staffed the library with one of the trustees from 1 to 6 p.m.

The inside of the library retains the look of the original building with its large entry hall, ornate woodwork, and spacious reading room. The stairway to the upper floor, where the Thomas Waterman Wood Gallery had its home until 1985, is another feature.

Floods have figured sadly in the library's history. The collection was practically destroyed in November 1927, and 45 years later, in March 1992, Montpelier was hit with another flood caused by an ice jam. The children's room in the basement--space remodeled in 1951--was extensively damaged, but fortunately, staff and private citizens managed to save the 20,000 books. A difficult period followed before the children's room was repaired and restored to its former welcoming atmosphere.

In January 1992, a century of controversy ended when the trustees agreed to open their meetings to the public and to include a community representative on the board.

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The Stevens' River is across the Street from The Knoll Motel in

Barre, VT.

Stevens' River, VT Caledonia county, This excellent mill stream rises in Peacham and Ryegate. It received its name in compliment to Captain Phineas Stevens, the brave defender of Charlestown, N.H. The waters of this river are remarkably clear and its banks luxuriant and romantic. It meanders about 15 miles, and in its course through Barnet it receives Harvey's lake, a pellucid sheet of water, covering an area of 300 acres. This beautiful river mingles its crystal waters with those of the Connecticut, at Barnet, by a leap of 100 feet in the distance of ten rods, as it were in joy to meet its sister stream on its passage to the bosom

of the ocean.

The Stevens' River is a branch or tributarie of the Winooski River.

Onion River, VT, This is one of the largest and most valuable rivers in the state.—It is about 70 miles in length, and in its course fertilizes large tracts of land and produces a great hydraulic power. This stream rises in Caledonia county: it passes nearly through the centre of the counties of Washington and Chittenden, and after passing "Winooski city" it falls into Champlain lake, five miles North from Burlington village.

Winooski is the beautiful Indian name of this river, and had the good people of Winooski possessed the exquisite taste of their predecessors, they would probably have called their charming little city cabbage town.

Onion river, so called, has numerous tributaries, and is one of the most romantic streams in the country. The channels which have been worn in the rocks, by its ceasless current, are objects of great admiration. In its passage through the mountains are found fissures through solid rocks from 30 to 100 feet in depth, with smooth perpendicular sides, 60 or 70 feet in width. In many places on this stream are natural bridges, curious caverns, and delightful water-falls. The road near the banks of this stream, from Connecticut river to Burlington, is said to be the best passage across the mountains in that direction: it is certainly highly picturesque and delightful.

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Vermont State House. Photograph Courtesy of The Vermont Division for Historic Preservation   Historic view of Vermont House of Representatives Chamber. Photograph Courtesy of The Vermont Historical Society

Against its backdrop of wooded hills, the Vermont State House is one of the most picturesque statehouses in the country. Designed in 1857, the Vermont State House is an exquisite example of Greek Revival architecture, particularly as this style was applied to important institutional buildings. This well-preserved capitol building is a reflection of the nationwide construction of state capitols throughout the first half of the 19th century. Their designs were a conscious reflection of the nation's Capitol. It was hoped that the allusion to this familiar architectural image would foster the same trust and loyalty for State governments that citizens already had for the nation's.

Today the State House is the focus of the Montpelier Historic District. The current state house was preceded by several others at the site. The most significant was that designed by Montpelier resident, Ammi B. Young, and built from 1833-38. Young was the Supervising Architect of the U. S. Treasury Building, and one of 19th century America's leading architects. Young designed a two story building with cruciform plan, low saucer dome, and portico, using locally quarried Barre granite for much of the building's exterior. In January of 1857, most of the building was destroyed by fire, including the timber interior and dome. Young's Doric portico survived as did some of the granite walls. These elements were incorporated into the current Vermont State House, which followed the plans of architect Thomas Silloway. Silloway's design called for the enlargement of the previous building by one bay at either end of the facade. His more elaborate high dome is sheathed with copper and covered with gold leaf. A statue of Ceres, the goddess of agriculture, stands atop the dome, symbolizing the importance of that industry to the state. Today, the statehouse stands virtually as completed in 1859 and includes many of the original furnishings, such as the Senate Chamber's 30 black walnut desks and chairs first used by the 30 members of the 1859 Vermont Senate. The building underwent a major restoration in the 1990s and continues to function as it was originally intended.

The Vermont State House, located at 115 State St., is the seat of Vermont Government. It is open to the public Monday-Friday, 8:00am to 4:00pm. Free tours are available July to mid-October, on the half hour.

College Hall and green. Photograph by CB Johnson   Historic view of College Hall. Photograph Courtesy of The Vermont Historical Society

Affording a spectacular panoramic view of the Winooski River Valley, College Hall is located at the top of Seminary Hill overlooking the city of Montpelier. This building is an excellent example of the Second Empire style, known for its multi-story symmetrical buildings with projecting center pavilions and mansard roofs. It is also one of Montpelier's most significant landmarks.

Now the center and visual focus of Vermont College, College Hall has continually been used as an educational facility. It was first erected as a seminary for the Vermont Methodist Conference in 1872. Looking for a new centralized location for its seminary, the Conference decided on Montpelier because of its proximity to the capitol and the railroad. The hill-top property chosen for the site of the seminary in 1866 already contained a race track, fairgrounds and the buildings of a Civil War hospital for chronically ill soldiers, which had closed the year prior. College Hall replaced some of the hospital buildings, cleared to create the college green. The college green, bordered by instructional and residential buildings, created for the seminary was a typical site plan for American college campuses at the time. The Vermont Junior College (reorganized in 1958 as Vermont College) began to use College Hall in 1936, sharing with the seminary until that institution withdrew in 1947.

When completed in 1872, College Hall provided offices, classrooms, a gymnasium and chapel. The chapel comprises the entire second and third floors of the central pavilion, a full two stories high. Still in place is a double manual pipe organ from 1884.

College Hall is located at off College St. Today it is used as classroom space for Vermont College and houses the Thomas W. Wood Art Gallery, which is open Tuesday-Sunday noon to 4:00pm. There is an admission charge. Call 802-828-8743.

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Community Center of Goddard College Greatwood Campus, originally a hay barn and silos. Photograph Courtesy of The Vermont Division for Historic Preservation   Martin Manor, Goddard College Greatwood Campus. Photograph Courtesy of The Vermont Division for Historic Preservation

Greatwood, now a collection of fine buildings comprising Goddard College, was one of Plainfield's largest farms in the 19th century. Farmed by generations of the Martin family from the early 1800s, Willard Martin Jr. was the last to own the site. Martin was a wealthy Boston businessman, and developed the successful agricultural business he inherited from his father in 1902 into a "gentleman's farm." Gentlemen's farms were large agricultural operations using modern scientific farming techniques and breeding programs with a large estate for the family's summer use. Once known as "Vermont's Finest Farm," Greatwood is indicative of this broad pattern in agricultural history. Some of the most outstanding Shropshire Sheep and Milking Shorthorn Cattle herds in the country were raised here. Now a small college, the Greatwood site is a unique institution of higher learning.

The buildings and grounds of Greatwood, most dating to 1908, reflect major architectural and landscaping styles of the early 20th century. Martin hired architect James T. Kelly to replace the 19th-century farm buildings with an estate home and a modern agricultural complex. Kelly designed numerous barns, a creamery, clock house, greenhouse, garden house, blacksmith shop, farm manager's cottage, and the family estate. He primarily drew on the Shingle Style, with elements of the Indian Bungalow and Colonial Revival styles, to unite his complex. Arthur Shurcliff, the landscape architect during Colonial Williamsburg's restoration, designed the gardens of Greatwood, which are an integral part of the site today.

When Goddard Seminary purchased the site in 1938, it became a college with a unique philosophy of teaching and learning. The college's first president believed schools should be forums for learning, and that tests were not the best way to measure a student's success. Since its inception, Goddard College has taught in alternative ways and included students in the operation of the school. Goddard College is but one of a number of small Vermont colleges which have successfully adapted the various buildings of large summer estate farms as the educational, recreational and residential facilities that comprise a college.

Goddard College Greatwood Campus is located west of Plainfield at the intersection of Rt. 2 and State Rt. 214. The college welcomes visitors to its campus. Tours can be arranged by calling 802-454-8311.

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Montpelier Historic District. Photograph Courtesy of The Central Vermont Chamber of Commerce Buildings of the Montpelier Historic District. Photographs Courtesy of The Central Vermont Chamber of Commerce

Montpelier was a small isolated village nestled in the valley formed by the Winooski and North Branch rivers until 1805, when the city was chosen as Vermont's capital. Like many capital cities, Montpelier was selected for its central location and accessability to roads and waterways, the only methods of transportation available at the time. By the mid-19th century Montpelier's status as a government center attracted other institutions to the slowly growing town. The most significant of these was the National Life Insurance Company, which located its headquarters in Montpelier in 1848. Transportation methods were much improved when the Vermont Central Railroad connected a spur route to the city in 1849, and again in 1873 when the Montpelier and Well River Railroad connected the town to the Connecticut River Valley. These two institutions, the railroad and National Life Insurance, stimulated the greatest period of growth and construction in Montpelier's history, the last half of the 19th century. Despite this, Montpelier's slow growth over the past two centuries has resulted in the city's distinction as the smallest capital city of all the states.

Today, the 450 buildings that comprise the Montpelier Historic District reflect the town's prosperous past, during which time many high style and vernacular examples of various 19th century architectural styles were constructed. Such variety of styles, and the mix of domestic, commercial, religious, and institutional buildings, speak to the slow but continuous growth of the town. While the Vermont State House is the focus of the district, other significant buildings include the Pavilion Building, State Street's Federal style residences, the Italian Renaissance Revival Kellogg Hubbard Library (a free private library since it opened in 1895), the 1891 headquarters of the National Life Insurance Company (constructed of Vermont brick and now occupied by the Vermont Department of Agriculture) and the 1880 depot for the Montpelier and Wells River Railroad (now a bank, beauty salon and offices). The 1820s Federal style Vogue Shop, at the district's main intersection of State and Main Streets, was damaged by fire, but successfully restored in 1998 with the assistance of a federal historic preservation tax credit. As a whole the historic district is a well preserved collection of the essential buildings comprising any 19th century New England town, as well as a reflection of the major architectural styles of the century.

The Montpelier Historic District, in Montpelier, Vermont is roughly bounded by Memorial Dr., Bailey Ave., Hubbard Park, Vine St., and Hubbard St. Residences are private and not open to the public, but many of the businesses, institutions and government buildings welcome visitors. A walking tour is available. Further information can be obtained from the State of Vermont's Central Region Visitors Center, at 134 State St., open 8:00am to 8:00pm every day.

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Plainfield Village Historic District. Photograph by CB Johnson   Historic View of Plainfield, and individual buildings within the Historic District. Photographs Courtesy of The Vermont Historical Society, Christopher Bellamy, and The Vermont Division for Historic Preservation

Nestled in the Winooski River Valley, Plainfield Village is located ten miles east of Montpelier, and developed throughout the 19th and early 20th centuries as a prosperous mill community and service center for the surrounding countryside. The falls of the Winooski River, which lie immediately to the south of the Main Street Bridge, provided the principal power source for Plainfield's mills. While none of the mill buildings survive, the historic village contains a cohesive collection of 19th-century buildings and is noteworthy for the concentration of brick buildings in a singular style which represents a local building tradition.

Many significant commercial, residential, and civic buildings comprise Plainfield Village. Plainfield was chartered in 1797, and the following year the first frame house was erected, still standing at the center of the village. Possibly the two oldest surviving Federal style brick commercial buildings in the State also stand in the center of the village. The district includes three of the four original churches, the original fire station from 1890, and seven of the eight original stores. Like other small Vermont villages, the connection of Plainfield to the railroad in 1871 boosted the local economy and growth of the town. In 1812, Plainfield was home to only 12 families, by 1881 that number had risen to 80. Numerous industrial enterprises were located in Plainfield at the end of the 19th century including a clothes mill, sawmill, gristmill, tannery, as well as factories producing wagons, sleighs and carriages. With the disappearance of all these industrial sites, the village presently serves as a residential community for Montpelier, and as a cultural and commercial center for Goddard College.

The Plainfield Village Historic District is roughly bounded by the town line to the north, Main and Water Sts. to the east, Great Brook to the south, and Rt. 2 to the west. The private homes within the district are not open to the public, but most of the businesses welcome visitors.

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The Gale-Bancroft house is a typical New England Cape Cod house type, a small rectangular one and a half story building, only one and a half rooms deep with a high pitched gable roof, symmetrical openings and simple details. The house is also an example of the typical New England building practices of additive or continuous architecture, in which a small building is expanded through the addition of connected living spaces and barns. Soon after the construction of the brick Cape portion of the house, two separate woodframe sections were added, and a mid-19th century barn was connected at the end of this row of buildings. Today, the house is one of the best preserved small brick houses in Plainfield. The only major alteration was the removal of the second woodframe addition. Reflecting the early years of the automobile and its effects on domestic structures, garage doors were added to the first frame addition around 1910. The interior of the house maintains its original Cape Cod floor plan of two large front rooms and three small rooms at the rear. A tin ceiling has been added in the parlor.

The Gale-Bancroft house has had many owners. It was probably built by S. B. Gale, who lived there until 1847. Several other people owned the house before J. A. Bancroft purchased it in 1859. Bancroft was an undertaker, and the house and its wings were the headquarters of his business. The property was later used as a small farm and in the 20th century was the home of Plainfield's rural postman, Newton Davis.

The Gale-Bancroft House is on the corner of Brook and Creamery Rds. in Plainfield. It is a private residence and not open to the public.

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Allenwood. Photograph Courtesy of Christopher Bellamy   Historic view of Allenwood, early 20th Century. Photograph by Harold Townsend

The first settlers in Plainfield arrived at the turn of the 19th century. Only a quarter of a century later it had grown into a well established agricultural township. In 1827 Allen Martin, son of one of the original settlers, erected a home for himself along the fertile Winooski River. Allenwood, as the home is known today, is a typical 19th-century Vermont hill farmstead. It is an example of the unusually large number of brick houses erected in Plainfield, which together create the village's unique historic architectural character. This concentration of brick homes was made possible by a few early local brick masons, one of whom was William Martin, Allen's brother. Allenwood is just one of several brick homes in Plainfield attributed to the Martins.

A notable feature of Allenwood is its double wall construction, two brick walls with air space in between where hay was inserted for insulation. This durable construction was an interesting response by Vermont's early settlers to the region's harsh winters. In addition to the house, three 19th-century barns reflect the historic agricultural use of the property. Unlike many historic houses, minimum changes have been made to Allenwood since its construction, the fortuitous result of several factors. Allen Martin resided in the home until his death in 1876. The lack of changes to the house made during his occupancy reveals that modernization was either not desired or affordable. After Allen's death the house was inherited by his nephew Willard Martin, a judge, farmer, and businessman who owned the neighboring Greatwood Farm. Willard Martin's son, Willard Jr., an even more successful businessman, inherited the properties in the early 20th century and proceeded to expand Greatwood and its gardens in opulent style. Allenwood became the home of Greatwood's gardeners and therefore did not receive stylistic updating during that time. Upon Willard Jr.'s death, the house was deeded to his daughter, Marjorie Townsend, whose careful stewardship during her lifetime has resulted in the home's preservation.

Allenwood is located west of Plainfield on Rt. 2, just east of that road's intersection by State Rt. 214. It is a private home and not open to the public.

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Old Red Mill. Photograph Courtesy of Alan H. Weiss   Old Red Mill. Photograph by John R. Axtell

South Northfield, during the late 19th and early 20th centuries, was a thriving center of water-powered industry. Remarkably, the Old Red Mill is the only building to remain from that period of Northfield's history. It is an unusually intact example of a metal turbine-powered steel roller grist mill and its machinery. When the building was constructed in 1898, it functioned as a gristmill and feed store. The simple one and a half story clapboard structure featured a cupola-like tower projecting from the south gable end. This tower, necessary to accommodate the milling machinery, is an example of a building's function influencing its design, a characteristic of many industrial buildings.

The mill was advantageously located at the site of the northernmost falls in the village. Able to draw on the power of the Dog River's Sunny Brook branch, the site had been used since the early 1800s for small manufacturing. Before the gristmill, a chair factory occupied the site (which burned in 1896) and an even earlier mill produced wood and slate saws and shingles. In the 1930s a water-powered cider press was added to the mills's operations. The Kempton family purchased the Old Red Mill at auction in 1944. They continued to grind grain and make shingles until the mid 1940s, when the market for these products declined, largely because of changes in agricultural and transportation patterns. However, they did continue to produce their popular Kempton's cider for several years.

The Old Red Mill is located on Rt. 12 in South Northfield at the intersection of Lover's Ln. It is private, and not open to the public.

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The historic buildings of the fish hatchery are arranged in a park-like setting around a series of five ponds. The ponds are fed by a spring and water diverted to the site from Flint Brook. In 1891 fish culture meant procuring, incubating and hatching eggs, rearing the resultant fish, and introducing the matured fish to lakes and streams. Several structures were needed for this process, and those that remain from the 19th century are the 1891 hatchery, an 1894 ice house for fish food storage, and an 1897 carriage barn. The hatchery still houses the initial stages of the process, where fertilized eggs are placed in plastic hatching trays and incubated with a continuous flow of fresh water to provide adequate oxygen. In the 19th and early 20th centuries, tall glass hatching jars were used for this process. Today, hatched fish are kept in rearing troughs. When the fish reach 3 to 4 inches they are transferred to one of the ponds. In the spring fish are distributed to the State's waterways. When this was done by train and wagon, fish were transported in "fish cans" with perforated inserts for ice that provided oxygen to the fish as it melted. Today, they are distributed by trucks in large installed tanks.

The fish hatchery site also includes a 1935 storage barn, two circa 1937 stone barbeques, a 1960 biology lab, and a recent barn and residential trailer. The 1930s structures were built by the Civilian Conservation Corps (CCC), and the barbeques indicate the popularity of the site with tourists throughout its history.

The Roxbury Fish hatchery is on Rt. 12A, 2 miles south of Roxbury Village, on a narrow, ten-acre strip of land stretching between the highway and the Central Vermont Railroad line. The hatchery welcomes visitors to view the stocked fish, feed them, and picnic.

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The Hyde Park Opera House.

1781 - 1954
The Hyde Park Opera House was originally built to serve as the Town Hall for the Shire Town of Lamoille County. From an inspection of the building however, with its sloped floors, excellent sight-lines and acoustics it becomes clear that the people who had it built had a more broad purpose in mind than just a meeting hall. By tracing the history of this building I have found that a big fire, politics, community will and town pride all contributed to building this unique structure.

The Town of Hyde Park was established by a charter granted by Gov. Thomas Chittenden in 1781. At that time Hyde Park was part of Chittenden County, over the years it was also a part of Rutland, Addison, Orleans and in 1835 took root in Lamoille County. When Lamoille County was being formed, the state declared that "When some town should erect a suitable court house and jail, the county should be deemed organized."' The towns of Johnson to the south and Morrisville in the north both rallied for their towns to be named Shire Town. A committee was formed to choose the recipient of the Shire and after an impassioned speech in the 1835 General Assembly by Joshua Sawyer, Hyde Park secured the county seat.

The town paid for the new county buildings and included among them, a court house and an ample Town Hall that could be used for county and town functions. These buildings were well maintained and regularly improved. In 1884 a stage and better lighting 'were added to town hall, reinforcing it as a place for meetings and entertainment. In 1891 an eighty foot clock tower was added to Town Hall. These structures were a great source of pride for, Hyde Park and a firm foundation for the county seat.

In the 1854 and 1855 General Assembly sessions, bills were introduced to relocate the Shire to Johnson and in 1859 Morristown tried the same. None of these acts came close to approval but the competition for the shire was clearly evident.

On April 17,1910 Edward Shattuck and Edward Jacobs, both from Jeffersonville and both serving ten days for public drunkenness, were enjoying a Sunday brunch with Mr. Shattuck's father and brother. It was a very windy day and so to keep the chill off the inmates built a huge fire in the stove. The fire was so hot that the stove pipe set some of the timbers between floors on fire. This was not the first time that this had happened but on this day the strong wind took the smolder to a blaze and almost before anyone saw what was happening the building was consumed.

A boy named Oscar Lilley is credited with first seeing the fire. He and Proctor Sage Sr. alerted Sheriff Stevens and the sheriff in turn sounded the fire alarm. What followed was a combination of heroism, community action and just enough miscommunication to really wreck things.

According to newspaper accounts of the day, the power plant was shut down on that Sunday. When Sam Manley at the power plant got the call he turned on the generators and started the pumps. As the lines were pressurizing he 'allegedly' got another call to shut the pumps down. The fireman were greeted with a trickle from the hoses and by the time the pumps were charged again the fire was out of control.

Jeanette Daley, a Hyde Park resident for her whole life, said that on that day she was in Sunday school at the Congregational Church. She remembers hearing the fire alarm and coming out of the church to see the town starting to burn. Her immediate concern was for their own house which was upwind of the fire at the time, but all that would be required for the fire to claim it would be a shift of the wind. The wind spared her house but not ten houses and tenements, the Court House, Jail, Congregational Church and the original Town Hall

Fighting the fire was a county wide effort. Fire departments from Stowe, Johnson and Morrisville all were on the scene to control the spread of the fire. Jeanette Daley says she and others distributed coffee and food to the men fighting the fire well into the night. During the fire men went into public buildings and homes, some of them burning, to save valuables. Town and County records were hurriedly shoved into the vault at the courthouse. Five pianos and two organs were set out on the Page Mansion lawn. Two stained glass windows and some pews were saved from the church. At the Town Hall several rows of seats were saved, those seats are now in the balcony at the Hyde Park Opera House. After the fire the town sent each of the fire departments who had helped fifty dollars. Stowe fire department officials sent back twenty-five dollars saying they only needed twenty- five to repair hoses damaged in the fire.

Certain incidences in this fire bear mention. It has been surmised that the Senator Page mansion, curiously located in the middle of the fire's path, survived because the limited water available ( the reservoir quickly drained after the pumps were finally turned on) was all dedicated to that structure at the sacrifice of the rest of the town. Also what was the source of the call to Sam Manley at the pump house to shut down? It could be speculated that an unscrupulous Morrisvilian interested in taking the shiredom from Hyde Park placed the call upon hearing of the fire. Or it could have just been the panic of the moment.

After the fire a chamber of commerce organization called the Morrisville Board of Trade raised $25,000 by subscription to build County buildings on a site already chosen in Morrisville. Their argument for moving the county seat to Morrisville was that they had private funds not taxes to build with. These efforts were received by Vermonters as an insult to Hyde Park and in the fall of 191 0 the General Assembly voted $30,000 in bonds to rebuild county buildings in Hyde Park.

Perhaps spurred on by the threat of the loss of the Shire, the people of Hyde Park moved quickly to do their part in rebuilding the town. Senator Carroll S. Page returned to Hyde Park from Washington D.C. as soon as he heard about the fire. Upon his return he said that Hyde Park would once again "be the finest village in the Green Mountain State'12 He was recognized in the newspapers for his leadership in organizing the town to rebuild. The insurance companies did their part too. They settled all claims on residential and public buildings in less than ten days. The settlement on the County buildings was for $19.05 less than their valuation of $12,000.

A special Town Meeting was called two weeks after the fire. In that meeting the following resolution was adapted; "Whereas, our town hall has been destroyed by fire and it has become necessary that a new one be erected without delay suitable for the accommodation of the town and for meetings and conventions called at this place by reason of Hyde Park being the County Seat". The Town voted to spend no more than $5000 plus the $3400 received in insurance to build "A Town Hall for the Town of Hyde Park that shall be in every way suited to the needs of the Town as the shire Town of Lamoille County".

On June 3, 1910 Judge Edwin C. White sold the lot that his home once stood on to the town for $300.00. This would be the site for the new Town Hall. Plans were submitted to the committee by an architect from Burlington named Cradell. On July 6, 191 0 a contract was awarded to Nichols and Parker of Essex Junction to build the new Town Hall. Nichols and Parker later won the bid to build the new county building as well as some residences in Hyde Park. The plans called for a'44x80 structure of concrete and wood with an assembly hall and other rooms for town use' that it shall have' an incline floor and gallery with seats for 450'. The plans also called for stage accommodations including a drop curtain and electric lights. Also 'waiting rooms and toilets', The work was to be completed by December 1, 1910.

Ground was broken on July 10, 1910 and work went on into the winter. A newspaper article in December notes that 'new chairs of a modern style have been ordered for Town Hall. The setees saved from the fire are to be placed in the gallery'. Any modern Opera House patron will tell you that without a cushion the 'seats of a modern style' are most uncomfortable, and that the gallery seats from the 1800's are worn but much more pleasant.

For the people of Hyde Park perhaps the most exciting and gratifying aspect of the new Town Hail, besides its attractive Georgian Revival design, was the art work done inside the opera house by the artist Charles Hardin Andrus (1851-1924). Born in Enosburg Falls Mr. Andrus enjoyed a long career as a painter of large murals, theater curtains, frescoes, trade cards, and commercial signs. At the Town Hall he was charged with painting a curtain with a local scene. During the months of January, February and March Andrus did paint a tremendous scene on the curtain but its subject was only partially local. The scene he used was the Natural Bridge at West Virginia with Vermont's Killington mountain in the background. The story of his reaction to criticism of his using a non-Vermont scene when Vermont has so much scenery to offer was 'The Natural Bridge is one of the Seven Wonders of the World and this Opera House is the Eighth'. Very little more needed be said.

Newspaper accounts show that as well as the curtain Mr. Andrus also painted frescoes in the Opera House. Jeanette Daley who used to sneak into the Opera House with her friends to watch Mr. Andrus work says she doesn't remember the frescoes but that the curtain was so impressive that any other work might have failed her notice. Unfortunately these works (if they really existed) have been painted over for some unknown reason. Also lost forever are the set scenes he painted for the stage at the Opera House. In March of 1911 and again in May of 1913 he painted elaborate backdrops for plays that were performed by local groups and traveling shows. Besides the Hyde Park Opera House Andrus 'work in Vermont can still be seen at the Bakersfield Town Hall, lrasburg Town Hall, Enosberg Opera House, and St. John the Baptist Church in Enosburg Falls. Other works include his 17'x28' "Sheridan's Ride" owned by the Vermont Militia Museum and a large portrait of native Vermont Civil War hero General George J. Stannard owned by the Vermont Historical Society. Also at the V.H.S. is a huge and rare 150'-Iong, 7'-high panorama painting of the civil war depicting ten scenes from the war. This painting toured from town to town in Vermont in the late 1800's and was accompanied by a narration of each scene as it was presented. Clearly C.H. Andrus' art is important to Vermont and to Vermont's history. That a piece of his work exists at the Hyde Park Opera House increases the value of the Opera House as a part of history.

On March 1,1911 the News and Citizen announced that the finishing touches were being put on Town Hall. Mr. Andrus was still working on the curtain. The floors had yet to be finished and the new seats installed but that it was to be ready for Town Meeting on March 7. The total cost for the Town Hall above the insurance received was $3750.00

Also scheduled for the evening of the seventh was the first non-political entertainment for the new Town Hall. 'Phil Ott and his Twenty-five Merry Singers, Dancers and Beauty Chorus' were to perform. Admission was 35 cents, 50 cents and 75 cents. The show was a huge success with over 500 people attending.

In its first day of service the Town Hall began serving it's multi purpose as a meeting house and a house of entertainment. While the Congregational Church was being rebuilt Sunday services were held there. Town records were stored there for a time. All of the town meetings were held there as well as regional and National elections. High School graduation exercises were held there for thirty years. Local groups and schools presented plays and musicals for fundraising. Traveling medicine shows would come through, presenting an entertaining show and then hawking their snake-oil remedies to the audience. Jeannete Daley recalls attending one of these shows with her father and being scared "because there was shooting". The Nellie Gill Players came annually to perform to full houses. In its review of the Phil Ott Show the News and Citizen refers to the new Town Hall as the Opera House. In subsequent articles it seems that its name depended on the function the building was being used for.

The last Town Meeting at Town Hall was held on March 4,1952. The Town was finishing up work on an addition to the school which included a gymnasium large enough to accommodate any meeting. It was decided that maintenance requirements on Town Hall would be too expensive given the money that had just been spent on the school. So the Town voted to sell Town Hall to defray the expenses of the school.

The following year at the 1953 Town Meeting the committee charged with selling the Town Hall building recommended that because there were no other takers the building should be sold to the Village of Hyde Park for the sum of $1.00. On April 21.1953 the Village voted to accept the Town's offer and became the proud owner of a slightly used and neglected Opera House.

Meanwhile a spirited young minister, the Reverend John Knight of the Second Congregational Church needed a new furnace for his church. The Opera House was right across the street from the church and that gave him an idea to raise funds. He was reported to have said " Let's do something that will bring everybody together in one big concerted effort, I tell you let's put on Gilbert & Sullivan's Mikado!'14 Of course this did cause some hub-bub. First of all a Minister singing and dancing was still a little controversial and second how could such a small area produce enough talent to present something as complex as a full scale musical. As it turned out there was quite a lot of good talent in Lamoille county and soon a cast and crew of over seventy people was assembled from all over Lamoille county; and on September 10, 11 and 12, 1952 the show went on.

The Mikado was a colossal success, filling the house every night of its three date run. It was so successful that a benefit show was given the following week for Copley Hospital. The Reverend got his furnace but more importantly the groundwork was laid for a theater group that would and still does entertain people every year at the Hyde Park Opera House. The people that produced the Mikado had such a good time they decided to do it again. On April 30,1953 Mrs. J.B. Viets held a meeting of what was then called the County Dramatic Group for the purpose of presenting a new production. On May 7, 1953 the second show to be produced at the Opera House was announced; Gilbert & Suilivan's Gondoliers. Then on May 18, 1953 The Lamoille County Players were officially formed, Bylaws were written and officers were elected. The first officers of the L.C.P. were: Natalie Viets Chairman, Don Mc Keraghan-Secretary and Phyllis Currier- Treasurer.

Finally at the April 20, 1954 annual Village meeting the Village agreed to lease the Opera House to The Lamoille County Players for the annual rent of $1.00 plus upkeep and insurance. The players had a home and they set about the business of repairing the Opera House. Funds were raised from their many successful productions as well as from gifts and contributions. A new furnace was installed, the roof was repaired, and paint and plaster work was done.

Over the past forty years the Players have continued their success as a theater group, attracting talent and audiences from all over the county, state and even from around the country. They have continued their efforts to maintain and improve the Opera House. This includes installing a new lighting system and building an addition for set building and storage. The most recent improvement was the addition of a handicap access ramp and handicap accessible bathroom.

Since the day of the great fire the Opera House-Town Hall has in fact been truly suitable in every way to the needs of the Town and of the County. As the community's needs changed so did the uses of the building. True to the intentions of the dedicated people who resolved to build this elaborate structure, the Opera House has continued to bring the people of Lamoille County, as the Reverend said 'together in one big concerted effort'. It is a privilege to have the use of a structure that by its design has the ability to do just that.

Sources:
Hyde Park - Vermont Shire Town of Lamoille County An Historical Story published by the Town of Hyde Park and its Bicentennial Committee. 1976 Essex Publishing Co. Inc.
Hyde Park Town Meeting Minutes
Hyde Park Land Records
Vermont History News
July-August 198,
Published by the Vermont Historical Society
The Lamoille Newsdealer
Newspaper articles 1864-1877
The Lamoille News
Newspaper articles 1877-1881
The News and Citizen
Newspaper articles 1881-1954
State of Vermont Division for Historic Preservation
Historic Sites and Structures Survey
Vermont Life Magazine
Spring 1955 volume 9 number 3
Vermont History Magazine
Volume 45 page 214
First person interview with Jeanette Daley long time Hyde Park resident.
Inventory of the Town, Village, and City Archives of Vermont No. 8, Lamoille County Vol.V, Town Of Hyde Park

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Coburn Covered Bridge. Photograph Courtesy of The Central Vermont Chamber of Commerce   Coburn Covered Bridge, circa 1950. Photograph Courtesy of The Vermont Historical Society

The covered bridges of Vermont are among its most cherished and symbolic historic resources. The Coburn Covered Bridge is the only one to remain in East Montpelier. It reflects the widespread construction of covered bridges on Vermont's public highways from around 1820 to 1904, one of the highlights in Vermont's transportation history. Covered bridges were roofed and enclosed to protect the wooden structural elements from the weather, which in Vermont can be quite harsh. Little more than 100 covered bridges remain in the State, the result of expanding highway systems, intensive commercial development, and physical neglect. Still, Vermont has the greatest concentration of covered bridges in the country, and in the recent past has become dedicated to their preservation. Vermont law now protects all covered bridges and none can be torn down without the permission of the Governor and the Board of Historic Sites.

The Coburn Covered Bridge was built by Larned Coburn in the 1840s. It is 69 and a half feet long and of queenpost construction. The wood trusses and superstructure are intact and in excellent condition, although the original timber deck has been replaced with steel beams and concrete. The bridge spans the Winooski river, once called the Onion River. Mr. Coburn gave the bridge to the town in exchange for changing the path of the town road to pass by his house. The bridge, in relationship to other historic structures and the villagescape, helps to form the unique historic environment of East Montpelier.

Coburn Covered Bridge spans the Winooski river on Coburn Road., east of Route 14, in East Montpelier. Be cautious of automobiles if you cross the bridge by foot.

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Slaughterhouse Covered Bridge. Photograph Courtesy of The Central Vermont Chamber of Commerce   Northfield Falls Covered Bridge. Photograph Courtesy of The Central Vermont Chamber of Commerce

The covered bridges of Vermont are among its most cherished and symbolic historic resources. Five remain in the Village of Northfield, the second highest concentration in the State. All reflect the widespread construction of covered bridges on Vermont's public highways from around 1820 to 1904, one of the highlights in Vermont's transportation history. Covered bridges were roofed and enclosed to protect the wooden structural elements from the weather, which in Vermont can be quite harsh. Little more than 100 covered bridges remain in the State, the result of expanding highway systems, intensive commercial development, and physical neglect. Still, Vermont has the greatest concentration of covered bridges in the country, and in the recent past has become dedicated to their preservation. Vermont law now protects all covered bridges and none can be torn down without the permission of the Governor and the Board of Historic Sites.

Three of Northfield's covered bridges stand within a quarter mile of one another. The Upper Cox, Lower Cox, and Northfield Falls Covered Bridges are closely located on Cox Brook Road, as that road passes over the winding Cox Brook, a tributary of the Dog River. The first of these, the Northfield Falls bridge, was built in 1872 of Town lattice truss construction, a type widely used on many early timber bridges and later in building construction. Additionally, it is the longest bridge in Northfield by far, 137 feet long, more than twice as long as any of the others. The Upper and Lower Cox bridges were built soon after the Northfield Falls, both of queenpost truss construction. This group of bridges is further distinguished as the only place in Vermont where one covered bridge can be seen from the portal of another, as is possible from the Lower Cox and Northfield Fall bridges.

Slightly below the Cox Brook bridges stands the Slaughterhouse Bridge. This particular covered bridge, also of queenpost truss construction, is the only one in Northfield that has not been structurally altered. It carries only an occasional vehicle across the Dog River to the abandoned industrial site of a local slaughterhouse, after which it is named. The fifth Northfield bridge, the Stony Brook Covered Bridge, is representative of the end of the era of covered bridge construction in Vermont. Built in 1899, is was the last kingpost truss covered bridge built on a Vermont public highway.

The three covered bridges crossing Cox Brook are located on Cox Brook Rd., which leads west from the village of Northfield Falls. From there, the Slaughterhouse Covered Bridge is due south on Slaughterhouse Road. just east of Route 12. The Stony Brook Covered Bridge is southwest of Northfield Center on the south fork of Stoney Brook Road. East of Route 12A. All are accessible to the public. Be cautious of automobiles if you cross the bridges by foot.

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Great Eddy Covered Bridge. Photography by Hugh H. Henry   Pine Brook Covered Bridge. Photograph Courtesy of The Mad River Valley Planning District

The covered bridges of Vermont are among its most cherished and symbolic historic resources. Two remain in the Village of Waitsfield, the Great Eddy and the Pine Brook. Both reflect the widespread construction of covered bridges on Vermont's public highways from around 1820 to 1904, one of the highlights in Vermont's transportation history. Covered bridges were roofed and enclosed to protect the wooden structural elements from the weather, which in Vermont can be quite harsh. Little more than 100 covered bridges remain in the state, the result of expanding highway systems, intensive commercial development, and physical neglect. Still, Vermont has the greatest concentration of covered bridges in the country, and in the recent past has become dedicated to their preservation. Vermont law now protects all covered bridges and none can be torn down without the permission of the Governor and the Board of Historic Sites.

The Great Eddy Bridge, built in 1833, is a major historical and visual landmark of the Waitsfield Historic District. The oldest operating covered bridge in the State, the Great Eddy is also distinguished as the covered bridge with the longest clear span of any Burr truss bridge in Vermont. The Great Eddy is only surpassed in age by the Pulp Mill Covered Bridge in Middlebury. Burr truss construction was used on both these early bridges, although the Pulp Mill required reinforcements. The basic structure of the Great Eddy remains intact, but much of the flooring and braces were replaced in the 1970s. A pedestrian walkway, part of the original design that had been removed, was also rebuilt at that time. The bridge continues to provide a vital function in transporting citizens and visitors to Waitsfield over the Mad River.

The Pine Brook, the only other covered bridge to stand in Waitsfield, remains structurally unaltered and fully operational. Built in 1855, the strength and endurance of this bridge's original design are remarkable, as many other covered bridges throughout the State require reinforcing devices. Half the size of the Great Eddy, the Pine Brook is representative of the more abundant small and simply executed bridges built across Vermont's numerous smaller rivers and streams.

Both the Great Eddy and Pine Brook Covered Bridges are on public highways and accessible to the public. The Great Eddy is located on Bridge Street where it crosses the Mad River. The Pine Brook bridge is 1.2 miles north of Waitsfield Common where Town Road. 3 crosses Pine Brook.

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Warren Covered Bridge. Photograph Courtesy of The Mad River Valley Planning District   Warren Covered Bridge. Photograph by Thomas Visser

The covered bridges of Vermont are among its most cherished and symbolic historic resources. The Warren Covered Bridge is the only bridge to remain in the town of Warren. Combined with other surviving bridges in the area, the Warren bridge reflects the widespread construction of covered bridges on Vermont's public highways from around 1820 to 1904, one of the highlights in Vermont's transportation history. Covered bridges were roofed and enclosed to protect the wooden structural elements from the weather, which in Vermont can be quite harsh. Little more than 100 covered bridges remain in the State, the result of expanding highway systems, intensive commercial development, and physical neglect. Still, Vermont has the greatest concentration of covered bridges in the country, and in the recent past has become dedicated to their preservation. Vermont law now protects all covered bridges and none can be torn down without the permission of the Governor and the Board of Historic Sites.

The Warren Bridge is a short and simple structure. Built by Walter Bagley from 1879-80, it features a single span supported by queenpost trusses. To date, it has not required reinforcement devices, as have many other bridges. Unique features of this structure are the differing portal openings at either end of the bridge, the result of an overhanging gable roof on the west side of the bridge. The bridge will remain unaltered in the future unless, according to the stipulation of a town ordinance, two-thirds of the legal voters approve any proposed change. The Warren Covered Bridge is today an important symbol of the town.

The Warren Covered Bridge, still open to vehicular and pedestrian traffic, is located on Town Highway 4 as that road crosses the Mad River, just east of the intersection of Town Highway 4 and Route 100. Be cautious of automobiles if you cross the bridge by foot.

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Middlesex-Winooski River Bridge.

The Middlesex-Winooski River Bridge has carried U.S. Route 2 across the Winooski River at Middlesex since its construction by the American Bridge Company in 1928. This crossing historically served as a portion of the primary travel route between the Capital city, Montpelier, and Vermont's largest city, Burlington, prior to the construction of Interstate 89. It replaced an earlier structure that was lost in the flood of November 1927, the worst natural disaster in Vermont's history, which damaged approximated 1200 Vermont bridges. The Middlesex-Winooski River Bridge is an example of the remarkable reconstruction efforts undertaken after the disastrous flood, which necessitated the reconstruction or replacement of almost all of the transportation infrastructure in the valleys of the White and Winooski Rivers and their tributaries.

The town of Middlesex, a short distance up-river from the bridge, was a commercial and agricultural center prior to the flood and sustained heavy damages to its buildings and farms. The village was isolated by the ravages of the flood and rapid replacement of all means of through-transport was vital. The bridge was constructed with funds primarily provided by the State, which, as a result of the widespread need for rebuilding, created a wholly new approach to comprehensive infrastructure planning. The American Bridge Company, a subsidiary of U.S. Steel, constructed the bridge. The company was established by steel and railroad financier J.P. Morgan in 1900 to absorb competing steel fabricating companies, several of which were local Vermont manufacturers. American Bridge dominated bridge construction in Vermont, and after the flood erected numerous bridges similar to the Middlesex-Winooski.

The bridge is a Pratt through-truss bridge, patented in 1844, which became a common standard for this type of bridge. It used pre-fabricated parts assembled on-site, which were particularly well-suited for these replacement bridges where it was difficult to manufacture the materials at the site. The bridge has changed little since it was first erected and still retains its original materials, design and is the principal feature of its rural environment.

The Middlesex-Winooski Bridge carries U.S. Route 2 as it crosses the Winooski River northwest of the village of Middlesex. It is on a public highway and access is unrestricted.

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Scottish Highland cattle grazing at McLaughlin/Knoll Farm. Photograph by Ann Day for The Mad River Valley Planning District   High-drive barn, circa 1930.

Situated on the east side of Bragg Hill in the Town of Fayston, McLaughlin Farm, or Knoll Farm as it known today, is a well-preserved farmstead comprised of pastures, hay fields, gardens, sugar maples and forest lands. Contributing buildings include a vernacular 1904 farmhouse, a late 1800s bank barn, an 1880 high-drive bank barn that was reconstructed on its present site in 1923, and several sheds and pump houses. The land around the farmstead, fertile and productive, has resulted in continual farming for almost 200 years. Fayston proved to be particularly good for farming because the slope of the land to the south resulted in an early spring melt of the snow, allowing for the planting of three, or sometimes four, crops a year.

The farm was typical of larger farms in Fayston, producing in 1850 large quantities of wool, butter, cheese, and maple sugar, as well as wheat, corn, oats, potatoes and hay for personal use. In 1860 the farm was reputed to have the best sugar woods in the county. The McLaughlins, Irish immigrants, were the sixth owners of the farm. Three generations of the family worked the land from 1874 to 1935. They continued to farm the same products as their predecessors, particularly butter and maple syrup in large quantities, but introduced eggs, apples, wheat, beans and Irish potatoes to the crop variation. In 1923 a barn was bought by the McLaughlins, moved to their farm and reassembled with a high-drive that allowed easy access to all three levels. Until the late 1930s a spring, which continues to flow through a open pipe to the kitchen, was the only water source for the house.

McLaughlin Farmstead served as a farm and inn since 1937, coinciding with the growth of automobile tourism to the mountain states of New England. The economic viability of the inn was a significant factor in the preservation of the farmstead as an agricultural entity. Previous owners of the farm ensured this land will remain in its present condition by granting a conservation easement to the Vermont Land Trust. The current owners have established a working family farm with public programs such as art and music festivals, classes on natural history and organic gardening and retreats for conservation activists.

The McLaughlin Farm, more commonly known as Knoll Farm, is on Bragg Hill Road. (Town Highway 17) in Fayston less than a mile North West of Irasville. Please visit the farm for more information.

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Joslin Round Barn. Photograph Courtesy of the Inn At The Round Barn Farm   Joslin Farmhouse and Round Barn. Photograph Courtesy of The Mad River Valley Planning District

The fertile lands of the Mad River Valley have historically been home to one of Vermont's most important industries--farming. The Joslin Round Barn Farm and its rural setting, are reminiscent of that period in Vermont's history, and provide a fine example of a dairy farm and the agricultural innovation that contributed to its success. The collection of well-preserved farms buildings includes an 1860 farmhouse, a late 19th-century ice house, a 1910 polygonal barn, and a circa 1930 vegetable stand and field barn.

The oldest building, the farmhouse, was built by Cyrus Joslin, as a vernacular structure, with local interpretations of Greek Revival details. Cyrus purchased the farmland in 1831, and lived there, with his wife and ten children, until his death in 1866. A unique feature of the 84-acre farm is a polygonal barn with 12 sides, commonly referred to as a "round" barn. It is the only survivor of five "round" barns that once stood in Waitsfield, and according to a 1986 survey, one of 15 remaining in the State. The fad for round buildings was largely the result of 1850s literature that reported octagonal structures were an inexpensive, more efficient alternative to traditional forms. The Joslin round barn was built by Clem Joslin, Cyrus's grandson, in 1910 for his Guernsey cows. The middle level of the barn was home to the herd, who were easily lead out of the barn in a circle. Trap doors in that floor enabled farmhands to shovel manure directly into waiting trucks at the lower level, to haul the fertilizer into the fields. Designed by his cousin James Joslin, who had already designed one other local polygonal barn, the exact reasons for the round barn's unusual design are unknown. The period of round barn construction in Vermont during the first quarter of the 20th century was an interesting experiment in agricultural innovation.

The barn was actively used until 1969, after which it fell into disrepair. A major restoration project was undertaken from 1988-90, for which the owners received a federal historic preservation tax credit. The barn now houses the Green Mountain Cultural Center, sponsoring a variety of performances there, the Cross Country Ski Touring Center, and the Sunday Services of the St. Dunstan's Episcopal Church. The farmhouse is now a county inn.

The Joslin Round Barn Farm is located southeast of the Village of Waitsfield, at 1661 East Warren Road./Bridge Street, 2 miles South East of Waitsfield. The Green Mountain Cultural Center, Phone 802-496-7722, can provide information on performances and activities. To make reservations at The Inn at the Round Barn Farm Phone 802-496-2276.

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Colby Mansion. Photograph Courtesy of The Vermont Division for Historic Preservation   Circa 1870 stereoptican view of the Colby Mansion.

When the Colby Mansion was constructed around 1870 it was described as possibly the finest in the State outside Montpelier. It was designed and built by local Waterbury industrialist George J. Colby. The mansion was the execution of Colby's ideas on proper house construction. Although Colby had no known architectural training, he was a self-educated innovator, attempting to improve upon healthy ways of living through architecture and modern conveniences. The house is not only a well-designed, well-preserved upper class home from the Victorian era, but it also reflects the philosophy of a local, influential individual whose ideas were shared by many Americans at the turn of the century, and eventually found widespread application throughout the country.

Colby was well-known locally for his financial empire, which included a print shop, machine shop, the manufacture of willow ware and wringers, and the invention of a bark-peeling machine. He also wrote political pamphlets and helped organize the local library and cemetery association. In 1871 he published his ideas on domestic architecture in a series of eight articles in The Household, entitled "Household Architecture." The Colby Mansion was the embodiment of these ideas. It was symmetrically designed (promoting circulation), with forced hot air heat, a well-lit and ventilated basement, natural-finished interior woodwork, shallow hipped roof, and indoor plumbing. The marble sinks originally installed in each bedroom are still in place. In addition to these basic features, to promote healthful living, Colby also accentuated his home with features typical of the Victorian era, including a lavish degree of decorative detail, a projecting entrance bay, porch, and two bay windows.

The Colby Mansion is located north of Waterbury on Vermont Route 100. It is currently the Colby Mansion Home for the Aged, and not open to the public.

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Group of stone workers at the Jones Brothers Granite Quarry in Barre. Photograph Courtesy of Miranda Burwell

The New England State of Vermont boasts a rich history reflecting the broad American experience. Its stories tell of early colonial settlement, industrial development, the coming of the railroad, a strong agricultural tradition, the migration of peoples searching for land and opportunity, and the development of small self-sufficient communities throughout the State. One of the smallest states, Vermont is a mountainous region with large rivers and valleys. The Green Mountain range, which extends through the center of the State and Washington County, is the largest and most prominent natural feature of Vermont. In fact, the State's name is derived from it: Ver, from the French word for green, vert; and -mont from mountain. Traveling south from Canada, French colonists were the earliest European immigrants to the land. Their role in the area's early development is reflected in many of Vermont's place names, such as Montpelier, Calais, and Lake Champlain.

Native Americans, primarily from the Abenaki tribe, have lived in Vermont for 10,000 years. In 1609, French explorer Samuel de Champlain was the first European to set foot in Vermont. During the 17th century a few French military settlements were establish and abandoned, and the area became primarily a thoroughfare between French and Native American settlements to the north and English settlements to the south. As the English slowly pushed north, the first white settlements was made at Fort St. Anne, on Isle La Motte, in the middle of Lake Champlain near Canada. Fort Dummer, near the present Brattleboro, was established in 1724 by Massachusetts colonists, and became the first permanent European settlement in Vermont. By the time of the American Revolution, many more English colonists had migrated to Vermont's lands. They came from Massachusetts, Connecticut, New Hampshire and New York, as those English colonies extended their boundaries into the Vermont territory.

Spaulding School and Robert Burns Memorial Statue, carved by Italian immigrant Elia Corti, in Barre. Statue erected by Barre's Scotish immigrants to memorialize Scotish poet Burns. Photograph Courtesy of The Vermont Division for Historic Preservation

With New Hampshire and New York colonist laying claim to Vermont, there was a period of confusion in the 18th century as their land grants and titles overlapped. In the turbulent years leading to the American Revolution, several acts of rebellion took place in Vermont that were not against the British Crown, but against the province of New York. Vermont's famous "Green Mountain Boys," a group of colonists from New Hampshire organized by Ethan Allen in 1770-71, were among those harassing and attacking Vermont settlers with land titles issued from New York. These skirmishes ceased when news of the Revolution reached the territory. In 1775, Allen and other Vermonters captured important British forts in the north, including Forts Ticonderoga and Crown Point on Lake Champlain. The spreading news of their victories was significant, as it indicated to other colonists that the Revolution truly was a united American cause.

Amidst the battles, debates and congresses of the Revolution, Vermont organized itself as an independent republic and was admitted to the Union as the 14th State in 1791. As the State's population nearly doubled in the following decade, small self-sufficient communities developed slowly, populated primarily by people from New York and other New England States. The connection of rail lines to Vermont in the mid-19th century vastly expanded the possibilities for export and import of goods, information, and people. With this economic expansion came major, rapid growth for many of Vermont's small towns. While a majority of Vermont's immigrants during this period were of English descent, for the first time, a large influx of non-English speaking peoples arrived as well. The immigration of thousands of skilled stone workers from Italy, seeking chances to utilize their skill, made the growth of Barre's granite industry possible. The impact of their presence in the town can be seen at the Socialist Hall and Italian Baptist Church.

Vermont native, President Chester A. Arthur, 1881. Photograph Courtesy of The National Portrait Gallery, Smithsonian Institution, NPG.67.62

The prosperity fostered by the railroad lasted well into the late 19th and early 20th centuries. The State's industries, businesses, agriculture, and population thrived. Two Vermont natives, Chester A. Arthur and Calvin Coolidge, served as President during this period. But changes in the 20th-century economy, that began early in the century, affected the viability of Vermont within an increasingly competitive and global market. Vermont has seen many changes during the last half of the 20th century. Tourists have discovered the State's natural beauty, ski slopes, and small town character. While tourism in Vermont has soared, other aspects of Vermont's economy, such as farming, milling and quarrying have experienced a decline.

The historic sites of Washington County tell specific stories of Vermont history. Geographically, Washington County is located in the center of the State, home to the Capital City of Montpelier, the more industrial community of Barre, and many small towns and villages dispersed along the valleys of the Green Mountains. This region has moderate average temperatures, summer highs reach the mid 80's, autumn and spring months have highs in the mid 50s, and lows in the 20s and 30s. Washington County receives 40 inches of rain annually and has the heaviest snow fall of the State, averaging ten feet every year. This amount of precipitation has always been a challenge for Vermonters. Although it has the shortest growing season in Vermont, less than four months, Washington County was historically an agriculturally based economy, augemented by numerous small industries throughout the counties villages. Many of the sites on our tour reflect this aspect of the area's history, as well as the changes brought by the railroad, the varied industries that developed there, and the built environment that was the backdrop for it all.

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Plainfield Historic District. Photograph by CB Johnson

Vermont, known as the Green Mountain State, lies at the westernmost edge of New England. Similar to the other New England States, Vermont’s early settlement patterns were based on physiographic features, watercourses and access to transportation. The physiographic features contained and directed where settlement would easily occur, while the watercourses allowed travel and commerce to occur along their edges and lengths, affording opportunities to establish settlements. Later rail and roads afforded similar opportunities for settlement.

The primary physiographic feature in Vermont is the Green Mountains, which run along the western edge of the State in a north/south direction. Due west of the Green Mountains, the Hudson River, Lake George and Lake Champlain act as the physical boundaries between Vermont and the State of New York. Aside from a physical boundary, these watercourses bounding the entire north/south length of the States early on acted as the primary thoroughfares for transportation and commerce activities in the region. The northern, southern and eastern edges of Vermont do not have physical boundaries that separate them from the adjacent States. Other than Lake Champlain, Lake George and the Hudson River, the primary water feature east of the Green Mountains is the Connecticut River, which runs in a north/south direction along the central and eastern edge of the State.

Due to its relative remoteness, the physiographic diversity of the State and its slightly different settlement pattern influences (by the French from the North and the English from the Southeast), Vermont was considered wilderness well past the other New England States. During the Colonial settlement period, English settlers migrating from Boston and central Massachusetts were using numerous river corridors, especially the Connecticut River, to access the fertile southeastern lands in Vermont. At the same time, French settlers migrated west along the St. Lawrence Seaway, and south from Canada along Lake Champlain into the northernmost areas of Vermont.

Landscape surrounding Montpelier. Photograph Courtesy of The Vermont Division for Historic Preservation

The lands of Vermont were originally inhabited by Native Americans of the Abeanki tribe. The Native Americans coexisted with early settlers between 1534-1672 when New France established numerous forts along Lake Champlain. Once European Americans began to flood the region with vigor, numerous land claim battles ensued between nations at first (France and England, France and Iroquois, Canada and U.S.) and later between States (New York and New Hampshire). By the time Vermont received Statehood in 1791, numerous small settlements had been established including Burlington, Essex Junction, Shelburne, Rutland, Woodstock, Montpelier and Jericho.

Throughout New England, and especially in Vermont, remnants of glacial retreat in the form of rolling topography and mountainous terrain, deposited thick layers of fertile soil. This rich soil, especially along the many wide river valleys, afforded settlers the ability to sustain themselves through subsistence living. Similar to the other New England States, the colonial period economy was based on furs and skins in the upper area of Vermont, while the southern regions focused on grain and cattle. By the early to middle 1800s the majority of the State economy emphasized dairy cattle and hay. The development of small rural towns along watercourses and major transportation routes typically emphasized a central town green surrounded by important public buildings within the community including schools, churches, agricultural centers, and commercial structures.

East Montpelier landscape. Photograph by CB Johnson

During the colonial period one of the primary transportation routes was a post road from New York City to Montreal along the Hudson River corridor. Smaller roads that acted as direct access routes into and through the State include routes from Boston heading northwesterly to Brattleboro and from central Massachusetts leading to the Lake Champlain forts.

By the mid 1800s three major railroads were in existence leading from Boston to Montreal along Lake Ontario, along the Connecticut River and from central Massachusetts to Lake Champlain. All of these rail lines influenced the development of the State by allowing settlers to more easily move themselves and their products throughout the region.

From 1800-1900 Vermont’s population remained a constant 18-45 people per square mile with the State economy relying primarily on dairy cattle and grain production. By the early 1920s two major urban centers, Rutland and Burlington, had been established. Not until the 1960s did the population increase to 25-100 people per square mile, and the economy diversify to include lumber and wood products, metal products, machinery and food processing.

People native to the State have long understood what a special place it is. In 1965 two National Forests were established consuming at least a quarter of the State land acreage. Recognizing increasing development pressures and its result in their own and adjoining States, as well as acknowledging increased tourism and its impact to the region, Vermont planners and development officials took a bold step to control growth and retain their heritage.

Vermont is one of the few States in the entire country that has very strong planning and development controls in place at the Statewide level. Because of that foresight in the late 1960s and 1970s, Vermont has been able to control urban growth, sprawl and retain its primary rural character in the majority of the State. One example of these controls is signage. No where in Vermont will you find billboards. A closely regulated signage ordinance allows the placement of discreet yet clear signage at all major intersections throughout the state, yet does not allow billboards to be constructed. In addition to signage controls Vermonters have been successful at convincing big business, especially fast food restaurants, to design contextually sensitive new facilities.

Vermont is still quite rural in character with few concentrated centers of urban development. There is still a thriving agricultural industry as well as a strong tourism industry, even without the billboards.

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Vermont farmer, 1937. Photograph Courtesy of Library of Congress, LC-USF33-T01-002435-M3 DLC

Agriculture in Vermont has played a dominant role in the State's development. The region's first New England/European settlers were primarily farmers, cultivating only that which they and their immediate community required. Sparse settlements were established in the southern half of the state in the mid 1700s, but more permanent settlements and cultivation of the land for export were not measurable until after the Revolutionary War. By 1790, the establishment of good shipping routes to Canada and southern New England cities expanded the possibilities for trade. The earliest exports were potash and pearl ash, two forest-clearing by-products. These were replaced by crops from large diversified farms. Major exports included potatoes, grains, and livestock, especially beef cattle. Their importance within Vermont agriculture was established in the early 19th century, when large herds of cattle were driven overland to Boston, New York and other east coast markets.

Agriculture in Washington County did not differ from the whole of Vermont, and in many ways exemplifies statewide patterns. Small scale agriculture dominated the countryside in the early 19th century, with grains and meats as the staple export products. The creation of additional trade routes, while opening new markets, caused an increase in the supply of these staples, and their plummeting prices. Especially significant was the opening of the Champlain Canal of 1823 and to a lesser degree the Erie Canal in 1825. Struggling with the larger regional economy these canals created, Vermont replaced these varied staples with product specialization, and merino sheep farming soon dominated Vermont agriculture. The prosperous sheep market was bolstered by a wool-import tariff in 1828 and the expansion of the textile industry of southern New England. When the tariff was eliminated in 1846, wool prices fell. While some sheep were subsequently raised for mutton, many farmers continued raised their merino sheep to be sold all over the world for high quality breeding. After the Civil War, the expansion of the railroad to the American west successfully eroded Vermont's advantage of proximity to East Coast grain, meat and wool markets. Farmers slowly shifted their emphasis away from sheep to more profitable dairy cattle and small scale diversified farming. As refrigerated rail cars were not perfected until the 20th century, proximity was still a vital factor in the dairy market of North Eastern cities, and Vermont's chief products soon became butter and cheese, supplemented by maple sugar, livestock and local market gardening.

Hauling logs for sale to a mill from a farm near Waterbury, 1939. Photograph Courtesy of The Library of Congress, LC-USF33-030859-M1 DLC

Vermont's heavily wooded hills, primarily maple and spruce trees, provided wood for the lumber industry as well as firewood and sap for maple syrup, another well known Vermont product. The McLaughlin Farm is typical of large diversified farms in Washington County, producing in 1850 large quantities of wool, butter, cheese, and maple sugar, as well as smaller quantities of wheat, corn, oats, potatoes and hay for personal use. The variety of farms that still operate can be seen throughout the Mad River Valley Historic District, ranging from small to large, from diversified to huge dairy farms. The dairy industry still dominates Vermont and Washington County agriculture today. Two nationally known dairy companies, Ben and Jerry's and Cabot Creamery, are located in Washington County.

Similar to its agriculture, Vermont's industries also started as small operations to support the local population. Lumbering was the first major industry established in the State. As settlers cleared land for emerging towns and farms, entrepreneurs established numerous lumber mills along the rivers in Washington County, harnessing the power of the water. Grist mills, such as the Old Red Mill and Twing Gristmill were also plentiful, producing feed for Vermont's livestock. Taking advantage of the plentiful lumber supply, paper and woolen mills also developed as early Vermont industries. Warm wool clothing and blankets produced in Vermont woolen mills especially afforded protection against the State's cold climate. Other small mills manufactured wooden furniture, tools and household items.

The Jones Brothers Granite Quarry in Barre. Photograph Courtesy of Miranda Burwell

Vermont is especially well known for its stone quarries, and the quality of their products. In the early 20th century, the State was the second largest producer of marble, granite and slate. Around 100 varieties of Vermont marble, from white to jet black, have been used in major American monuments and government buildings, such as the Jefferson Memorial and Supreme Court. Vermont railroad lines facilitated the expansion of Vermont's stone market, more so than any other export as the heavy loads were nearly impossible to transport any great distance before this time. In Washington County, granite was particularly plentiful. In the last half of the 19th century, granite quarries were the most important industrial feature of this region's landscape and collectively the county's quarries produced half the nation's granite supply. In fact, tons of white granite were transported by rail to Washington, D.C. for the construction of one of the most monumental railroad station's ever built, Union Station. The boom in this industry fostered the greatest period of growth for many Washington County towns, specifically Barre, Northfield and Woodbury.

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Nichols House.

The Nichols House is a small frame house situated off a dirt road in rural East Barre. Built by early settlers to the area, it is an excellent example of the classic Cape Cod house type. The Cape Cod, a small rectangular one and a half story building, only one and a half rooms deep with a high pitched gable roof, symmetrical openings and simple details, was an early and extremely popular house type throughout Vermont, and all of New England. Especially popular during the first half of the 19th century, the Cape Cod type was brought to Vermont by settlers from other New England States, and adapted well to Vermont's severe and confining winters. The Nichols house is a very early example of this building type in Vermont, and remains as one of a few dwellings in the area built by a family in the first wave of settlement.

The Thomas Nichols family, among the first settlers of Barre, migrated to the area from Worchester, Massachusetts in 1799. Upon arrival they erected this homestead, and soon after welcomed the birth of their second son. The simple floor plan of the house consisted of two front rooms flanking a small central hall, a large and small room at the rear of the house, and two large rooms on the second floor. A large beehive oven was built in one of the rooms at the rear of the house. Typical of early Cape houses in Vermont, the wooden trim was simple, void of stylistic influence. Thomas Nichols died just a year after the family migrated to Barre. His older son, John, was seventeen and became head of the family. The house remained in the Nichols family until about 1900. Grandson Thomas B. Nichols, maintained the family's farm in the 1880s, which at that time consisted of 130 acres, 18 heads of cattle and 1000 maple trees.

The house has experienced very little alteration over the past two centuries. The addition of a side ell increased the living space for the Nichols family, but the main house still reflects the essential features and materials of its original construction.

The Nichols House is on Rural Route 2 off of Vermont Route 100 in East Barre. It is a private residence and not open to the public.

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Italian Baptist Church. Photograph by Christopher Bellamy   Architect and minister A.B. Bellondi in front of the church during construction, circa 1907.

The Italian Baptist Church is a unique example of Vermont's vernacular architecture. Designed by the church's first minister, A. B. Bellondi, the church was built from 1906-1908 by a largely volunteer labor force of Barre's immigrant Italians. The result was a vernacular adaptation of Northern Italian Renaissance style churches that Bellondi was familiar with. Local granite and lumber were used in the construction. Brick side walls masked the building's balloon frame, constructed from local lumber. The monumental front on the building, almost entirely comprised of local granite, received the greatest amount of detail. While the polished granite Doric columns are perhaps the dominant feature, other granite elements include rusticated granite blocks, smooth granite panels for the walls, and decorative pilasters and frieze.

Not only representing the Italian community's contribution to Barre's architecture, the Italian Baptist Church also directly illustrates the role religion played in the assimilation of American cultural patterns and values. The Baptist Association of Vermont established the church in the midst of Barre's Italian neighborhood, providing a meeting place and consistent evangelism. Many church organizations purposely erected new houses of worship in immigrant neighborhoods to attract new members, but also to assimilate their foreign cultures and values with those of American society. By World War I many of Barre's Italians became Baptist churchgoers. However, their association with the church was brief, attendance dwindled by the 1930s, and the building became the meeting hall for the Fraternal Order of the Redmen and the Pocohantas. Vacant through much of the 1940s, the Seventh Day Adventists began using the building in 1950. After 1966 the structure became a commercial building. Most recently it has been purchased by the Church of God Prophecy.

The Italian Baptist Church, currently the Church of God Prophecy, is located at 10 North Brook Street. It is not open to the public.

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Chauncey B. Leonard House. Photograph Courtesy of The Vermont Division for Historic Preservation   Continuous addditions of the Chauncey B. Leonard House. Photograph by Liz Pritchett

On a gentle slope of land near the center of the town of Berlin sits the Chauncey B. Leonard House. Built around 1845, the house is a simple Greek Revival style classic cottage, with extensive Queen Anne additions to both the interior and exterior. The house is an excellent example of continuous or additive architecture in Vermont. Its date of construction also reflects a prosperous time in Berlin's history, when the small hamlet supported active mills and industries.

The form of the small one and a half story wooden cottage is typical of the vernacular Greek Revival style. However, most of its applied details--diagonal clapboards in the gable peaks, shinglework, a three-panel door, and the three decorative porches--are typical Queen Anne features which were added around 1900. The manual door bell from this period, detailed with a raised scroll pattern, is still working, as are early 20th-century electrified ceiling fixtures. Typical for Vermont and New England, continuous additions were made to the house over time, an ell and horse barn after 1875, and a garage in 1910. The nearly half acre of property is bounded to the west by a large pond which formerly provided water power for the numerous mills and factories located along its banks.

The builders of the house are unknown. Its ownership passed through several different hands before Chauncey B. Leonard purchased it in 1868. Leonard was a blacksmith whose shop was located directly across the road from the house. In addition to his year round blacksmith business, Leonard also operated a small scale diversified farm and dairy. Leonard's farm included a small number of cattle, swine, sheep and chickens; and his 35 acres yielded Indian corn, oats, maple sugar and Irish potatoes. Leonard owned the house until his death in 1889. Mary Perkins, who owned the house from 1892 until the early 1930s, was probably responsible for the Queen Anne additions, but little else is known about her time there. The Dickey family, from Cleveland, Ohio, purchased the home in 1934 as a summer home. The Dickeys were part of a broad based trend, beginning in the late 19th century, of city dwellers retreating to the cool, uncrowded and quiet hillsides of Vermont in the summer months, a trend which continues today.

The Chauncey B. Leonard House is located in Berlin at the NorthWest corner of the intersection of Paine Trnpk. (Town Highway 14) and Shed Road. (Town Highway 67). It is a private building and not open to the public.

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Athenwood, Home of Artist Thomas W. Wood. Photograph by Tracey Martin, Courtesy of The Central Vermont Chamber of Commerce   The Thomas W. Wood Studio. Photograph by Christopher Bellamy

On the side of a rocky hill rising above the city of Montpelier stand two cottage buildings known as Athenwood and the Thomas W. Wood studio. Built during the last half of the 19th century, both are typical cottage dwellings whose designs were a composite of popular pattern book illustrations, published by well known designers such as A. J. Davis and A. J. Downing. The buildings are also associated with Thomas Waterman Wood, one of the most popular painters of the 19th century, and a Montpelier native.

Wood designed the buildings himself, Athenwood first in 1850, and his art studio in the 1880s. Athenwood was built as a summer home, evidence of Montpelier's role at that time as a summer resort. The name of the house is derived from the mythological figure Athena. Wood chose this name as a tribute to his wife Minerva. Minerva was the Greek goddess of wisdom, as Athena was to the Romans. Several small marble statutes of Athena's head grace the main interior room of the home. Besides being a summer retreat, Athenwood also served as Wood's artist studio, until he built the separate cottage more than 30 years later. Against the backdrop of the woods behind them, Athenwood and the studio are good examples of typical rural Gothic cottages. Both consist of characteristically vertical and angular elements, using natural wood as their primary building material, and decorative motifs inspired by the rural setting of which it is apart. The decorative tulip leaf patterns, as well as grape leaf and vine motifs, are some of these buildings most distinctive features. Wood, who was trained as a cabinet maker, may have carved these himself.

In addition to being one of the most popular painters of his time, Wood was also President of the American Water Color Society and the National Academy. He was a great benefactor of Montpelier, and his home and studio are an important part of the city's visual and historic fabric. The two buildings standing along the gorge provide a visually coherent and dramatic gateway to the city.

Athenwood and the Thomas W. Wood Studio are located at 39 and 41 Northfield Street in Montpelier. An art gallery exhibiting some of his work is located in College Hall, Vermont College.

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Parley Davis House. Photograph Courtesy of The Vermont Division for Historic Preservation   Parley Davis. Photograph Courtesy of The Vermont Historical Society

The Parley Davis House, located in the center of East Montpelier, is an excellent example of an early Federal style residence. It is one of only a few remaining examples in the region of early Vermont architecture. Parley Davis, one of Montpelier's founders, built the house in stages, similar to most settlers in the region, from 1795 to 1805. In addition to serving as his residence for 54 years, the house was the location of Montpelier's town meetings from 1791 until 1828, after which they were held in the newly constructed Union Meeting House.

Davis arrived in Montpelier in 1787 to help start the first settlement there. He was living in a small log cabin in 1794 when he married Rebecca Peabody, a healer who had come to Montpelier to minister to a sick man. Davis subsequently constructed a frame cabin in 1795, which he expanded in 1799, into a more substantial Cape-type house, the main portion of the current house's rear ell. The main block of the current building, facing Center Street, was finally erected in 1805. Minimally altered over the past two centuries, that portion of the house maintains its classically symmetrical exterior features, although the original clapboards and part of the eave moldings are currently covered with aluminum siding. The interior also features elegant Federal details, including an unusual curving parlor wall, a very sophisticated Federal feature rarely seen in Vermont.

Davis's activities in the early history of Montpelier lend further significance to the house. Accompanying his uncle, Colonel Jacob Davis, Parley Davis was one of the first permanent white settlers of Montpelier. Initially he helped survey the town, built a sawmill, and was elected constable and tax collector in 1791 at the first town meeting. After this meeting, all others were held at Davis's home until 1828. Throughout his lifetime Davis contributed to the town in a variety of ways; he established the first library in his house, participated actively in the local militia and War of 1812, held seats in the Vermont legislature, and was chairman of the Vermont Railroad Association 18 years before Vermont's first railroad was built. Currently the Davis home is a private residence and rental property. Much needed repairs to the home were made when the current owners took advantage of federal historic preservation tax credits.

The Parley Davis House is located in East Montpelier Center on Center Road. (Town Highway 3) near its intersection with Brazier Road. (Town Highway 50). It is a private residence and not accessible to the public.

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Union Meeting House. Photograph Courtesy of The Vermont Division for Historic Preservation   Union Meeting House. Photograph by Harvey M. Kaplan

Built about a decade before the East Village Meeting House, the Union Meeting House in the village of East Montpelier is an outstanding example of Federal meeting house architecture. The meeting house, serving both religious and secular functions, had no precedent in England, and was an early American building type. Union Meeting House, or Old Meeting House as it is now known, is typical of New England meeting houses because of its frame construction with white clapboards, rectangular form, gable roof, and steeple symbolizing its importance to the community. It is especially significant because of the architectural integrity of both its exterior and interior. Electricity was installed only as recently as 1970.

Union Meeting House stands on land that was originally designated as the town common of Montpelier, by Parley Davis, the first surveyor of that town. However, by 1822, a group of Methodists leased the site with payment of money, cattle, pork and butter. Pews were sold to members of the congregation for 20 to 50 dollars, usually paid for in services or in kind. The interior of the church is little changed. The front doors lead into a small room containing stairs to the overhead singer's gallery and two doors to the main meeting room. The pine pews face the doors and the elevated pulpit is placed in between. Oral tradition relates that the design and construction of the church were the work of all members of the community, rather than any one individual. Upon completion the meeting house not only served the Methodists but was the site for Montpelier town meetings, and for East Montpelier town meetings after it became a separate town in 1849. In 1954 a mid-19th century bell was salvaged from a demolished church and the open shelter next to the meeting house now houses this bell. Currently the church shares a minister with the East Village Meeting House.

Union Meeting House is located in East Montpelier Center on Center Road. (Town Highway 3) near its intersection with Brazier Road. (Town Highway 50).

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East Village Meeting House. Photograph by Christopher Bellamy   Historic view of East Village Meeting House. Photograph Courtesy of The Vermont Historical Society

The early 19th-century East Village Meeting House, now known as the Old Brick Church, is an excellent example of a Greek Revival style masonry meeting house. The meeting house, serving both religious and secular functions, had no precedent in England, and was an early American building type. In 18th-century New England, meeting houses were characterized by their rectangular form, gable roof, and steeple symbolizing its importance to the community. The local brick used in this meeting house's construction distinguishes it from others in the area, most of which were wooden. The East Village Meeting House remains the visual, religious, and social focus of the village of East Montpelier.

When the Meeting House was built in 1834, the two front doors provided entrances on either side of the pulpit. In 1908, the base of the pulpit was sawn off and the top portion moved and attached to the opposite wall. At this time the original pews, which initially faced the doors and pulpit, were reversed. The choir loft, above the original pulpit location, was also closed in. The original windows were comprised of 50 small panes of clear glass, unfortunately only one of these remains. In 1908 stained glass memorial windows were installed, and only three of these remain. In 1954, three memorial windows were salvaged from a neighboring church that was demolished and installed at East Village. The excellent craftsmanship of the masonry work is evidenced in the unusual brick designs of the gable end. While building the Meeting House, some of these brick masons were also working on the Vermont State House that was built in the 1830s.

The meeting house first served Methodists and Universalists. In 1858, the Methodists withdrew, while the Universalists continued to worship here. In 1864, Reverend Olympia Brown, the first female minister ordained by the Universalist Church, preached here. By 1980, the East Village church was once again a united church serving not only Universalists but Methodists, Baptists, and Congregationalists as well.

The East Village Meeting House is located on Route 14 where that road merges with Route 2, just before the intersection of Quaker Hill Road. It is open 9:00am to 3:00pm, Phone 802-223-3313 for further information.

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Central Vermont Rail Depot. Photograph by Tracey Martin, courtesy of the Central Vermont Chamber of Commerce   Historic post card viewof the Central Vermont Rail Depot, circa 1910. Click here to view a high resolution historic photograph of the railroad complex

At the west end of Northfield's Village Square is the oldest railroad station in Vermont, representative of the first generation of railroad passenger facilities built by the Vermont Central. Constructed in 1852, the current depot was originally the main section of the Vermont Central's first headquarters. The decision to locate the headquarters in Northfield brought with it increased prosperity. Today the Central Vermont Rail Depot (now owned by the Canadian National Railway) is one of the last extant structures of a great railroad complex, comprised of the depot, roundhouses, shops, offices and housing.

An earlier depot was built in 1848, very likely designed by Montpelier resident Ammi B. Young, one of 19th century America's leading architects, and an architect of the Vermont State House. The first train arrived in Northfield in October 1848 amid great ceremony. Three years later that depot burned, and the current depot was built quickly to replace it. Vermont Central president Charles Paine, occupied an office on the second floor, while the first floor provided waiting rooms for passengers and a station agent's office. In 1860, the Vermont Central headquarters were moved to St. Albans, and Northfield's economy suffered until prosperity returned at the end of the century with the growth of the granite industry. Queen Anne and Stick Style details were applied to the depot in 1899, concurrent with this renewed prosperity. It was also at this time that extensive north and south wings, once flanking the depot, were removed.

While at one time the nucleus of a railroad complex, today the lone depot symbolizes the village's former importance as a railroad center. The Central Vermont Railway Depot continues to serve as the visual focus for Northfield's downtown business district. Today, a bank occupies the first floor, the latest in a series of banks that have occupied this space since 1866.

The ground floor of the Central Vermont Railway Depot, currently a bank lobby, is open to the public during bank hours. The building is located at the west end of Depot Square.

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Commercial shipping ports developed along Lake Champlain, connecting with the Champlain Canal and the Hudson River on the western side of the State. The Connecticut River, Vermont's eastern boundary, was also a major water route. Though never built, there was serious discussion of a canal route, connecting Lake Champlain with the St. Lawrence River to the north, which leads out to sea. Washington County was able to connect to these major shipping routes by the Winooski, Mad and Dog Rivers. While shipping remains an important element of Vermont's transportation infrastructure even today, it has almost always been supplemented by other means. During the first half of the 19th century, the stagecoach was the primary overland method for exchange of information, smaller goods, and frequently personal travel. Sites such as Kent's Corner and the Warren House Hotel, former stagecoach stops, reflect this era of Vermont's transportation history.

In the mid-19th century change was on the horizon. The coming of the railroad and telegraph lines to Vermont vastly improved the exchange of information and the transportation system. The railroad quickly became the preferred method for transport of passengers, raw materials, and manufactured goods. Like communities all around the country, rail transit resulted in the vast expansion of trade. Ground was broken in 1846 for the Vermont Central, the State's first railroad, at its headquarters in Northfield. Northfield was a small village which had previously relied on the nearby Dog River for transportation. The State's first line was actually a portion of the main route from Boston to the Great Lakes, and extended through the center of Vermont, and Washington County. Passenger train service started in 1848, and Northfield prospered until 1860, when the company moved its headquarter to St. Albans. However, the Central Vermont Rail Depot remained and became the lifeline of the town once again at the end of the 19th century, when Northfield's booming granite industry relied on the rails to ship their products.

In Vermont, like many other States, the arrival of the railroad directly influenced the transition of small villages to thriving towns and cities with expanded industries, populations, commercial cores, and cultural institutions. The town of Barre is a typical example. Rail lines were connected there in 1875 and 1888, resulting in a major expansion of the local granite industry. Barre's quarries were finally able to transport large amounts of stone to distant markets, fostering the greatest population and economic boom in the city's history. Thousands of skilled and unskilled European immigrants arrived in Barre by rail, where their craftsmanship and labor were in demand. Barre's Downtown commercial core expanded, as did the variety of cultural activities, typified in the Barre Opera House, and in the Socialist Labor Party Hall which served the working class Italian community.

Warren Covered Bridge. Photograph courtesy of the Mad River Valley Planning District

In the 20th century, Vermont's greatest natural disaster, the Flood of 1927 destroyed many bridges and miles of roadways throughout the State. In response to the damage, a major building program ensued, which vastly improved the general condition of the State's highways. Great improvements were made in American standardized bridge design as a result of the numerous bridges constructed in Vermont after the flood. The Middlesex-Winooski River Bridge is a typical example of a post-flood metal truss bridge that affected this type of bridge construction throughout the county.

1913 Ford Model T touring Automobile. Photograph Courtesy of The Library of Congress, Hult.407 2028.407

Improved road conditions were especially important in the late 1920s, as the automobile had already firmly established itself as the newest and most improved method of travel in the State. The covered bridges and winding highways that had once carried horses and carriages, began carrying cars and trucks as Vermont, like the rest of the country, embraced the automobile and the ease of travel it provided. Furthermore, the development of the automobile and modern roadways facilitated the growth of tourism in Vermont, which has become a major factor in the state's economy over the last century.

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Native Americans And The Early Sugaring Process.

Maple sugaring has been an early Spring tradition in Vermont ever since the Eastern Woodland Indians discovered that maple sap cooked over an open fire produces a sweet sugar.

An old Iriquois legend describes the accidental discovery of the sugarmaking process. A hunter returned to his dwelling and found an enticing sweetness in the air around the kettle in which his mate was boiling meat. The fluid in the kettle, he learned, was sap and had been
collected beneath a broken maple limb.

To make their sugar, the Indians would cut a slash in the maple tree and collect the sap as it dripped out. Logs were then hollowed out, and filled with the fresh sap. White-hot field stones were then added to cause the sap to boil. The Indians would process the sap through the syrup stage to end with crystallized sugar, which did not spoil when stored.

When the first European settlers arrived, the Indians traded maple sugar with them and eventually taught the settlers the secrets of the maple sugaring process.

New Ideas Take the Process Forward.

The early settlers added their technologies to the
process as seen in this antique photograph.

It was, reportedly, a French missionary who was the first settler to make maple syrup in 1690.

Other Europeans added their own technologies to the process. They bored holes in the maple trunks and inserted wooden or metal spouts. They used wooden buckets to catch the sap, and then carried the sweet water on shoulder yokes to the metal boiling kettles. Early settlers, like the Native Americans, saved their maple as crystallized sugar.

Maple sugar was the sole source of sweetner, as cane sugar was not introduced in America until the 1800’s. At the time cane sugar was first introduced, maple sugar was much less expensive, and thought to be tastier.

Early in Vermont’s history, each family made their own maple sugar for personal consumption. Later, sugar makers started businesses to produce maple products and sell them to the general public. Technology changed again, and tanks on sleds were used to collect the sap and were drawn by horses or oxen. The sugar house was now their destination where the invention of the evaporator gave more control to the sugarmakers boiling process.

Maple Sugaring Today.

Wood fired boilers are increasingly rare with

the benefits of Oil Or Gas fired burners.

Today, plastic tubing transports the sap from the trees to gathering tanks. From there it is transported to the sugar house where it is transferred to a central storage tank to feed the evaporator which boils off most of the water, leaving sweet, thick maple syrup.

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Driving in Vermont.

Driving in Vermont is NOT like driving in or around major cities. Here for the first time ever, is the real scoop on driving in The Green Mountain State.

First, a basic Geography Lesson: Vermont is long and somewhat thin. We have two major mountain ranges running north/south, effectively splitting the state into thirds. Vermont was laid out in the original platte system. This means towns are placed about 8 miles apart
(more or less) in every direction.

A main road runs through each of the three major river valleys and several smaller ones. Routes 2, 7, 12 and 30 are examples. These roads are well maintained throughout the Winter season by Vermont's intrepid and hard working road crews. They are usually drivable in all but the biggest blizzards. Since the East/West Roads often cross mountain ranges, going can be slow during storms. Roads are often curvy and can get slippery. It is important to stay alert - especially during inclement weather. Be sure you have winter tires and 4WD during snow season

(Dec to May).

Vermont is somewhat rare in that the main north/south highway often becomes a small town Main Street every 6-8 miles. This means you will have to slow down (often to 25 mph) on a regular basis. Maintaining the speed limits is Vermont's local constabulary - a highly efficient ticket writing and income producing team. A constable is a locally elected and underpaid keeper of the peace, and is expected to meet expenses in part through speeding fines. Leading the charge is Nelson Tift, top ticket writer 3 years running now. He patrols Wallingford and Mendon part time. Pittsford, Brandon (always come to a full stop in Brandon), Rutland,
Killington Access Road, Woodstock (#2 for tickets), Route 7 East Dorset, are all areas to pay extra heed. Also, I91 just South of Brattleboro and Route 7 just below Shelburne. Patrolling between towns we have the highly trained State Troopers and County Sheriffs.

How fast to go when you are in a hurry? Town is a long way between some times, and few people drive the actual speed limits. If the roads are dry, and it is not just before 9am or just after 5pm, you can usually drive 9 miles over the limit between towns and 5 miles over the limit in town without getting ticketed.

How Vermonter's Drive: First you have to understand something. Vermonter's hate to be passed. Time and again I have been behind someone doing 45 mph., only to have them speed up to 60 at the only passing zone for 20 miles. I have occasionally been known to pass in certain safe (but technically no passing) zones when hard pressed. This inevitably leads to the passed car speeding up, and putting on his high beams. He then drives 70 mph for the next few minutes, angrily matching my Mario Andretti moves. Eventually he goes back to driving 45 mph gain.
While this is by no means a universal phenomenon, it is common enough to make note of. I find a friendly wave helps, although the sign language back may not always be as kind!

Leaf Peeping Season: Mid October brings the brilliant colors of Autumn. Colors vary North/South, and also by elevation. The entire season lasts about 3 weeks. The views are so extraordinary, I have seen people stop in the middle of a busy road at midday - just stop! As if there was no one else using the road for miles in each direction. Another dangerous tourist practice is driving 25 mph in a 50 mph zone. In the car you can see them point:"there's a good one, look at that one, no -over there". Needless to say, exercise extra caution when the leaf peepers make their annual migration to the North Country.

Mud Season: Yes, there really is a mud season in Vermont. This is when the snow cover melts and it rains for 3 days to a month straight. The ground becomes saturated and driveways turn to seas of muck.Particularly hard hit are our unpaved back roads. I try to drive on them as little as possible for the typical 3 bad weeks in March/early April. Rutsd develop,and when you try to drive around them you get sucked in, further exasperating the problem. Forget any thought of clean cars, shoes, clothes, etc. Gotta Love it! Springs on the way!

The Mountain: This applies to any of the ski areas in Vermont, inevitably referred to by locals as simply "The Mountain". Access roads typically lead to (from our perspective) overpriced accommodations, food and entertainment. Kind of like a piece of Downcountry transplanted here.
Lots of people pulling in and out, and most have been drinking, or are planning on drinking. These roads are well patrolled. Do the speed limit and watch out for the other guy.

Farm Equipment: Vermont is a rural countryside, and it is not uncommon to see farm machinery, including huge manure spreaders out on the main roads. Relax and be patient. They live here and this is their work. In a few minutes they will turn off onto a field to do their thing. Some of the equipment moves from side to side so exercise extreme caution when attempting to pass any farm machinery!

Work Crews: Slow down for them please.
Vermont is always repairing or repaving the Roads and Bridges. The work crews have placed Speed Limit Signs up at a reduced Speed for there safety as well as yours, so Please respect the law and slow down to the posted speed limit. Cause if you get caught speeding thru that work area you will get a few free nights of lodging with meals included and a chance to see a real Vermont Judge in His/Her Court
of Law, He/She may even give you more time in jail plus give you a very nice large speeding fine to pay and a note that will go on your drivers license against you. This might possiblably ruin your nice trip here in Vermont. So is speeding worth the price to you ?

Ever notice those yellow rectangular signs with black arrows? They are placed at the beginning of curves. One means be careful, two means we mean it and three signs means slow the ^%#& down! These become especially important when the roads are slick or snowy. Remember that bridges Freeze before the pavement.

How to drive in inclement weather: When friends visit from Florida they are always scared to death at the prospect of having to drive on snowy roads. However when I ask them about driving on sand blown roads they say, "Oh that's easy. Don't hit the brakes or do anything sudden and you won't skid out of control. Use the engine and the gears to slow you down". The same rules apply to icy or snowy roads. Remember: snowy, curvy roads and being in a hurry do not mix! Neither does overcompensating by creeping along at 15mph on a main road or going down a mountain. You may risk being rear-ended!

If you do go into a ditch, you will find many friendly, helpful people appearing out of nowhere to make sure you are OK. Many of them are members of the local Rescue Squad or Volunteer Fire Department and welcome the opportunity to put some of that hero training to work. Pretty much everyone has ended up in a ditch at some point (bad tires and rushing are often the cause), There is no embarrassment in this, and often there is minimal or no damage to the vehicle. My wife says that driving in Vermont requires a fluid sense of being. I think that means that
circumstances change rapidly and it is best to be aware and alert - especially if you do not know the roads or are driving a rental car.

Animals in the road: No description of driving in our beautiful state would be complete without a word about the many animals found on and in our roadways (no jokes about roadkill pot luck suppers please!). Always be alert for the local fauna. Of course we have the moose. Known locally as a swamp donkey, this is a creature the size of a small elephant, and possessing the intelligence of roughly a worm. Frequently known to stand in the road staring blankly at your oncoming headlights. Also known to go jogging down mountain roads. Has been documented falling in love with a local cow. It's greatest menace however is that every passerby will immediately pull over and gawk at the sight of one, posing a life threatening peril to all approaching drivers. Moose are so huge they stand over the car itself. Truly the most dangerous creature in the state on four legs.They tend to cross at the same places year to year. Look for those moose alert signs and be especially vigilant at sunset. I scan from side to side along the road when in known crossing zones during Deer Season.

Occasionally a farmer will lead his milk cows across the main road to the far field. Rare enough to be picturesque. Prepare for a 5 minute wait. I have rarely seen a cow wandering in the road. Cows are kind of dumb and drooly. I have always suspected that the feed is drugged. Even on the
rare occasions when one or two will break loose, they seem to prefer munching the long grass around the fence line to ending up steak tartare on blacktop platter.

Watch for deer during Hunting Season (Deer Season is a very good time to avoid walks in the woods). The deer get spooked and may run suddenly across the road. They tend to cross at the same places
year to year. Look for those deer alert signs and be especially vigilant at sunset. I scan from side to side along the road when in known crossing zones during Deer Season.

Skunk in/on road. Avoid at all cost. It may take days to get the smell off your car. I love and respect nature, but I refuse to put my car in a ditch because of any perfume odor.

Squirrels/chipmunks. Again I love and respect nature, but I refuse to put my car in a ditch because some nut eater is once again running across the road (sorry Chippy). If you miss them, they will be doing Again it again in 15 minutes.

The Birds. Also need to eat and somethimes it is the road kill, and yes they can be a problem. They play a game of chicken with you and some times they do not want to move out of your way. I have found out the car usually wins.

Just be carefull on our Highways. You never know is around the bend. Seriously folks, be ever alert to animals big and small, and especially children in the road. My wife told me to put this in.

So Buckle Up & Drive Safe and Enjoy your visit to God's Country.

Ya'll come back ya'hear!

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Vermont: The Green Mountain State
Long Trail, Maple Syrup, Covered Bridges.
By David Lyon and Patricia Harris

Vermont is New England's vertical state, where things are always looking up -- unless you're staring down a black diamond ski run at Killington or Stowe. Lacking the saltwater coast of the rest of the region, Vermont compensates with its knobby spine of the Green Mountains and the nation's first -- and some would argue best -- long-distance hiking path, the Long Trail.

The moment you drive across the border you'll notice that Vermonters cruise around in four-wheel-drive vehicles with ski racks in winter and bike racks in summer. They just toss the snowboards (Vermont more or less invented the sport) into the hatchback. From Mount Snow in the south to outrageous Jay Peak in the Northeast Kingdom, there's a ski, board, or bike trail with your name on it.

Two artists have captured the enduring rustic soul of Vermont.
The "primitive" paintings of Grandma Moses recount a farm-life idyll of the state's southwest corner. See many of them at the Bennington Museum. A little farther north in the artistic and intellectual capital of Middlebury, artist Woody Jackson has established the black and white Holstein cow as the icon of the state. Jackson's bovines emblazon the pints of premium ice cream produced by the Green Mountain moguls of mix-ins, Ben & Jerry, at their Waterbury factory. Also thank the cows for some of America's best cheeses, which you can taste at the factories in Cabot or Healdville or
Grafton -- or in any of the state's equally iconic country stores. (Catch the "original" in Weston.) The signature taste of Vermont, though, is sweet. Even if you miss the spring maple syrup festivals, be sure to order a tall
stack of pancakes at any of the state's great diners and breakfast cafes. Your syrup should come in a generous pitcher. Few states feed you as well as Vermont, thanks partly to the training programs of the New England Culinary Institute. Visit NECI's restaurants in Montpelier and Essex Junction. When the aroma of pot-au-feu lures you into a village bistro, remember that the chef probably trained in Montpelier. And he or she
likely uses locally grown produce, meat and dairy products -- look for the Vermont Fresh logo.

The state is more than mountain trails, covered bridges, and rolling cow pastures. Two of its lakes -- Champlain and Memphremagog -- are so big they each have a legendary sea serpent, and the long, deep finger of Lake Willoughby resembles nothing so much as a landlocked fjord. Though Vermont is one of the least populated states, its cities and towns are lively places. Burlington bustles with international flavor (Montreal's only an hour away), while old time bohemians and the new millennium avant-garde blend in St.Johnsbury in the Northeast Kingdom and Brattleboro on the Connecticut River. Look for the country gentry in Woodstock -- it used to be almost the private preserve of the Rockefellers.

Samuel Champlain no doubt named the countryside in summer (Vermont means "green mountain" in French). If he'd come in early October, he would have called it Rougemont. That's when the hills light up with the scarlets and oranges of the maples, the somber bronzes of the oaks, and the acid yellows of birches and beeches. The north-south Route 100 cuts right through the heart of brightness. We'll look for you at the scenic turnout.

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A BIT OF VERMONT TRIVIA.

"Firsts In The Nation Famous Vermonters".

1775 The first Revolutionary soldier to shoot a British soldier was Solomon Brown, of New Haven, at the Battle of Lexington on April 19.

1777 The first Constitution to outlaw slavery, and also to abolish the requirement that voters must be property owners.

1777 The first stars and stripes flag to lead American armed forces on land was the Bennington Flag, used at the Battle of Bennington on August 16.

1777 The first Constitution to provide for a system of public school education.

1785 The first marble quarry was started in East Dorset by Isaac Underhill.

1785 The first copper currency minted by a state was authorized by the Vermont General Assembly and made by Reuben Harmon, Jr. in Rupert.

1790 The first U.S. patent, signed by George Washington, was issued to Samuel Hopkins of Pittsford for making potash out of wood ashes. Potash is used to make soap.

1791 The first state admitted to the Union after the ratification of the Constitution on March 4. Vermont was the 14th state.

1791 Justin Morgan brought the first Morgan Horse to be foaled from Springfield, Massachusetts to Randolph, Vermont.

1799 The first seeding machine patent was issued to Eliakim Spooner.

1802 The first canal was built in Bellows Falls.

1804 The first educational society was established in Pawlet.

1813 The first geographic globe factory was established by James Wilson of Bradford, who made the first artificial globe.

1814 The first school for higher education of women was established by Emma Willard in Middlebury.

1814 The first steel carpenter's square was invented by Silas Hawes of Shaftsbury.

1819 The first private military college, Norwich University, was established in Norwich by Captain Alden Partridge. It offered the first Civil Engineering course. The college later moved to Northfield.

FAMOUS VERMONTER: Joseph Smith (1805-44) Founder of the Church of Jesus Christ of Latter-day Saints (Mormons).

FAMOUS VERMONTER: Brigham Young (1801-77) Second president of the Church of Jesus Christ of Latter-day Saints.

1821 FAMOUS VERMONTER: Alexander Twilight (1795-1857) First person of African-American descent to graduate from a U.S. college (Middlebury in 1825) and to serve in a state legislature.

1823 The first Normal school excusively for the preparation of teachers was established by S.R. Hall in Concord. Hall also wrote the first textbook on teaching and was the first person to use the blackboard in the classroom.

1830 The first platform scale was built by Thaddeus Fairbanks in St. Johnsbury.

1830 The first fishing spoon lure was invented by Julio Buel of Castleton.

1834 The first sandpaper was invented by Isaac Fischer in Springfield.

1837 The first marble-cutting saw was invented by Hiram Kimball of Stockbridge.

1837 The first patent for an electric motor (used for a printing press) was issued to Thomas Davenport of Brandon.

1844 Laughing gas was discovered by Gardner Colton of Georgia. Horace Wells of White River Junction was the first person to use laughing gas as an anesthetic for pulling teeth.

1846 The first postage stamp used in America was made in Brattleboro.

1846 The first steam-heated factory was the Burlington Woolen Company.

1853 The first safety elevator was invented by Elisha Graves Otis.

FAMOUS VERMONTER: Stephen A. Douglas (1813-61) Served as a U.S. Representative from Illinois (1843-47). Best known for his series of debates with Abraham Lincoln in 1858.

1862 The first agricultural land grant college act, proposed by Senator Justin Smith Morrill of Vermont, was signed by President Abraham Lincoln.

FAMOUS VERMONTER: John Deere (1804-86) Produced the first commercially feasible, self-scouring steel plow from a broken saw blade, before establishing a company in Moline, Ill, in 1868 ,which manufactured farm implements.

1869 The first pulp paper mill was established by William A. Russell in Bellows Falls. Russell later became the first president of the International Paper Company.

1869 The agriculture society for dairymen, the Vermont Dairy Association, was organized in Montpelier.

1881 FAMOUS VERMONTER: Chester A. Arthur (1830-86) Born in Fairfield. 21st U.S. President from 1881-85.

1896 The first state absentee voting law was enacted.

1891 The first flat turret lathe, a basic industrial tool, was invented by James Hartness of Springfield.

1898 FAMOUS VERMONTER: Adm. George Dewey (1837-1917) A commander of the U.S. Navy. Secured his place in history during the Spanish-American War, when his fleet defeated Spain in Manila Bay, off the Philippines coast on May 1, 1898.

FAMOUS VERMONTER: Andrew Ellicott Douglass (1867-1962) Born in Windsor. An archaeologist and astronomer; known as the father of dendrochronology (the method of dating events by analyzing the rings of trees).

FAMOUS VERMONTER: Wilson "Snowflake" Bentley (1865-1931) Born in Jericho Center. Began sketching snowflakes he observed under his microscope as a teenager. He later made more than 5,300 photos of snowflakes.

1903 The first person to cross the entire United States by automobile was Dr. H. Nelson Jackson, a Burlington physician, who started out from San Francisco.

1907 The first horse farm operated by the United States government was established in Middlebury.

1909 The first Boy Scout Club was organized in Barre by William F. Milne, a Scottish immigrant.

1910 The first long distance hiking trail, Vermont's 265-mile Long Trail, was begun in 1910 by James P. Taylor, and completed in 1930.

1919 The first 300-mile endurance horse race was from Burlington to Camp Devens, MA.

1923 FAMOUS VERMONTER: (John) Calvin Coolidge (1872-1933) Born in Plymouth on July 4, 1872. 30th U.S. president from 1923-29.

Early 1930's Gasoline tax implemented to pay for road construction and maintenance.

1934 The first Air Traffic Regulations course was set up at Norwich University in Northfield.

1935 The first state symphony orchestra was organized, with Alan Carter of Rutland as its conductor.

1937 The first state anti-sit-down strike legislation was enacted.

1940 Ida M. Fuller of Ludlow receives the first social security check ($22.54) and first social security number (00-000-001) on January 31.

1941 The first wind turbine used to generate power for an alternating current power system, was operated at Grandpa's Knob in Castleton.

FAMOUS VERMONTER: Rudy Vallee (1901-86) Band leader, vocalist, radio and movie star.

1952 The first Olympic gold medals in women's skiing were won by Andrea Mead of Rutland.

1954 The first woman elected Lieutenant Governor was Consuelo N. Bailey.

1957 The first experimental eye surgery with a laser beam was performed at the University of Vermont.

1964 FAMOUS VERMONTER: Billy Kidd - Silver medalist (skiing) at the 1964 Olympic games in Innsbruck, Austria.

1968 The first state to outlaw billboards, on March 23.

1972 FAMOUS VERMONTER: Barbara Cochran - Gold medalist (skiing) at 1972 Olympic Games in Sapporo, Japan.

1976 FAMOUS VERMONTER: Bill Koch - Silver medalist (Nordic Skiing). First American to medal in an Olympic nordic skiing event.

1976 The first American gold medal in the Olympic three-day individual equestrian event was won by Tad Coffin of Strafford.

1984 FAMOUS VERMONTER: Madeleine Kunin - Born in Switzerland, moved to Vermont at the age of 6. Vermont's first woman governor, elected in 1984. Served three terms before becoming President Clinton's deputy secretary of education in 1993. U.S. Ambassador to Switzerland 1996-99.

1985 The first college for dyslexic students - Landmark College, Putney.

1993 FAMOUS VERMONTER: Patty Sheehan - Born in Middlebury, now lives in Reno, NV. 13th inductee into the LPGA's Hall of Fame in 1993.

1993 FAMOUS VERMONTER: John LeClair (1969- ) Born in St. Albans. The first native Vermonter to play for the NHL. First American to score 50 goals in three consecutive seasons. First NHL player to score two overtime goals to win two Stanley Cup final games. He did it in his rookie season (1993) as a Montreal Canadien.

1997 The first woman elected to the post of Adjutant General in the U.S. was Martha Rainville.

Other Firsts:
The first French-Catholic parish in the U.S.
The first state to promote tourism.
The first federal Head Start program in East Fairfield.

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LAKE CHAMPLAIN AT SUNSET.

Vermont 2-1-1, a program of United Ways of Vermont, is a health and human services information and referral program serving individuals in the State of Vermont.  Vermont 2-1-1 Community Information Specialists provide the human touch, help solve problems, and link callers throughout Vermont with government programs, community-based organizations, support groups, volunteer opportunities, donation programs, and other local resources.

The State Flag of  Vermont.

Vermont License Plates.

This shows the evolution of the Vermont license plate. The most recent plate style was issued in 1994. You'll find it in the lower right hand corner below.

Vermont General Issue Plates.


Special Vermont Plates.

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Montpelier is the chief town. This county is nearly in the centre of the State, and the principal part of it lies between the two ranges of the Green Mountains. It is bounded north by Lamoille and parts of Chittenden and Caledonia Counties, east by Caledonia County, south by Orange and Addison Counties, and west by Addison and Chittenden Counties. It was incorporated in 1810, by the name of Jefferson, and took its present name in 1814.
This county is finely watered by its chief river, the Winooski, or Onion, and many of its important branches. These streams afford the county an abundant water power, and manufacturing establishments increase and flourish in this mountainous region.

The surface of the county is uneven, hilly, and in some parts mountainous, but there is much valuable land along the streams, which in many parts are sluggish, and form large tracts of excellent intervale.

The agricultural productions consist of neat cattle, horses, hogs, wool, and of the productions of the dairy. There are large bodies of beautiful granite in the county, and slate of various kinds.

(Gazetteer of Vermont, by John Hayward, 1849, p. 130)

Barre lies in the southeast part of the county, in latitude

44° 11' and longitude 4° 31', and contains 19,900 acres. It is bounded north by East Montpelier and Plainfield, east by Orange, Orange county, south by Williamstown, Orange county, and west by Berlin.

This town was chartered by the name of Wildersburgh,and granted to William WILLIAMS and his associates November 6, 1780.

The surface is uneven and hilly, but there are no great elevations, Cobble and Millstone hills being the highest, and composed of an almost solid mass of granite.Mainly the town has a good soil, and Barre ranks with the

good farming and dairying towns of the state. Large quantities of maple sugar are also produced and exported annually.

The town is abundantly watered by its numerous springs and running brooks. The principal streams are Stevens Branch and Jail Branch. Stevens Branch has its source in Williamstown, Orange county, flows in a northerly
direction, crosses the south line of Barre, continues a north course until it reaches Barre village, then takes a northwest- course, and crosses the northwest corner of Berlin and unites with the Winooski river. In the early history of this location a hunter by the name of STEVENS had a camp near the mouth of this stream, and was found dead in his hut on a bed of beaver skins. From this circumstance the branch received its name. Jail Branch rises in Washington, runs northerly into Orange, thence westerly into Barre, and unites with Stevens Branch near the center of the town, a little south of the lower village. Gunners Brook is also a considerable stream. The only natural pond in town is Peck's pond, situated in the

northwest corner, and is quite small in size. There is a mineral spring near jail Branch, and about two miles southeast of Barre village.

The first settlement was made in Barre in 1788 by Samuel ROGERS and John GOLDSBURY, and their families, and from 1790 the town was rapidly settled by an enterprising and industrious class of pioneers who came from

Massachusetts and Rhode Island, and hewed out of the wilderness homes which are in many instances now occupied by their descendants.

The town was organized, with the charter name, "Wildersburgh," March 11, 1793. The officers then elected were: Joseph DWIGHT, town clerk; Joseph SHERMAN, Joseph DWIGHT, Nathan HARRINGTON, selectmen; John NICHOLS,treasurer; Job ADAMS, constable; Isaac S. THOMPSON, Apollos

HALE, Elias CHENEY, listers.  

The long name of the town (very justly, too,) soon became unpopular with the inhabitants, and a town meeting was called and held at the house of Calvin SMITH, September 3, 1793, for the purpose of selecting some other name to present to the legislature for their approval. The townrecords of Barre show that the transactions of this important meeting are as follows:

"Voted, that the man that will give the most towards building a meeting house in said town shall name the town,and the town will petition the Legislature for that name. The name of the town vendued and bid off by Ezekiel Dodge WHEELER, for 62 ? lawful money, he being the highest

bidder, and said WHEELER named the town Barre."

Thompson, in his History of Vermont, part third, page 9, gives the following version of the origin of the name of Barre:

"The meeting being opened, freedom was given for anyone to present the name he chose, and the choice among the number presented was to be decided by vote of the town. Several names were proposed, such as Paris, Newburn, &c.

Two of the voters present, Capt. Joseph THOMPSON and Mr.Jonathan SHERMAN, the first from Holden, the other from Barre, Mass., each in their turn strenuously contended for the name of the town from which he came; and as the matter seemed to lie chiefly between these two, it was oposed
that it should be decided between them by boxing, to which they readily agreed. The terms were that they should fight across a pole; but if one should knock the other down, they might then choose their own mode of war-fare. The meeting then adjourned to a new barn-shed, erected by said SMITH, over which a floor of rough hemlock plank had just been laid, and on this the issue was to be decided. Agreeably to this arrangement, the combatants advanced upon each other, and soon THOMPSON, by a well-directed blow, brought his antagonist to the floor, and springing upon him at full length, began to aim his heavy blows at his head and face; but SHERMAN, being more supple, avoided them, and they generally fell harmless on the floor, except feeling his own knuckles. During this process, SHERMAN was dexterously plying his ribs from beneath, when THOMPSON was soon heard to groan, and his blows became palsied and without effect.SHERMAN then rolled him off, and springing upon his feet,
exultingly exclaimed – ‘There, the name is Barre', by God!’

Accordingly, a petition for the name Barre was presented and sanctioned by the legislature the same year.''

The foregoing is the current tradition of the people of Barre. The writer has no doubt that, in the heat of the contest for the name, the belligerents, THOMPSON and SHERMAN, did resort to fisticuffs on their own account, and in the manner described; and that the supple SHERMAN overcame his stronger but less active antagonist; but thinks that the honor of naming the town justly belonged to Mr. WHEELER, as shown by the town records.

In 1880 Barre lead a population of 2,700 and is estimated to have 5,000 now. In 1886 the town had fourteen school districts and fourteen schools, taught by six male and twenty-two female teachers, at an average weekly
salary, including board, of $12 for males and $7 for females. There were 678 different scholars, and forty-sixattended private schools. The whole amount of revenue for school purposes was $4,943.86, and the whole amount expended for all school purposes was $5,063.98.

The rapid and almost unprecedented increase of the population of Barre village has made it necessary for that district to adopt the graded school system, and provide adequate accommodations for all their children. The

district has recently bought the buildings and ample grounds of Barre Academy, and appointed a committee to draft a plan fur a fine new structure capable of seating and accommodating 500 scholars.

BARRE village is located in a beautiful valley on Stevens Branch, a tributary of the Winooski, which here furnishes a fine water-power, and lies about six miles east of Montpelier on the Central Vermont, Barre branch, and Barre railroads. It is the busiest and most flourishing town of its size in the state. In 1880 the entire population of Barre was but 2,700; now the village alone,as estimated, has a population of 3,500, and including the township 5,000. This unprecedented and phenomenal growth is explained and by two words, Barre granite.

The village was incorporated November 24, 1886. Mail matter is sent from the postoffice here to adjacent towns by several star mail routes. Barre has four churches, Congregational, Universalist, Methodist, and Roman

Catholic. The Union graded school and Goddard Seminary afford superior educational advantages, and offer the acquisition of a good academic education to all her sons and daughters. There are several flourishing manufactories, besides about forty granite firms, and several fine business blocks occupied by numerous and enterprising wholesale and retail merchants, lawyers, doctors, and business men. The village also boasts of its fine opera house, and "The Village" and "furrier" parks. The latter was donated to the village by Hon. S. C. CHUBB.

FACTORY VILLAGE, THWINGVILLE, and GOSPEL VILLAGE are now included in the corporation of Barre.

SOUTH BARRE is a post village located on Stevens Branch, about two miles south of Barre village. In the early history of Barre this was the important village, and here was located the postoffice for the town, which
received its mail from a postman on horseback, and later by the old stage coach drawn by six horses. Here also was Ira DAY's tavern, where he entertained General LaFayette. And here flourished the leading merchants, a foundry, two saw-mills, a tannery, and cab-shop. Now it contains a large
granite polishing mill, a sash and blind factory, general store, blacksmith shop, livery stable, and about forty dwelling houses.

EAST BARRE (p. o.) lies in the southeastern part of the township. Jail Branch passes through this village, and furnishes its water-power. The village contains a granite nd blacksmith shop, one store, and about twenty dwellings.

BARRE ACADEMY.

Barre Academy was incorporated by act of the legislature of Vermont, passed November 13, 1849. An organization was completed under this act, and Newel KINSMAN was chosen president and Leonard KEITH, secretary.
The academy building was completed in 1852, and in the autumn of that year the school was opened, with J. S.SPAULDING, A. M., principal. Mr. SPAULDING, before he came to Barre, had earned a high reputation as an able educator, by his successful management of the academy of Bakersfield, Vt.; and during the twenty-eight years that he was at the

head of Barre Academy this high reputation was more than sustained. President BUCKHAM, of the University of Vermont, at the funeral of Dr. SPAULDING, uttered not mere words of eulogy when he alluded to Barre Academy as the Rugby of Vermont, and compared Dr. SPAULDING with Dr. ARNOLD. Many of Dr. SPAULDING's pupils may say of him, as one has said of Carlisle, "He benefitted me not so much by what he taught as he did by evoking an energy of purpose and will." This energy was impressed upon all who were so fortunate as to receive the instructions of Dr. SPAULDING.

Dr. SPAULDING was succeeded by A. H. WHEELOCK, A. M., a graduate of the academy and of the University of Vermont, who remained in charge of the school a little more than two years. Mr. WHEELOCK then accepted a position in the Institute of Technology at Boston, Mass. The school was
continued only three years longer. J. R. SLOCUM, A. B.,succeeded Prof. WHEELOCK, and remained but one year. It continued its existence the ensuing two years, under the management of E. H. DUTCHER, A. B., when, because the institution was without funds and in debt, the trustees found it impossible to continue it longer, and BarreAcademy ceased to exist.

In the fall of 1887 the grounds and buildings were conveyed to the village school district (No. 8, of Barre).

The district, by vote, had decided to adopt a system of graded schools so that, phenix-like, the old institution will be perpetuated by the new, in a manner more in accord with the spirit of the age, and perhaps will better
subserve the needs of the entire community. The curriculum of studies prescribed by the academy and mastered by its students thoroughly prepared them to enter any and all of the New England colleges, and fitted
them also to enter into active business, or the learned professions. Over three hundred pupils, including both sexes, have graduated from this institution, and those who have been enrolled as students number thousands. The honorable career of many of these affords surest testimony of the high character of Barre Academy.

Gazetteer Of Washington County, Vt. 1783-1899,
Compiled and Published by Hamilton Child,
Edited By William Adams.
The Syracuse Journal Company, Printers and Binders.
Syracuse, N. Y.; April, 1889.
Pages 129 - 139

Transcribed by Karima Allison, 2003

The Floating Bridge.

The town of Brookfield is centrally located south of Montpelier, and is the site of the famous Floating Bridge and Vermont's first library.

Sunset Lake is crossed by a floating bridge, buoyed by 380 barrels, (the lake is too deep to support a pillared span). The lake is the site of much fishing off the bridge and in January it is a coveted viewing point for one of New England's last remaining ice harvest festivals.

Be Sure To Bring Your Camera !

"No Vermonters in Heaven". 

By Dr. E. F. Johnstone, Published Poet. 

Hello, Found your site with my great great grandfather's poem, "No Vermonter's in Heaven". Thought you might enjoy a little of his history.

It is really a small world. On my site in the Poetry Section a reference is made to this poem "No Vermonter's in Heaven" which was submitted to the Oxholm children and placed in their Magazine "Days of Milk and Honey". The poem was submitted by Richard A. Snelling, Governor.

Many year later K. Stauffer (The great great granddaughter) wrote me. This was a very welcomed e-mail. Father will be overjoyed! Thank You so much K.Stauffer for your permission to place this information on-line./jmc

K. Stauffer continues to say --Here is the information we have found on him: Dr. Ernest Fenwick Johnstone: Born in Waterville, Kings County, Nova Scotia, Canada on 12 April 1867. Later moved to the states living in Massachusetts, Connectecut and Vermont.

Was a published poet, and wrote the poem "No Vermonter's in Heaven". A poem that seems to be known by Vermonters. He was listed as a lawyer on his marriage certificate to his 1st wife Edna (Gray) in 1894. But it seems the trade he applied most was as an Extraction Dentist. He traveled around with horse and buggy in Orwell, Bristol, and a few other small towns in Vermont, pulling teeth. In later years it is said he drove around in his Model T, with a tool box full of teeth and extracting tools, applying his trade.

He and Edna had one child, Mildred Silvia. Ernest and Edna divorced at some point and Edna and their daughter moved on to southern California. Ernest married again in 1909 to Jessie (Mossman). They also had one daughter named Guenyth. He died in Bristol on 10 April 1938 and is buried in Greenwood Cemetery in Bristol, Vermont.

Source for below: "A History of the Town of Orwell, Vermont, Dedicated to all citizens - Past & Present"; Compiled and organized by the Orwell Historical Society, 1988., page 59, Heading of "DENTISTS":"Dr. E. F. JOHNSTONE was a native of Nova Scotia. He practiced his profession in Brandon, Orwell, Shoreham, and Bristol. He died in the last named town in 1938 and his widow and daughter, Gwenyth, then resided in Burlington. While in Orwell he lived at the old Phelps homestead north of Orwell depot which is still known to many as the "Johnstone place." He was accustomed to drive around the countryside with a horse and buggy, stopping at various places to ply his trade, especially tooth pulling! He wrote poetry on the side, a sample of which is printed elsewhere in this book." And page 159, (one of his poems):

"NO VERMONTERS IN HEAVEN".

I dreamed that I went to the city of gold, To Heaven resplendent and fair; And, after I entered that beautiful fold, By one in authority there I was told That not a Vermonter was there!

"Impossible," said I. "A host from my town Have sought this delectable place, And each must be here with a harp and a crown, A conqueror's palm and clean linen gown Received through merited grace."

The angel replied, "All Vermonters come here When first they depart from the earth, But after a day or a month or a year They become restless and lonesome and homesick appear And sigh for the land of their birth.

"They tell of its many and beautiful hills Where forest majestic appear; Its rivers and lakes and its streams and its hills Where nature the purest of water distills, And they soon get dissatisfied here."

"They tell of ravines, wild, secluded and deep, Of clover-decked landscapes serene, Of towering mountains, imposing and steep Adown which the torrents exulting leap Through forests perennially green."
"We give them the best that the Kingdom provides, They have everything here that they want; But not a Vermonter in Heaven abides, A very short time period here he resides, Then hikes his way back to Vermont!"

[E. F. Johnstone]"

This poem has wandered widely through the American newspaper press and into other publications, into libraries, and business advertising, and it is usually credited to "Anonymous." The poem was copyrighted in 1915 by the author. Doctor Johnstone was born in Waterville, Nova Scotia, in 1867. He earned degrees at the University of Michigan in law and later in dentistry, which he practiced in Brandon, Orwell, Shoreham, and Bristol, where he died on April 8, 1938. The poem appeared in the Rutland Daily Herald and was written in 1914. Mrs. Johnstone explains the circumstances of the writing of the poem thus: "He was driving over Rochester Mountain in the fall of the year. It was in horse and buggy days, and he had ample opportunity to review the beauty about him as his horse eased his way down the mountain. Dr. Johnstone was always a lover of nature, and his great regard for it often overflowed in spontaneous verse as was the case with 'No Vermonters in Heaven'." So there are "no Vermonters in Heaven" for obvious reasons...

6:34 AM 7/12/2005 Long Over Due Update: Richard Snelling-From Wikipedia, the free encyclopedia.
(Redirected from Richard A. Snelling)

Richard Arkwright Snelling (February 18, 1927 – August 14, 1991) he was the Governor of Vermont from 1977 to 1985 and from January 10, 1991 until his death.

A member of the United States Republican Party, he served in the Vermont state legislature for six terms.
He was first elected governor in 1976 and was re-elected four times, but left office in January 1985, choosing not to run in 1984. In 1990 he was once again elected, becoming the first Vermont governor to win five mandates. He died of a heart attack seven months after his final inauguration. The lieutenant governor, Democrat Howard Dean, was sworn in as governor.
His widow, Barbara Snelling, has since been elected as a state senator.
Barbara Snelling, who also served as Lt. Governor from 1992-1996, and as First Lady to Governor Richard A. Snelling, resigned for health reasons.

Senator Diane Snelling (Daughter) Ms. Diane Snelling, an artist and community activist, was appointed in January 2002 by Gov. Howard Dean to complete her mother’s term in the Vermont Senate. Sen. Diane Snelling served on the Senate Natural Resources and Energy Committee and the Senate Education Committee..."I’m grateful that both of my parents have been excellent role models in the exercise of independent thinking.”

The following poem was submitted by Adam Boyce, a Vermont humorist and 10th generation native of Vermont. Like others, he ran across Dr. Ernest Fenwick Johnstone's poem, No Vermonters in Heaven, and wanted to share this poem with Vermont Only visitors. Enjoy!

"NO VERMONTERS IN HELL".

I dreamed that I went to the dungeon below,

To Hades, where tortures abound;

Said one in authority there, “Don’t you know,

Some people are notional just where they go,

So in Hell, no Vermonters are found?”

“Why sir, how you talk,” I exclaimed in surprise,

“A million Vermonters have died,

And though nearly all have ascended the skies,

A few, I believe, or suspect, or surmise,

Have taken a different ride.”

“Not so, your conclusion is wrong,” he declared:

“No people come here from Vermont;

Our traps and delusions are nicely prepared,

But never a soul from Vermont has been snared;

There’s nothing down here that they want.

“We hear of Vermonters through others, indeed,

Through folds from Alaska to Maine,

Of every sex, shape, size, color and creed,

That we with a basket of pennies could heed,

Who’ve come and expect to remain.

“All over America, save in Vermont,

We gather our fuel,” he said,

“But nothing the folks of this section can daunt-

In vain all the bait of the devil we flaunt,

All futile the snares that we spread.

“Against all the wiles of deception and fraud,

Suspicious and watchful they stand;

They fear not a thing but their Grandfathers’ God;

There’s much in their lives that all Hell may applaud-

They simply refuse to be damned.”

Source: Unknown…..submitted by one S.H.S., Lebanon, NH

Vermont Covered Bridge Map.

Central Vermont has 14 covered bridges including a unique collection of bridges in Northfield. Two bridges are within a quarter mile of each other on the same road. They can be easily viewed simultaneously - the only place in the East where this occurs.

Vermont has the greatest concentration of covered bridges in the United States - a total of 114 in this tiny state, many of which are still in use. 100 years ago there were over 600 covered bridges, but the flood of 1927 left only about 200. Nearly half of those have been lost to fire or development since, but the remaining are among the nation's finest.

"If it's lonely farm you're looking for, go to Iowa; if it's covered bridges you want, try Vermont." (Ed Barna, author, "Covered Bridges of Vermont")

Why are Vermont's bridges covered? Choose the reason you prefer:
* yankee frugality and practicality at work-to protect the trusses from exposure to weather, or
* to allow horses to cross without being spooked by the water flowing below.
There are 14 Covered Bridges in Central Vermont. Each with its own unique history.

Below you will find a map of Vermont showing the location of all of the covered bridges.
(Map Courtesy of State of Vermont, Department of Highways) Although a little tough to read, you'll get a general idea of where to find the bridges.

Be Sure To Bring Your Camera !

We Leave You With This Poem About Covered Bridges.

"UNTITLED"

"What stories could these bridges tell
If they could only talk?
They'd tell us of the ones who rode
And those who had to walk,
The rich, the poor.....those in-between
Who used their planks to cross,
The soldiers, farmers, businessmen
In buggies, sleighs, by "hoss",
Like sentinels these bridges stand
In spite of flood and fire,
Their rugged, stalwart strength remains
Our future to inspire."

Unknown

If you lead a good life, eat all your vegetables and
say all your prayers, when you die you'll go to Vermont.

Vermont History Resources.

Albers, Jan. Hands on the Land : A history of the Vermont landscape. MIT Press, 1999.

Bassett, T. D. The Growing Edge : Vermont villages, 1840-1880. Vermont Historical Society, 1992.

Bellesiles, Michael A. Revolutionary Outlaws : Ethan Allen and the Struggle for Independence on the Early American Frontier. University Press of Virginia, 1993.

Goodman, Lee Dana. Vermont Saints & Sinners : An Impressive Assortment of Geniuses, Nincompoops, Curmudgeons, Scurvy Knaves, and Characters. New England Press, 1985.

Graffagnino, J. Kevin. Vermont in the Victorian Age : Continuity and Change in the Green Mountain State, 1850-1900. Vermont heritage Press, 1985.

Jones, Robert C. Vermont's Granite Railroads : The Montpelier & Wells River and the Barre & Chelsea. Pruett, 1985.

Klyza, Christopher McGrory and Stephen C. Trombulak. The Story of Vermont : A Natural and Cultural History. University Press of New England, 1999.

Marshall Jeffrey D. ed. A War of the People : Vermont Civil War letter. University Press of New England, 1999.

Potash, P. Jeffrey. Vermont's Burned-over District : Patterns of Community Development and Religious Activity, 1761-1850. Carlson Pub., 1991.

Sanford, Rob. Stonewalls and Cellarholes : A Guide for Landowners on Historic Features and Landscapes in Vermont's forests. Vermont Dept. of Forests, Parks, and Recreation Waterbury, VT, 1994.

Sherman, Michael and Jennie Versteeg, eds. We Vermonters : Perspectives on the Past. Vermont Historical Society, 1992.

Strickland, Ron. Vermonters: Oral histories from Down Country to the Northeast Kingdom. University Press of New England, 1998.

Vermont Children's Literature.

Baker, Carin Greenberg. Pride of Green Mountains. Gareth Stevens Pub., 1999.Vermont, The State With the Storybook Past. New England Press, 1996.

Curtis, Alice Turner. A Little Maid of Ticonderoga. Applewood Books, 1996.

Hahn, Michael T. Ethan Allen: A Life of Adventure. New England Press, 1994.

Hahn, Michael T. Alexander Twilight : Vermont's African-American Pioneer. New England Press, 1998.

Lunn, Janet. The Hollow Tree. Alfred A. Knopf Canada, 1997.

Vermont Tourism Links.

Central Vermont Chamber of Commerce
A comprehensive index to travel, life, business, and services in Central Vermont.

Vermont State Department of Tourism
Official state website with information on Vermont's communities, arts, education, history, and tourism.

Vermont: the Green Mountain State
A brief overview of Vermont history, government, geography, natural resources, and state treasures.

Vermont History and Preservation Links.

Vermont Division of Historic Preservation
The website of the Vermont State Historic Preservation Office.

Vermont Historical Society
Vermont's statewide non-profit group providing on-line exhibits, publications, teaching materials, archival resources and valuable statewide links.

Marsh-Billings-Rockefeller National Historic Site
Vermont's First National Park preserves and interprets the historic Marsh-Billings-Rockefeller property in Woodstock, VT. It is the only National Park to focus on conservation history and the evolving nature of land stewardship in America.

Vermont Heritage Network
A group organized to stimulate awareness and appreciation of Vermont's cultural heritage and built environment.

The Historic Preservation Program at the University of Vermont
Offering information on this well-respected program, on-line preservation journals, organizations, and local history sources.

Vermont Archaeological Society
Non-profit group of Vermont professionals and non-professionals committed to archaeology.

The Green Mountain Club
An organization involved in the preservation and protection of Vermont's Long Trail System.

Central Vermont: Explore history in the Heart of the Green Mountains, was produced by the national Park Service (NPS), U.S. Department of the Interior, in cooperation with the Central Vermont chamber of Commerce, Vermont Division for Historic Preservation, Vermont Historical Society, the national Conference of State Historic Preservation officers (NCSHPO), and the national Alliance of Preservation Commissions (NACP). It was created under the direction of Carol D. Shull, Keeper of the national Register of Historic Places, national Park Service, Patrick Andrus, heritage Tourism Director, and Beth L. Savage, Publications Director. Central Vermont: Explore history in the Heart of the Green Mountains is based on information in the files of the national Register of Historic Places and national Historic Landmark collections. These materials are kept at 800 North Capitol St., Washington, D.C., and are open to the public from 9:00am to 4:00pm, Monday through Friday.

George Malek, Exec. Vice President, Nat Winthrop, Travel Coordinator, and Tracey Martin from the Central Vermont chamber of Commerce conceptualized and compiled materials for the itinerary. Shannon Bell, national Council of Preservation Educators (NCPE) intern, coordinated project production for the national Register, wrote property descriptions, and assisted with the design. Contextual essays were written by Shannon Bell and Cari Goetcheus. The travel itinerary was designed by Nathan Poe (NCSHPO), who also provided editorial support.

Elsa Gilbertson and Curtis B. Johnson from the Vermont Division of Historic Preservation supplied invaluable photographs and assistance. Paul Carnahan (Vermont Historical Society), Alan H. Weiss (Northfield Historical Society), Juli Beth Hoover (Mad River Valley Planning District), and Christopher Bellamy (University of Vermont) furnished additional photographic material.

Thank you to all of the individuals, organizations and institutions who worked so diligently on this project.

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