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Time has passed since I last wrote any updates to this series of essays. Ten years, as a matter of fact. Over the decade since, we have discussed how important and unique this House is, and what we could do to raise awareness of that. It was decided we would try to list the House on the National Register and these latest essays will cover what we have learned, what we still need to know and what the process is to apply for listing on the National Register. The process is long, convoluted and intimidating to carry out, but we will persevere....

The National Register

So what is involved in getting an important building — or other equally significant architectural, archaeological or cultural site — listed? quite a bit, actually. First, the process for listing our house follows the established guidelines through the State of Maine Historic Preservation Commission. Each state has different regulations and all nominations to the National Register has to pass through some form of State historic preservation group. Once the nomination has been accepted at the State level, the recommendation is passed on to the federal level to be included in the National Register. And in Maine, there are specific dates when the Historic Preservation Committee meets to review nominations, which means there are specific dates required to meet a first draft and final nomination. 

For us, here's the dates we are targeting this year. We are hoping to have our nomination complete for review by the Commission by the October 24 meeting:

To make this happen I knew I would need a block of time to concentrate on research and writing up the nomination forms. Luckily, I was due a sabbatical at work this year, so I applied and took 5 weeks off to work on this nomination.  No, I can honestly say I did not work every day of my time off working on this — there has to be some down-time while off from work! — but I was able to accomplish a lot!

So why place something on the National Register? Well, there is a lot of misinformation about what this does or does not do. The Federal or State government does not own any rights to your property, nor will it mean you can't make 'improvements'.  Here's the minimum criteria your site will need for consideration on the National Register:

National Register Criteria for Listing  The quality of significance in American history, architecture, archaeology, and culture is present in districts, sites, buildings, structures, and objects that possess integrity of location, design, setting, material, workmanship, feeling, and association, and: A. that are associated with events that have made a significant contribution to the broad patterns of our history; or B. that are associated with the lives of persons significant in our past; or C. that reflect in an outstanding manner the distinctive characteristics of a type, period, or method of construction, or that represent the work of a master, or that possess high artistic values or that represent a significant and distinguishable entity whose components may lack individual distinction; or D. that have yielded or may be likely to yield information important in prehistory or history. https://www.maine.gov/mhpc/sites/maine.gov.mhpc/files/inline-files/NR%20Criteria_0.pdf

What are the impacts of listing your property in the National Register of Historic Places? Unless you are taking funds from the Federal Government to fix up or repair a property to preserve it, there is no impact to the owner. As a matter of fact, there is a potential protection for the site so listed, as any Federally funded project cannot impact the site and would be under State and Federal review:

Results of Listing [in the National Register] What are the effects when a property is listed in the National Register of Historic Places? A. Listing in the National Register gives official recognition to the historic and cultural importance of a property as part of the Nation’s heritage which ought to be preserved. B. Properties listed in the National Register or deemed eligible for such listing are afforded protection from adverse impact by projects funded, licensed, or executed by the Federal Government, since Federal projects which affect such properties are subject to review by the State Historic Preservation Officer and, if necessary, the Advisory council on Historic Preservation in Washington, D. C. C. Depreciable properties in the National Register can qualify for certified rehabilitation tax credit incentives under the historic preservation provisions of the Tax Reform Act of 1986. D. Control and authority over the use and disposition of a property listed in the National Register or deemed eligible for such listing remain solely with the owner unless he has applied for and received a matching grant or other Federal funding, or is participating in a rehabilitation tax credit project. Listing in the National Register does not mean that limitations will be placed on the property by the Federal government. Public visitation rights are not required by the owner. https://www.maine.gov/mhpc/sites/maine.gov.mhpc/files/inline-files/NR%20Results_0.pdf

Plus, there is comfort in knowing you have taken minimal steps to protect your site for future generations, raised awareness in the community of its importance to local history and you've done the right thing when it comes to preservation of important sites for your state. That's all pretty good, in the end.

Research, Research, Research!

Here's the thing — when I first began researching the house ten years ago I found some amazing things! Who knew there was so much on-line about local information. What were the odds we would quickly learn the true style of house and information about who designed it,  who manufactured it, who constructed it and what it was originally used for! Over these past years additional data has been added to the internet and it feels today a researcher barely needs to leave the comfort of their home to complete a task like this.  Is that a good thing? I'm not sure. From my historical archaeology days there was nothing better than diving into old records in town halls and wills in probate courts. The dark coolness of old storage rooms and the musty smell of old books, containing deeds and wills usually written in the incredible penmanship of clerks from a century ago attract me more to research than sitting at a computer all day. Electronic data gathering is convenient and not as time-consuming as trips to town records or old court houses, but there's something about it that makes me hope it will still be there for others to enjoy...

So what have we learned so far? Well, let's review what we knew.

Eleven years ago, when we bought the house, we were told it was a 1 1/2 story Cape built in 1927, the Maine Spinning Mill had it built for the board members living in Boston and that the Mill used it until the 1950s or so. We quickly disproved that with a simple deed search and and amazingly, stumbled across an on-line contractors' magazine from the period that proved the house was designed by a well-known architect (Horace T. Muzzy from Waterville, Maine). Construction started in 1920 and the general contractor was the Otto T. Nelson Co., from Bangor, ME. From these simple  statements in the magazine, we also knew who painted and wallpapered the interior, and who fitted up the heating and plumbing.

The American Contractor, Sept 4, 1920. Pg 58	The American Contractor, Sept. 11, 1920, Pg 42

In the course of a week, the cost of building the house rose from $30,000 to $40,000 -- a fortune in those days!  Doing a quick check on-line, the $40,000 cost in 1920 would be equivalent to $642,930 today. The average house cost around $3200 in the U.S. in 1920, so at the time, the house cost around 10 times the average house!

To begin at the Beginning: Architectural Design.

As we have discussed earlier in these essays, this house was not a Cape style, but a modification of a Stickley Club House. Stickley's original design dated to around 1908, when he began designing Craftsman Farms in Morris Plains, New Jersey. His idea was for a 'club house' design where he "originally designed the main house at Craftsman Farms as a 'club house,' a gathering place for workers, students and guests." The architect for our house, Horace T. Muzzy, looks to have adapted that "club house" feeling, and over the course of the first 20 years that was exactly what it was for the Mill.  When board members from Boston were not using the house as a residence, workers from the Mill used it occasionally as a gathering place, throwing parties for retiring Mill supervisors:

"SKOWHEGAN Surprise Parties in Honor Mr. and Mrs. William Mitchell  SKOWHEGAN. Sept. 30 (Special) — William Mitchell, who for nearly 25 years was manager of the Maine Spinning Mill at Skowhegan, was with his wife tendered surprise party by the employees of the mill, Saturday night, in token of farewell as Mr. and Mrs. Mitchell will move in a week to Methuen, Mass. to make their home. Clyde H. Smith, first selectman of Skowhegan, acted as spokesman for the employees and in fitting and touching words addressed Mr. Mitchell presenting him in behalf of the many employees, with a handsome leather desk clock and Malino pipe already filled with tobacco for a smoke. Mr. Smith then presented Mrs. MItchell with a pink and amber boudoir clock. Card tables brought out by Mrs. Hurley and Mrs. Hilton were put into use for the playing of "63." Some others went to the den to enjoy the radio and others looked on. Later dancing was enjoyed for a time. Another of the farewell parties was a dinner at the New Skowhegan House on Friday night by the group of eight bridge players and their gentlemen with whom the daughters have been playing regularly. There were 14 at this party. At their places at the table were placed a Shriner's pin for Mr. Mitchell and a lady's Shrine pin for Mrs. Mitchell, the gift of the group. Afterward they returned to the Mitchell home and played bridge and pitch." Lewiston Evening Journal - Sept 30, 1929. Page 8 [Note: the 'Mitchell home' was actually next-door to this house and still exists.]

So form meets function with our house, the same as Stickley used his Club House at Craftsman Farms. Designed from plans over a decade old, Muzzy altered it to fit a New England Arts and Crafts style.  No log beams for him. A central stairway, with distinctive banisters and newel posts, large joined rooms — of 'open planning' design — stretching across the entire front of the house. Smaller rooms to the back of the house for employees caring for the board members during their stay — kitchen and adjoining 'butler's pantry', back hall and laundry room. And then there was the 'Den' mentioned in the article referenced above where they went to listen to the radio (likely plugged in to the rather unique wall socket -- only seen in this room.) Then there is the second floor. Sitting under massive dormers stretching nearly the entire length on the house, front and back, you do not even notice the normal 'dormer' feel.  No slanted ceilings or narrow dormer windows peeking up through the main part of a roof, these are proper rooms with eight foot high ceilings! Similar to Stickley's second floor Club House, there was room for permanent living space -- bedrooms for each board member.  Later, these rather small bedrooms by today's standards would be used by two families of adults and children, with shared bathrooms (three on the second floor and a half bath on the first floor.) Just imagine the rush and tumble of the kids getting ready for school in the mornings ("Mom! Janey won't come out of the bathroom and I gotta get ready!" "Mom! Timmy threw his football and broke the upstairs ceiling light!")

This last one may actually have happened, as the only light fixture from 100 years ago broken in the house was this exact shade. Metal frame only remaining, the glass cylinder was missing when we moved in.  The frame is period and I can only imagine boys tossing a baseball or football across the upstairs landing, when suddenly one over-throws and, crash! the glass shade is no more.... We made a temporary fix with a rolled mica shade of Arts and Crafts style 11 years ago and it is still working fine!

Oh, and in case you are wondering how did the parents meet the demands of raising as many as eight children in this house? Well, apparently, the old servants' door that opened on the back stairs leading to the kitchen was a hindrance in communication so, in order to be heard, someone cut the servants' door in half and left only the bottom.  Now, shouts of parents to children could be clearly heard anywhere in the house and woe to the child (or spouse!) who claimed they couldn't hear because of a closed door!

Next: We Meet the Makers of the House (and It's Not Who You Might Think!)