19th Century Architecture NorthamptonCHARLES H. JONES
ARCHITECT
NORTHAMPTON, MASSkCHUSETTS
1838-1897
Caroline P. Adams
19th Century Architecture
Professor P. Norton
December 13, 1979
I n i
f®rv-
fill,
"There is every prom.1se that his name will go down to
future generations as one of the most stylish architects
of the present time. "' Such was Northampton's esteem of
Charles H. Jones and the exuberance it felt about the bur-
geoning, Victorian landscape in 1887. By that year Jones
had designed more than 60 fashionable buildings, offering
the area visual evidence of its forward - looking attitude
and prosperity.
Following the Civil War, rapid industrialization pro-
pelled Americans toward a reckless, new spirit of confi --
Bence, and Northampton was not alone in congratulating
itself with lavish testimony to its recent fortunes. Jones'
designs, like those of most of his contemporaries, are in-
dicative of the climate they were conceived in. They ex-
pressed an innovative search for nationhood with the bold
assertions of an adolescent coming of age.
Fittingly, Victorian architecture is described as
2
romantic, restless, undirected and confusing", but "rarely
restrained, never timid ". In retrospect we may attribute
- `qis moodiness in Ame loth century buildings to
an unprecedented exploration for identity in a rapidly
changing world. This grappling for maturity was further
characterized by a persistent and naive belief in Manifest
Destiny and perfectibility which maintained a safe distance
2
from the graft, and the ethnic, religious and cultural
issues of the time. Direction. and purpose was vague and
"the hazier the outlines of the nation, the more necessary
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the language of reassurance ".
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Consequently. Jones, like others, articulated a very
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loud declaration of independence. The irregularity and
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surprise in a silhouette, the fantastically textured sur-
faces, and projecting towers, balconies, and roofs clam-
ored for attention. But by the turn of the century, much
Victorian architecture was perceived as an embarrast-rig
reminder of an awkward adolescence. Therefore, buildings
received'.a coat of white paint to disguise eccentricities;
others lost their turrets as they fell into disrepair, all
the while their tenants shad outmoded ideals.
Until recently, scholars have overlooked these mon-
uments of our growing pains, prefering to focus on the
quieter architecture of an earlier period or the more fully
developed work of the 20th century. Nearly 100 years have
elapsed before we have gained the distance and perspective
necessary to appreciate the work. In that time we have
lost a memory of the period that our ancestors wished to
pass on to us. Charles Jones and numerous other architects
who were heralded by their public have been completely
forgotten.
To ressurect Jones, we may examine Northampton's local
3
_newspaper and probate records as well as the buildings
attributed to him. It is possible to piece together a
chronology of his professional and private lives and spec-
ulate what kind of personality he brought to bear upon his
designs and how the social climate imposed its stamp upon
hiTii.
The Hampshire Gazette portrays Jones as a man born
of humble origins from Nantucket, Massachusetts 5 , who
made his success through resolve and enterprise, a modicum
of fate and natural talent. He embodied the Horatio Alger
myth and the promise of upward mobility. As will be shown
the.s mplicity of this portrayal belies some of Jones'
sociological advantages, such as a favorable marriage and
the expedient business associations derived from it.
Whether Jones actually came from such.an impecunious back-
ground remains a question for further research. The point
to -be made here is that despite and in light of the degree
of inacuracy or simplicity of the Gazette reporting, we
see a people eager to romanticize and justify their condi-
tion. ,
;n
Jones received his first trair;g as an apprentice house
painter with a Mr. Chase of Boston. At the age of seventeen
he ,joined his brother Isaac in Ashfield, Massachusetts,
where they engaged in house painting and decorating. Such
work would include paper hanging, graining, marblizing,
ornamental and fresco painting of interiors, and also the
exterior painting of a house with a. careful combination -of
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colors. -�3 F or the roof there _might be "a soft_ green- black,
not glossy, but modified with a little emerald green; the
upper shingles, including all piazza and bay window roofs
below the roof proper, stained a quiet russet, not too
dark; for the clapboards, a medium warm brown, with a dark-
er brown for trimmings. The front door could be cherry
o
stained a medium dark tone. ".
While in Ashfield, the .brothers did a considerable
amount of work in Shelburne Palls and the surrounding area.
A few years later they moved to Hatfield. "Th.eir fame as
painters and decorators spread so that work poured in from
all-over Western Massachusetts," 10 They are credited wi r th
the planning,.painting and decorating of 67 church edi.faces
in Ashfield, Conwayi, Deerfield, Lee, Pittsfield and many
other towns, Among them was the old Edwards Church that
stood on the corner of Main and South Streets, Northampton.
In addition, they worked on just as many residences and
public buildings. The Jail and House of Correction was
their first Northampton commission.
When Charles Jones was 22 and living in Hatfield, he
married Mary Angelia Bliss, daughter of William C. and
Laura Munson Bliss of that same town. William Bliss, a
broom manufacturer, owned a 10 room homestead; 43 acres of
land and a moderate yet comfortable estate worth $13,018
at his death. He traded with the Shakers for broom hand-
les and employed many laborers to complete the product.
His factory was one of the largest and most profitable in
the area. Bliss' liviihood was respectably capitalist in
he held two pews in the Hatfield Congregate - onal -- - --
nature, I
Church and he served two terms as fir`s selectman, giving
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him an honorable position in the community. Marriage to
his daughter would have certain advantages.
William Bliss' accounts suggest the kind of financial
benefits Jones received as a son -in -law. For instance, in
1863 Bliss gave Jones money for clothes and household
furniture; in 1864, Bliss held a mortgage for Jones' house.
More difficult to assess are the social benefits of Jones'
marriage, but we might safely assume (knowing the experience
of others) ' that his status rose by association with
the Bliss family.
The increased social status might better explain tiny
Orange Judd of New York and publisher of the American Azri
culturist called on Jones one day. The Gazette relates
the episode with a romantic flair, owing the significant
event to fate. The logic of a New 'Yore publisher soliciting
business from a painter, when wealthy farmers were at hand
begs further elucidation. The cu- cuiva - ulur , vl L1
had become the principle crop in Hatfield taking up nearly
1,000 acres, tobacco farming had rec.ently.been introduced,
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and Smith Agricultural School was well established 3 , all. r'ea
sons far worthier of Mir. Judd`s trip than door -to -door
sales.
Yet the Gazette informs its readers: "One day...
along came Orange Judd, publisher of the American Agriculturi
of New York. He was soliciting subscribers
and bus in:e s s for �i s
Paper and -- ___ - - --
upon our enterprising painter.at his Hatfield
home. Mr. Jones was away from home at the
time, but his wife supposed he was in his
artist room upstairs, and she told Mr. Judd
to go up and see him. He went up and find-
ing the room unoccupied he looked about a
little. There were spread out various draw-
ings a house and church decorations, and.
he examined them .. Mr. Judd was a large
builder himsel -, having erected over 400
houses in suburbs of New York. He en-
couraged Mr. Jones to engage in architecture,
and from that time he paid more attention to
that branch of artistic work. 14
While it remains spe6ulation, it 'doesinot seem unreasonable
to entertain the notion that some interested party from
Hatfield (perhaps Wm. Bliss himself) who was familiar with
Jones' and Judd's work, recommended an introduction.
Jones is listed in the Northampton City Directory for
the first time in 1868. He conducted his painting and dec-Y
Cratin business out of his home on the corner of State and
Center Streets. Not until 1888 did he bill himself as an
s architect, painter and decorator, and by 1894 (only 3 years
before his death) he had discontinued painting altogether.
It appears that Jones may have designed Jones block on
Court Street, the site of his home and business by 1775, and
the present location of Wiggins Tavern. In January, 1875,
the original building burned to the ground. and was replaced
by a larger and "poorly constructed building of brick, three
stories high, with Mansard roof ", on the old f oundation.
Jones and his brother Isaac (then living in Boston)
owned 'the building and leased space to the Nonotuck Pocket
Book Company, the namtshire County Journal, and Partridge's
pain u shop
. Jones' shop was located on the first floor,
his residence on the third.
The buildii
in 1882, it was
entire contents
him to mortgage
jg was beset by a history of fires and again
completely destroyed. 16 Jones lost the
of his shop and. all his furniture, forcing
some of his real estate holdings." Only
a one story wooden, building to the rear of Jones Block
survived, saving a large number of windows that Jones was
in the process of making. hepea 4eaiy, in -L oy , , 1 Qii4
18a ?, fires damaged Jones Block, but after surviving the
second one and taking no more ehances,'Jones moved his
family to I\Iew South Street.
While these setbacks occured, Jones made progress with
his architectural career. One of the first houses built
after his plans was in the Italian Villa style for J. E.
18 Andrew Jackson Downing
Wight of Hatfield., (figure � ) .
had popularized the style by publishing designs for Italian
• villas by Alexander Jackson Davis, in both Cot tage Residences
(1842) and Architecture of Country Houses (1810). By 1860
their influence could be seen in Hatfield. Jones may have
decorated some of these first Itallian Villa homes: At any
rate ° saw and understood their importance, so that when it
came time to•design'nne he had-some-grasp of its form. It
is a fine first effort, but the hand of a novice draughtsman
is evident.
The Wight house stands uncommonly prim and symmetrical
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y ,
..
,.
_.. ...
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With. brackets and bargeboarding beneatr the eaves that hug
the clapboarded facade like great eyebrows arched in su.i:pr.ise.
The bay windows at either side of the house are the only
relief given to the otherwise upright, stiff posture. Strong
horizontals are repeated by the second story balustrade, a
flat projecting roof and the boxy cupola atop. As a rule,
ItalZ ian villas consisted of rectilinear blocks grouped
asymmetrically to form the picturesque "sky outline" that
Downing favored. The Wight home design looks suspiciously
colonial in its symmetry, with an Itallian facelift too ex-
treme for its suggested age.
cones' second effort 19 was more successful, perhaps
because William H. Dickinson (owner of the house) contributed
many,of the ideas he gathered while travelling through
England, The circumstances out of which the Dickinson house
arose certainly helped shape the final design. Dickinson
and his two neighboring friends found themselves with con-
s siderable fortunes and competitive dispositions Each man
assured the other he was capable of building the most elab-
orate home. 21 and then Waite built
their houses first (illustrations # % and # =% ), across
the Main Street from Dickinson's small Colonial home. One
took on the Itallian Villa style, the other was a sturdy
little Second Empire design.
Dickinson, not to be outdone, moved the old homestead
and built a monstrous, Second Empire style structure which
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must have cast an early morning shadow clear across the
street upon his neighbor's homes. Inspiration or �
Dickinson' home (1.875) may have come from the New Louvre
in Paris (1852 -57), but more likely he saw its influence
in London. The Louvre served as a prototype for designs
entered in competition for building new foreign and war
offices in London (1857). 'These designs were illustrated
widely and might even have come to Jones' attention.
A Miansard roof gives the Second Empire style its most
distinguishing characteristic. Dormer windows punctuate
the nigh concave or convex sloped roofs and all windows
are dressed in clas garb. The wooden quoins (usually
found in masonary buildings) visually assist in supporting
the heavy roof and cornice work. While the tower and irreg-
ular composition of forms suggest a muscular, upward thrust
it is held together by the horizontals in the decorative,
roof -tile work, cornice and window- tiediments'. ,
s The house interior, beautifully preserved, reflects
the same attention to stylishness-as the exterior. Elaborate
marble fireplaces, etched windows, richly colored wall paper
and finely grained door panels survive as examples of what
may be some of Jones' owns work. Peculiarities exist such
as the ballroom to be approached through the second floor
bed chambers or up the back stairway, and the dining room
with no less than 8 doors. Yet the house impresses its
grandness,
10
Nothing advertises an.architect's skill like _a_ success-
fully executed building and Jones soon aqui.red numerous
commissions. By 1887, he had completed the designs for 57
houses, three churches and other buildings. His services
had been used in Northampton, Amherst, Easthampton, Hadley,
Granby, Hatfield, Deerfield, South Deerfield, Pittsfield,
Holyoke, Springfield, Rockville, Connecticut, Boston and
New York. 22
Throughout the 1880's, Jones actively invested in real
estate with Benjamin E. Cook, Jr., jeweller, developer and
well loved first mayor of Northampton. Together they owned
half interests in the tenements still standing on Eastern
Avenue and Williams Street, in addition to a double tenement
on Hawley Street, a Block on New South Street, and properties
at five other locations. Their business conduct suggests a
solid friendship existed between the two men, Jones gave
Cook outright his share of the Eastern Avenue /Williams Street
property 25 and appointed Cook (and Isaac Jones) trustee of
his estate.
Among Jones' other real estate investments were proper-
ties on Kensington, King, Hawley, Henshaw, Summer and Bright
Streets in Northampton, and some acreage in Pelham, Massachu-
se He also invested $7,000 for a share in the Northampton
syndicate, holding a tract of undeveloped land in Duluth.
It sold for a disappointing $700 in 1900. Even though the
other shareholders lent a reliable element to the investment,
11
the obvious risk in such speculation departed from Jones'
customary prudence. The investment reflects his aspirations
indicates the manner in which he was willing to achieve them.
Similar traits are evinced in ones' architecture, for
he never surpassed gratifying his customers with more than
a safe approximation of the styles in vogue. His designs
differea' only to the extent that he took acceptable liberties
in the arrangement of mass and form, and attention to detail.
Jones artistic risk took shape within the bounds of popular
or collective conformity.
Two of the houses Jones designed during the 1880's,
illustrate this characteristic. The Edgar Crooks house at
28 Pomeroy Terrace and the George Strong house at 11�2 South
Street (Illustrations # and # La ) , were executed in the
then prevalent Queen Anne style. They -owe their picturesque
quality to the eclectic freedom of the style and the origin-
ality of Jones' composition.
As a decorator, Jones gave mu�h attention to textural
features, treating the wall surfaces with variegated shingles,
clapboards, and carving. He employed overhanging upper
stories, projecting windows, bays, differing window dimensions
(some glazed with plate glass, others leaded with small. panes
and still others staired), protruding porches with lattice
work, turrets, multiple roofs, brackets, finials, terra cotta,
ad infinitum.
The result makes a rather angular, nervous statement in
12
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the Crooks house. The Strong house, while it is les -ran-
- - -- resents - a simi -lar -- ?- ns- pi=rati ona -1 flavor_.__
_...__�; i c _ in - - appe affiance � p
I
Both clearly express the designer's sensibilities and indi-
cate the public's taste for the "picturesque ". Yet only
I
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in that respect do they succeed. The departure from any !
given architectural formula made great concessions, for the
absence of any coherence ( outside of constant irregularity)
defeated the integrity of the whole.
I
For the most part, if a Jones house is viewed in frag=
ments, there is more reason to applaud. The Gere residence
(c, 1887, Illustrations 7 7 and # ) displays a sensitivity
for the ornamental within smaller sculpted portions of the
whale. It seems that Jones, perhaps. because he. was first
accustomed to working with interior scales and dimensions,
had difficulty selecting and unifying so many components into
an in Celli gable whole.
The commercial g
- building bn the corner of Pleas ant 'and _
Armory Streets (c. 1890, Illustrations # cf through 1 )}
s comes closest to accomDlishing the integrity lacking in -his
i
earlier work. Possibly the building's size and function,
the less flexible materials he was obliged to work with, and
I I
the undeniable influence of the neighboring blocks, provided
Jones with just the restraints he needed to guide him to a
more cohesive design without compromising artistic experi-
mentation.
The massive block form is at once distinguished by the
13
turret which had become_Jones' hallmark. The turret allowed
- - - - - - - - --
Jones personal expression and served to attract customers to
the fashionable merchandise within. It contributes to the
total design by inviting the eye upward past the abrupt
rocf line and down again over its shingled surface to the
windows. In turn, the strong horizontals, created by the
limestone banding at window level, guide the eye across the
facade or along the side as it receeds toward the bay window
at the rear.
The broadly arched romanesaue window at the second
floor crowns the enormous display window below. Early photo-
graphs show a larger display window than the present one,
and the Gazette boasted of its size. "Its glass front has
the largest single pane in.the city, and the deep recess in
which the door is set adds to the show space of the front,
permitting a whole chamber set to be shown on the raised
platform at the window."
27
T slight arch to the bold, limestone hood moldings
soften the bulk of the basic rectangular form and repeat
the central theme of the Romanesue arch. The variation in
window treatment avoids boredom, but an underlying idea is
pfrposefully repeated enough to unify the parts. Jones also
gave consideration to the greater whole of the neighborhood
when he designathis building, for the roof line (front and
back) echoes those next'to'it.
Closer examination does not disappoint. The warm red
14
brick set in red cement contrasts sharply with the white
--- - - - - --
limestone, reminding one of the Queer, Anne buildings in
England, built of brick and wood trim painted white. A
square column with Corinthian type capital accentuates the
corner and announces the store front sign. Wood carving
and shingling on the turret decorate without being gimmiky.
The spacious interior is interrupted only by iron
supporting columns and suits the intended. display of large
pieces of furniture, No ornamentation detracts from the
merchandise which was at that time lavishly embellished
and overstated in its appearance. An elevator, now gone,
reached the floors above giving easy access to other fur-
niture and the caskets from Mr. Edward's undertaking
business.
28 Electricity city and hot water heating made the
build a functionally modern one.
Unfortunately, the years following the building of
Cook's Block brought personal misfortune to Jones. The
many fires in Jones Block must have slowed his ambition
and the money panic of 1893 could not have escaped him.
His health began to fail and he was subject to nervous
prostration. Evidence of his serious concern over finan-
cial matters can be'foun d in Jones' last will and -t6sta-
ment*when he states its purpose is "to save my estate
for my descendents and that it may not be squandered".
Unless further discovers more of Jones' designs
that are as successful as Cook's Block it cannot be known
15
if he had the ability to be one of our better architects.
In 1875, his eyesight failed him Two errs a er _e.
died of kidney disease at the Dickinson Hospita1 2 - a building
he designed in 1885.
The promises of the industrial world had confused
Americans` ideals and while people searched for the essence
of their new identity they' kicked up a baffling assortment
of social problems. Until they could discard their old
assumptions, and feel comfortable with their new direction,
they were unable to emerge in harmony with the 20th century.
By the 1890`s, big business, corporations and trusts had
thrust control into the hands of a few. The middle class
kept busy striving for and rarely gaining a share of that
control. Jones was caught in the middle and his
affairs and architectural designs attest to it.
The "promise that his name will go doom to future
generations" died hard, but with the assistance of the
buidings that survive Jones and others like him, a better
understanding of our heritage, both social and architectural, -
will evolve.
1 Daily Hampshire Gazette April.26, 1887, p.2
2 Sadayoshi Omoto, "The Queen Anne Style and Architectural
Criticism ", Journal of the Society of Architectural
Historians 1963, p. 29-36.
3 William L. PaOonald, Northampton, - Massachusetts ,
Architecture and Buildings (Northampton Bicentennial
Committee, 1 975), P-3
Daniel J. Boorstin, The Americans: The National Experience
(London, 1966), p.389.
5 2azette, Octcber. 16, 1897, p.1.
6 Gazette , January 15, 1889, p. 1.
J ones was actually born_ in Harwich, Massachusetts to
Simon Jones, a seaman, and Mehtabel Jones. See
Document
? Gazette, Ibid.
8 Northampton Directory 1874 -75, p. 128.
9 Gazette, June,1889.
10 Gaz.ette , January 15, 1889
11 Last Will and Testament Probate Records, Probate Court,
Northampton, Massachusetts, Box 17, no. 10.
12 Daniel White Wells and Reuben Field Wells, History of
Hatfield., (Springfield, Ma.: F. C. H. Gibbons, 1910,
p. 219.
f.
1 JWells and. Wells, -bid. , p. 219, 485
1 Gazette, January 15, 1889, p. 1,
,
15 Gazette December 12, 1882.
a
15 Gazette , -bid.
1 Registrar of Deeds, Northampton, Massachusetts, Book 382, p.29
1 Gazette Januar 15, 1889 P.1. I
I
19 Gazette Ibid.
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20 W lliar. Dickinson was a tob) acco farrier, bank_ president,
and prominant Hatfield resident.
21 This is the story as it was related to Mr. and Mrs. LaYalley,
'present owners of the Dickinson house, by William C. Dickinson,
son of the builder.
22 Gazette , January 15, 1889, p. 1.
L " Last Will and "Testament Box 301, No. 33
2 Gazette October 16, 1897.
25 Registrar of Deeds, Book 447, p.47.
26 Probate Records, Box 301, No. 33.
27 Gazette , January 28, 1890, p.3.
28 Gazette , Ibid.
2Q Death Certificate Cit�T Glcrk, Northampton, Massachusetts.
Gazette October 16, 1897.
30 Gazette , January 15, 1889.
J. E. Atght House
r. 1872
Winliam H, Dickinson house
de taii; Wrn. H. Dickinson House
AX
fit
I
George Strong House
1887
----------
, 7VOM
m =14
details; George Strong House
detail. George Strong House
Coo'. Block
(note the original plate glass window)'
a L
detail: Cook Block
rx
E
A
PLEASANT STREET, LOOKING WEST.
Cook Block
Cook Block integrated well with the other commercial
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buildings, most of which were built after designs
W. F. p'r att in the few preceeding decaidies. In this
view the turret, far from adding a discordant note,
__ - urt --- H 6u8
echoes the our
continued: Bright Street Residence
These cottages may be representative of the bulk of
Jones' work. They are not the kind of structure that
the Gazette would mention and are therefore to track
down and - attr. lbute to Jones. But structures such as
these may help account for the 100 or .more buildings
credited to him.
t4e of j fflaosar4usefts
October 31 X9..79
Cityof Northampton, ..._ ».. ».... ». ». »....» ..» » .... »....... »...._.... .. .....
I, , belinc Barran, hereby certify that I hold the office of City Clerk of the City of Northampton,
in the County of Hampshire and Commonwealth of Massachusetts; that the Records of Births, Mar-
riages and Deaths in said City are in my custody, and that the following is a true extract from the
Records of Deaths, in said City, as certified by me.
Date of Death . ........ ... . ._.....
........... _. October 15......... 8Q7
.. .... ..... ....... ..._... ..........
__
Charles H. Jones
Name of Deceased, _. ........ ___ ........... ............. .....
_
Maiden Name of Deceased, . ........................ _ _..lm w........... »....
Name and Surname of Husband, ........
Male Whit Condition, Married
Sex, ..».........»... ...._........».._. ........
» ... _ Color, » ... ». » »_.w. » »»
Age»......_ .......59 .... _. ......... ....... Years, _ ..............» »...3 ..» _ _ ....._» » ». » ».. »...... Months, _ ..._ g » Days, _ .w
Disease of Urinary Organs
Disease or Cause of Death . ..................
_ ..._._.
... _._....._............_._..........._...._ ........ ....... ...... ....... .» ..... _. ». . �... �
Northampton, Massachusetts
Residence» ..... _..»» .. ................ ».. ». »......... .............. ».. ..... .»...._....»....»........».»........._............_........».......»»._.»» »»»......»_»__._..........._»..
Dickinson Hospital, Northampton, Mass.
Place of Death, ._ .
Northampton, Mass. Cemetery
Placeof Burial, ............... _.. »...._ ....... .» ............ .... ».. »_ _»_» .......»...._.......... .. »»» .»»
Architect
Occupation, ....... .......... ....... ». »._ ._.. _ _.. ..... ». »_.. ».» » . _ ... ................
..._..
Harwich, Massachusett
Placeof Birth . .......................... ....... _ ........ ....... ....... » »_ _ . »» ...»_...... .... »_......»... ». » »._..... » ».. » ».»»»»»» _ ...
Simon Jones
Name of Father . ...................................... ........ __ .... .... ....... _._. ..... ... ... »...»............. _ ..._..._ ... ». ....... .. ......
_»»
Mehitabel Robbins
Name Mother, ... ...... ».. »..- ....... ....... ».. ».._ ...... ».......
chuse oh,Massa
Birthplace of Father, _..... ............._......»»»». » »�..» Harwi ___..... »....» a
Harwich,Mas
Birthplace of Mother, » ».
Witness my hand and Seal of said City of Northampton,
on the day and year first above written.
[SEAL] ». »� .¢ / City Clerk.
Daily Hampshire Gazette
October 1
gg
pui ldings attributed to C. H.. Jones, Residences
J. E. Wight, Hatfield
Wr H. Dickinson, it
,
I i y ron D' cl�inson, F `
George Strong, Northampton
Lucius C lark, It
Chas. F. Warmer,
E. F. Crooks
Dr, Blodgett
H. S. Gere , °
O. N . Kyle, Florence
Dr. Chas. Bailer, Pittsfield
Cpt, Chas. Pease, Amherst
L.B. White, Holyoke
A., M. Belding, Rockville, -Ct.
Supt. Allen of Belding Bros.
Chapin, Springfield
Wm. Allen, Easthampton
Henry P. Bailey, New York
C. W. Berryman,
A. E. Bronson, Ashfieid
\mill, Rockville, Ct. )
continued: buidings attrJLbuted to Bones
Ockington's Hotel, South Deerfield
A. E. Bronson's store, Ashfield
Lilley Library, Florence
Alterations I
Congregational Church, Florence
Florence Machine Co. office,
Todd's Block, Northampton
Clapp & Johnson Block,
B. E. Cook's store,
M. M. French's store,
Retiiodelin,g
Henry E. Smith, Northampton residence
L. - B. Williams, it It