Tag Archives: history

July 28, 2026

MA250 Sidewalk Art Tour (Greenfield, MA)

By New England Nomad

Date of Visit: July 25, 2026

Location: Greenfield, MA (2 hours northwest of Boston, MA or 1 hour north of Hartford, CT)

Cost: Free

Parking: Metered parking is available throughout the city

Summary: 10 murals celebrating America’s independence have been painted on the sidewalks of Greenfield, MA

Website: MA250 Sidewalk Art Tour

There have been incredible celebrations and memorials throughout this year all of New England in celebration of the country’s 250th anniversary. And the sidewalk art in Greenfield, MA, is another example of how art can be used to be celebrate our country’s independence.

The ten murals, which are painted on the sidewalk rather than walls, celebrated a different aspect of our independence.

While all of the murals are located in or near Greenfield Center, you will have to drive to a few of them. I am listing them as they appear on the website. But, I didn’t photograph them in this order. Some of the addresses are approximations since some of the locations, like a cemetery, don’t have an actual address. Also, some of the locations are near certain areas, like the intersection of Meridien and Deerfield St. So, it’s important for you, or preferably a passenger, to look at the sidewalk while driving to some of these locations.

Since most of the descriptions use the artist’s own descriptions of the works of art, I copy and pasted the descriptions from the website as I wanted to represent the artists’ descriptions in their own words. Plus, it made it easier for me. So, it was a win-win!

“Liberty is Unfinished Work” – City Hall, 14 Court Square by Danielle Lucier

Sometimes photography can seem simple. Just point, adjust settings, sometimes repeatedly, and click. However, sometimes it’s not so easy or straightforward. Since this mural was painted vertically on a sidewalk and it was difficult to read all the lettering, I actually photographed this mural on a step stool. By photographing it from a higher angle and looking down, I was able to photograph it with all of the worlds visible and legible. I did have to duck a little so my shadow didn’t appear though.

Created for the 250th anniversary of the American Revolution, “Liberty is Unfinished Work” reflects on the ideals that inspired our nation’s founding, while also acknowledging that liberty is an ongoing project that we work towards every day. My piece depicts a Revolutionary War drummer boy leading a group of present-day marchers with modern signs, connecting the spirit of civic action that shaped the American Revolution with the ways people continue to advocate for their rights, communities, and futures. By putting the drummer with modern day marchers, I also wanted to give viewers a way to relate their work back to history- and to feel like a participant in an ongoing story rather than a distant observer of a historical event.

When designing this piece, I thought about the Revolution not only as a defining historical event, but also as the beginning of a conversation about liberty, representation, and self government. The American Revolution was driven by ordinary people who believed they had the right to make their voices heard. So instead of portraying a moment in the past,  I wanted to explore things like who had a voice, who was included, and how those people worked together to create change- and create a piece that felt relatable as a person existing 250 years later.

As an artist reflecting on the 250th, I felt both contemplative and celebratory. It gave me this beautiful opportunity to honor courage, aspirations, and sacrifices that shaped our nation- while also recognizing that liberty isn’t a finished achievement. This anniversary serves as a reminder that each generation inherits the responsibility to expand, protect, and redefine freedom in its own time. This mural was made to celebrate the continuing work and the people who carry it forward.

Visual description: a tall rectangular sidewalk square with banners at the top and bottom. The banners say “Liberty is Unfinished work. Celebrating 250 years of raising our voices”. In between the banners is a green hilly landscape with Poet’s Seat Tower at the top. A revolutionary drummer boy leads a crowd of modern-day protesters with bright, colorful signs standing up for what they believe in.

“What Holds Us Together” – Transit Station, 11 Olive St by Cameron Schmitz

Painted in honor of the 250th anniversary of the American Revolution, my mural, “What Holds Us Together”, celebrates the diverse people whose contributions, sacrifices, and shared efforts have been essential in shaping our nation from its founding to present day.

Suspended in the center of the mural, the original thirteen-star American flag appears to emerge from a web of intersecting threads, its fibers extending outward, held together by the hands of many different individuals. Like a woven tapestry, overlapping strands of red, white, and blue extend outwards, interweaving and converging into an intricate network of connection. The diverse hands which collectively hold the flag’s fibers together, represent people of different backgrounds, cultures, ethnicities, and generations, each contributing to the ongoing work of strengthening the fabric of our nation.

My inspiration for this mural is rooted in an often-overlooked truth about the American Revolution itself. Traditional depictions of the Revolutionary era have frequently centered on white colonial figures, leaving many other contributing members largely absent. Yet the struggle for independence was shaped by people from a wide range of backgrounds. African American men, both free and enslaved, served as soldiers, sailors, laborers, messengers, spies, and support personnel throughout the war. African American women contributed as caregivers, laborers, messengers, camp followers, and community builders whose efforts helped sustain both military and civilian life during the Revolution.

Indigenous nations also played significant and complex roles throughout the Revolution. Native soldiers, scouts, diplomats, guides, and leaders influenced military campaigns, intelligence networks, and political alliances, while Indigenous women often held important roles in diplomacy, decision-making, and sustaining their communities through a time of profound upheaval. The choices made by Native nations shaped both the course of the war and the future of the continent.

The story of American independence is far more diverse, interconnected, and nuanced than it has often been portrayed. By depicting hands of different skin tones collaboratively supporting the flag, this mural recognizes the countless individuals whose labor, sacrifice, and participation have been vital in weaving our nation into being. It serves as a reminder that diversity is not a recent addition to the American story, but is in fact, an essential part of it. The strength of our nation has never rested in a single people, culture, or perspective, but rather, is the result of contributions of many individuals whose lives and efforts have become interwoven across generations.

The hands of this mural do not simply hold the flag together—but are also being held together in unison as its maker. Some hands overlap, some press intimately against one another, and others work side-by-side, symbolizing the trust, collaboration, and shared responsibility that is necessary in sustaining our democracy.

Two hundred and fifty years after the Revolution, the ideals of liberty, self-determination, and democracy remain unfinished work. Like the threads of the flag itself, these ideals must be continually strengthened and held with care by each generation.

“What Holds Us Together” invites viewers to recognize the many people who have been—and continue to be—an essential part of the fabric of our nation, and to reflect on the relationships, care, and collective effort that binds us together.

The strength of our nation lies in the spirit of cooperation that made the American Revolution possible, and in the many hands that continue to work together to hold, weave, and sustain our democracy and our shared future.

“The Pen and the Press” – Justice Center, 43 Hope St by Althea Keaton

“In establishing American independence, the pen and the press had a merit equal to that of the sword.” – Dr. David Ramsay

Dr. David Ramsay was one of the earliest major historians of the American Revolution, as well as a politician and author. He served as a field surgeon during the American Revolutionary War until he was captured by the British army and imprisoned for a year. He wrote many well-respected volumes on American history, both more broadly and specifically about the Revolution. This quote of his reflects his direct experience of the Revolution, both as a writer and as someone who served on the battlefield.

During the U.S. Revolution, newspapers played an essential part in shaping public opinion. At that time, newspapers were the most effective means of mass
communication. They spread not only the news, but political ideas, propaganda, foreign dispatches, official documents, and more. Massachusetts in particular was a hotbed for newspapers, with Boston establishing the United States’ first regular newspaper, the Boston News-Letter. By the time of the Revolution, there were numerous Massachusetts papers vying to influence public opinion, the majority of them Patriot papers advocating for independence.

A revolution is not won only with weapons, but with words and ideas. Although the quote this mural is structured around specifically references the American Revolution, it is relevant beyond that corner of history. Freedom of speech and freedom of the press – two of our First Amendment rights – are essential to maintaining a functioning democracy. We may no longer typically exercise these rights via quill or letterpress, but they are still vital.

The barred turkey quill pictured in this mural is a literal depiction of the kind of writing implement commonly used in the 1700s, but it is also a symbol of ‘the pen’ as a concept. Today’s ‘pen’ may be a stylus, a smartphone, or any number of devices. The specific implements may have changed, but they are still potent tools, and they can reach farther than anyone could have possibly imagined in 1776.

Visual description: A barred turkey quill is set at a diagonal, as though writing. A yellow ribbon winds around it bearing the quote, “In establishing American
independence, the pen and the press had a merit equal to that of the sword.” – Dr. David Ramsay. At the tip of the quill, there is a firework-like burst. Thirteen stars sparkle around the quill in red, orange, yellow, green, blue, and purple.

“Let Virtue Reign” – Greenfield Library, 412 Main St by Youme Nguyen Ly

Let Virtue Reign is painted in front of the Greenfield Library. A dark blue hand holds a stack of papers, the topmost of which reads, “Let Virtue Reign 1773 Phillis Wheatley”.

The hand represents Elizabeth Freeman, the first African American woman to successfully file a lawsuit for freedom in the state of Massachusetts, less than a year after the adoption of the Massachusetts State Constitution. Her case would ultimately lead Massachusetts to outlaw slavery.

Phillis Wheatley was one of the best-known poets in pre-19th century America. Born in West Africa in 1753, enslaved as a child in Massachusetts. She learned to read and write and was emancipated in 1773, the year her collection “Poems on Various Subjects, Religious and Moral”, was published. She wrote in support of anti-slavery movements. “Ode to Dartmouth”, the quoted poem, was written to encourage Dartmouth’s abolitionist work.

This painting celebrates two Black women who were actively working in Massachusetts and beyond, 250 years ago to make the future better for everyone.

“Free Press” – Main St & Sears Ave by Althea Harris

“There is nothing so fretting and vexatious, nothing so justly TERRIBLE to tyrants, and their tools and abettors, as a FREE PRESS.” – Samuel Adams (from his statement on freedom of the press in the Boston Gazette, March 14, 1768)

Founding Father, signatory of the Declaration of Independence, and colonial Massachusetts politician Samuel Adams was, as you may have guessed from this quote, a strong proponent of the role of a free press in ensuring freedom from tyranny. Adams actively used the press as a tool to advocate for colonial rights and independence, criticizing British rule and promoting his political ideals through essays and letters in colonial newspapers, especially the Boston Gazette. With its weekly publication and its circulation of approximately 2,000, this paper had a significant reach for the time period. By the 1770s, Massachusetts had numerous newspapers – most of them Patriot-led – and Adams was far from the only person to take advantage of this medium of mass-communication and its ability to push the tide of public opinion in favor of revolution.

The appearance of the press has changed significantly over the past 250 years, but the importance of a free press has not declined. A newspaper with a circulation of 2,000 has much less clout in the U.S. of 2026 than it did in the pre-revolution colonies, but the dissemination of news, political thoughts, and opinions is still an essential (and Constitutionally protected) right. This mural is a celebration of a free and active press as it has evolved over the years, and it is also a call for the viewer to support freedom of the press in its many forms.

For this mural, I felt it important to celebrate not only a revolutionary past but also the revolutionary present and future. Independence is not something that was won once in 1776 and need never be fought for again, but something we as a country continue to strive for and evolve towards. Rights have been hard-won, some only recently won, and some even more recently revoked. Freedom of the press is encoded in our Bill of Rights, and true freedom of the press cannot belong in only the hands of a few. It needs to come in many forms and from many people.

Free press is still a potent tool for shaping public opinion as well as for spreading journalistic news. Think pieces still come in newspapers and magazines, but they are also found in social media feeds, pinned on bulletin boards, spoken or sung aloud at open mic events. In times when rights are being infringed upon, find people who are impacted and listen to their voices, read their words. Seek out multiple journalistic sources. Fact check and dig deep rather than trusting AI summaries. Use your own voice to speak out against the silencing of journalists. And don’t be afraid to pick up a pen, paintbrush, or microphone and speak your own truth.

We need all hands on deck to keep this ship moving forward.

Visual description: Thirteen hands reach in from the edges of the sidewalk panel holding various implements of communication from the 1800s to today, including: a quill, a paintbrush, a letterpress block, a zine, a microphone, a smartphone, and more. They are set against a bright yellow background, which fades into an off-white glow in the middle to emphasize the quote the hands surround. “There is nothing so fretting and vexatious, nothing so justly terrible to tyrants,
and their tools and abettors, as a free press.” – Samuel Adams

“Old Friends” – Fiske Ave Pocket Park by Youme Nguyen Ly

Old Friends depicts two dolls with a shared sun radiating behind them and a bright outline of sky. On the left a traditional corn husk amsute’kan made in New England.

A traditional story tells that Corn Spirit created the cornhusk amsute’kan for children to enjoy and to watch over them. Originally, she had a face, when she became distracted by her own beauty, her face was taken away to remind us not to focus on our own looks so much that we forget to care for others. On the right side, one of the oldest surviving ragdolls in this country, named Bangwell Putt. She belonged to Clarissa Field of Northfield, Massachusetts. Clarissa was born blind in 1765. The doll’s carefully constructed fingers suggest the importance of touch. In my depiction, the dolls have been friends for over 250 years and carry the respect and gratitude for Indigenous and Non-Indigenous friendships, past, present and future. This piece further serves as a tribute to the importance of children and the essential role of childcare.

“Essential Pieces on the Tapestry of a Revolution” – Historical Society, 43 Church St by Danielle Lucier

This piece, created within the shape of an American traditional quilt square, is a celebration of the diversity of the American Revolution that often gets overlooked throughout historical representations of the war. This quilt square is built of pieces of the original thirteen-star American Flag, pieced together with imagery representing BIPOC roles in the Revolution- all coming together to form one solid piece of our historical tapestry.

In doing research for this piece, everything I found online was vastly misrepresentative of the actual people who worked together in the American Revolution. Most information available showed Colonial white figures- and mostly men at that. Yet upon deeper research at the Historical Society of Greenfield, I found many books and references referring to BIPOC soldiers, spies, messengers, and laborers (free and enslaved) – all in the same positions as these colonial white men. This sparked something in me that felt like a piece of this historical quilt was missing – and inspired my quilt block design. I wanted to pay honor to these hardworking BIPOC people who fell through the cracks in the history books, who didn’t get the credit and honor they deserved.

I found out that roughly 1700-2100 BIPOC men from Massachusetts served as soldiers and sailors throughout the war- and BIPOCwomen worked to build communities, sew soldiers clothing, serve as caregivers, and when not traveling with the camp – they also helped to hold up life at home taking on their duties and the duties of the men who were off fighting.

“Essential Pieces of the Tapestry of the Revolution” is a piece dedicated to African American and Indigenous soldiers and war contributors. Our history is so much more diverse than representation has ever shown – and having this chance to create a piece that tells more of the real story was a true honor. Work and decisions made by BIPOC war contributors played such a large role in the history of our independence- a history that is so much more multicultural and diverse than history texts have led us to believe. It takes hands from all backgrounds coming together to work for a common cause – to create a successful revolution.

Visual description: this square sidewalk tile is broken up into 9 smaller squares to represent an american traditional quilt block. Pieces of the original 13-star flag, and red and white stripes come together to form a pointed star-like pattern, and imagery of Indigenous and African American soldiers are in opposing corners. The center says “250 years 1776-2026” and has hands of all skin colors reaching towards the center of the piece. A banner in the bottom corner says “roughly 1700-2100 BIPOC soldiers from MA fought in the American Revolution”.

“Roles of Children During the American Revolution” – Federal Street School, 125 Federal St by Jill Strait

This mural depicts the various roles children played during the Revolutionary War, a time when the absence of child labor laws meant young people often set aside their education to assist with adult duties. I especially wanted to highlight musicians, who were often in their teens or younger, so they are featured in the center of the piece playing the bugle, drum and fife. Clockwise from left is a young girl hand-sewing a garment, as children worked on uniforms and helped with mending. They often brought essential supplies where needed, on the top right there is a folded blanket, powder horn and a canteen of water. Below that is a teen on a horse, serving the role as messenger. And lastly, farming was a role that kept children occupied, represented by the “three sisters”—squash, corn, and beans—in the lower left corner.

“Caregivers” – Federal Street Cemetery, 175 Federal St by Joe Pye and Ginseng by Youme Nguyen Ly

Caregivers, Joe Pye and Ginseng, shows a black and white tent with abstract pink flowers, red stems and green leaves of Joe Pye weed growing from within. A woman arrives to the tent with a healing bowl of soup. In the abstract black and white background, a tiny black and white revolutionary soldier holds the green living stem of a full color red and green ginseng plant instead of a weapon. Two large ginseng roots are depicted in full color golden yellow, at the base of the illustration.

American ginseng is a medicinal plant native to North America. Income generated from gathering and selling wild ginseng influenced the early history of this country. Local ginseng use and trade stretches back much further than the Declaration of Independence. Long before North America was colonized, various Indigenous peoples used ginseng in medicine.

The story of how this plant came to be called “Joe Pye Weed” has evolved over time. Stories tell of Zhopai, an Abenaki medicine man who treated typhus with this plant. Some researchers believe “Joe Pye” was what white settlers called Joseph Shauquethqueat, a Mohican. Shauquethqueat was a sachem and selectman. It’s believed that white colonists saw Shauquethqueat healing with the plant Pkuwiimakw and named the plant after him.

I painted this with healing in mind, healing that nature offers everyone if we can listen for it. I am also honored that it was chosen for the cemetery location, as those that came before us are part of who we are now and who we will become.

“Crossing the Dela-Western Mass” – Riverworks Park, 250 Deerfield St, just past Meridien & Deerfield St by Youme Nguyen Ly

The Crossing of Dela-Western Massachusetts, references a famous painting of Washington Crossing the Delaware by Emanuel Leutze. In the original painting, George Washington stands at the front of a small boat crowded with thirteen individuals, mostly soldiers, but also a farmer, and a merchant. In my painting, the diverse figures are farming land instead of rowing, what was once an oar is now a shovel. The people are transporting giant sacks of potatoes, corn, one bag simply labeled food.

I wanted to honor the farmers, female, male and non-binary, of all who lived in Greenfield 250 years ago, and grew food which fed the revolution.

What I loved most of these uniquely artistic works of art is how they each showed a different creative display of our fight for freedom and liberty and how that fight continues.

There were many other interesting and fun things to see and do in Greenfield. From industrial sized popcorn bags made to look like Minions to bees (which has a story that deserves their very own post), parking meters painted to look like cultural icons and other murals as well as a nod to dinosaurs, Greenfield has so many more interesting things to see! It’s definitely worth another visit.

12 Comments   |  tags: , , , , , , , , , , , , | posted in art, attraction, history, murals, New England, photographs, photography, photos, travel

June 8, 2026

The New England Carousel Museum – 2026 (Bristol, CT)

By New England Nomad

Date Of Visit: February 28, 2026

Location: 95 Riverside Ave, Bristol, CT

Hours: Mon Closed

Tue Closed

Wed 10:00 AM – 5:00 PM

Thu 10:00 AM – 8:00 PM

Fri 10:00 AM – 5:00 PM

Sat 10:00 AM – 5:00 PM

Sun 12:00 PM – 5:00 PM

Summary: The New England Carousel Museum features over a hundred carousel animals (not just horses), a working carousel and a few more surprises!

Some places are so incredible they’re worth a second visit. You may remember my earlier visit to the New England Carousel Museum in 2017. But, during this visit there was so much more to see and document. So, I may have missed a few things the first time. Plus, the museum often adds new exhibits and updates their permanent displays.

The museum boasts over 100 horses But, horses aren’t the only animals at the carousel museum. And not all of the non-horse carousels are animals!

This small pig was designed in Germany by Frederick Heyn circa 1900. The pig is still wearing “park paint” which was applied by amusement park personnel when the original paint gets worn. It often hides the detailed painting and carving on the carousel animal but also protects the wood. But flying pigs aren’t the only non-horse animals at the carousel museum.

This small cow was created by Matthieu, a little known carver, in France circa 1915. Cows and other farm animals are popular carousel animals in France and Germany. They were not created by American carvers and were not found in the United States where horses were the favorite.

This giraffe was created by the Philadelphia Toboggan Company circa 1905. The Philadelphia Toboggan Company made a few menagerie animals before 1907. But the stopped making them because, as mentioned above, horses were more popular with the public. Don’t worry about the screaming face in the background. We’ll get to that later.

This carp, carved by an unknown artist (but most likely Gustave Bayol), was painted as a goldfish. It most likely originated from the Gustave Bayol factory of Angiers, France.

The C.J. Spooner Factory created this Robert Bayden Powell Centaur. The British sometimes immortalized officers from the Boer Wars as centaurs or mythical creatures that are half human and half equine. The Boer Wars were disputes over territory in South Africa between the British and Dutch in the late 1800s and early 1900s, a time that coincided with the height of the British carousel industry. The carver of this work of art is unknown.

Certain generals from the wars were so well-liked that multiple centaurs were carved of each one. General Robert Brayden Powell served in the British Army for over thirty years and established the Boy Scouts in Great Britain.

This is another centaur at the museum. It was carved by C.J. Spooner around 1918-1920.

Those of you familiar with college sports may recognize this dog as the mascot of the University of Connecticut Huskies.

This dolphin was designed and sculpted by Massachusetts College of Arts graduate Jeff Briggs. It was painted by the New England Carousel Museum staff. The dolphin has been displayed at the Great Adventure Carousel in Sao Paulo, Brazil in 1992 and the Valencia Town Center in Valencia, California in 1993. Jeff’s name will appear prominently later in this post.

This Heron was also designed and sculpted by Jeff Briggs and painted by William Rogers.

This elephant was designed, carved and sculpted by Jeff Briggs and it was painted by the New England Carousel Museum staff. It has appeared in the Navy Pier Waterfront Carousel in Chicago, IL, the Fun City Carousel in Al-Khobar, Saudi Arabia, the Whimsy Amusement Park in Macau, Hong Kong, the Paradise City Mall in Phoenix, AZ and, of course, the New England Carousel Museum.

Speaking of Jeff, he designed and sculpted this zebra which has appeared at the Fun City Carousel in Al-Khobar, Saudi Arabia, the Whimsy Amusement Park in Macau, Hong Kong, and the Paradise City Mall in Phoenix, AZ.

Some of the most appealing and interesting parts of the carousel are the chariots and other designs.

The Illions Supreme carousels were some of the most ornate carousels ever built, featuring horses with elaborate flaming manes, 23.5 karat gold leaf and hundreds of beveled mirrors. The carousels featured chariots with fantasy creature morphs from a ravenous fire-breathing cheetah to a a serpent then again from dragon to lion, evoking themes of jungle law, eat or be eaten and the thrill of the hunt.

The child’s chariot by an unknown carver circa 1900 posted below was intended for a juvenile ride. Although it appears too small for all but the youngest children, it has no floor or ceiling, allowing taller children to fit comfortably inside. Or, they might have chosen to sit as the driver or the footman. Based on the condition of the fabric, it is possible that the inside was rarely used, if at all.

This is another chariot at the museum. If you look closely you can see what looks like a fairy on the exterior of the backseat.

The vast majority of the carousel art is. of course, horses. There were a wide variety of different horses at the carousel museum. One thing you may notice with some of the horses is the use of real horse hair for their tails.

This is a Coney Island style carousel horse. These horses, which originated from the famed amusement parks in Coney Island, typically feature vibrant, hand painted designs and intricate carvings. They are often made of wood, showcases the craftmanship of the late 19th century to early 20th century. The horses are usually adorned with decorative elements like jewels, saddles, and manes.

This French Horse, also known as a “jumper horse”, was carved by Frenchman Gustav Bayol circa 1905. French carousels typically consisted of menagerie animals, sometimes focusing on one or two animals exclusively. In fact, French carousel horses were typically quite rare.

The carver of this horse, M.C. (Marcus Charles) Illions, was a master carver of wooden carousel horses and other figures at Coney Island, Brooklyn, New York City in the early 20th century.

This child-sized Armored Horse was sculpted by Ismael Flores of Mexico circa 1930. Mexican animals, carved of savino wood, are often small measuring less than 36 inches. Carousel carving in Mexico is often done in the carver’s home with simple tools.

Sometimes the horses need a little tlc.

This horse is an example of a carousel horse that needs repair. They are all sent to this office where they are restored to the same likeness or very close to the same likeness as its original state.

“Black Bess” is believed to be the oldest carousel horse at the Carousel Museum dating back to 1870, “Black Bess” was made by the G&J Lines factory of London, England. G&J Lines factory began producing toy and rocking horses in the mid 1800s before expanding to “dobby horses” which were English carousel horses suspended from sweeps by a pole without a platform.

Bess originally had a real horse hair mane and leather saddle, although no evidence remains of either. What does remain is intricate park paint; the name ribbon and scrollwork are common British fairground motifs. Her legs were broken off and reattached with iron patches, a typical repair done by carnival workers eager to get her back to earning her keep as quickly as possible.

Sculptor Jeff Briggs has been instrumental in designing and carving some of the animals for the carousel on the Rose Kennedy Greenway in Boston, MA. Briggs was the designer, sculptor and art director for this lobster. It was painted by William Rogers. This was one of several gifts from Amalie Kass, an author and American historian at Harvard Medical School, to the museum’s collection. Amalie’s substantial donation sparked the creation of the Greenway Carousel. The museum’s agreement with Amalie specified that several duplicates of Greenway animals would eventually become part of the museum’s collection.

This is the original plaster sculpture of the grasshopper on the Boston Greenway Carousel. It was also designed and sculpted by Jeff Briggs. He was also the art director for this sculpture. The grasshopper sculpture was sculpted of plaster over a wood and wire amature. A mold was made over this original and a polyester resin cast was made in the mold for the carousel.

This Peregrine Falcon is another duplicate of one of the animals on the Eose Kennedy Greenway Carousel. It was designed and sculpted by Jeff Briggs.

This is the original plaster sculpture for the squirrel on the Boston Greenway Carousel. It was designed and sculpted by, surprise, Jeff Briggs. This is the Squirrel ride original, sculpted of plaster over a wood and wire amature. A mold was made over this original and a polyester resin cast was made in the mold for the carousel. The drawing behind the squirrel is called a shop drawing. The drawing was enlarged to 500% to the dimensions of the full-size carousel character.

Th and wire amature. A mold was ese models of a carousel sculpture shows the pieces and process of the production of the sculpture production. Each letter on the mold of the fish corresponds with letters on the placard beneath it.

The museum also has pieces of carousels from all around the country. This rounding board, also designed and sculpted by Jeff Briggs, was on a carousel at Bryant Park in New York, NY.

One of the things I really liked, well besides the various carousel sculptures of course, were the miniature sized carousels on display at the museum.

But, the carousel museum doesn’t just have miniature museums. They also have a real life actual carousel that visitors are encouraged to ride. But, there is not just a working carousel there. There are also music players, a ticket booth to purchase a ride (carousel rides costs $3 a ride or $6 for unlimited rides) and a piano.

If all that wasn’t enough, there is a Fire History Museum and a Hellenic Museum.

There were busts, statues and other artifacts.

There is also a Museum of Fire History which has old fire alarm transmitters,

It was a poignant reminder of the hard work and sacrifice firefighters make everyday.

So, as you can see, the carousel museum has something for everyone to enjoy!

13 Comments   |  tags: , , , , , , , , , , , | posted in carousels, connecticut, museum, New England, photographs, photography, photos, Uncategorized

May 21, 2026

2026 Bicycles Along Main (Old Wethersfield, CT)

By New England Nomad

Date Of Event: May 3, 2026

Location: Main St, Old Wethersfield, CT

Cost: Free

Summary: Dozens of decorated bicycles and a bike parade were the highlights of the Bicycles Along Main event.

We’ve all seen bicycles. But, you’ve never seen bicycles like these before!

Each May for the past 6 years, Old Wethersfield has been displaying creatively decorated bicycles for the public to view. The family friendly event, which last the entire month of May, showcases the creativity and artistic talent of dozens of artists. Although the artists are free to create their own bicycle decor, there is a different theme each year for the event. This year’s theme was the 250th anniversary of the country’s independence.

As you might expect, many of the bikes had a patriotic theme. Some of the bicycles had some famous people riding them.

This patriotic display had circles on the ground with years of significance written on them.

This bike, located in front of Trinity Church, is a tribute to the transporting of the brownstone which was used to build the church. The brownstone was transported up the Connecticut River to the Wethersfield Cove and then carted to the building site by members of the congregation.

This bicycle was a tribute to Emily Warren Roebling. Roebling was instrumental in helping to build the Brooklyn Bridge. After her husband, the designer of the Brooklyn Bridge John A. Roebling, was stricken by a fatal accident. While conducting a survey, a ferry boat crashed into a dock, crushing his foot which had to be amputated. Following the amputation, he developed tetanus and he died shortly thereafter. After John died, Emily became involved in the design of the bridge and was considered the surrogate designer of the bridge.

While this bicycle did have a patriotic theme it also had a scientific and “Project Hail Mary” theme.

This was another space themed bicycle display.

Some of the bicycles celebrated women and women’s rights.

This bicycle is a tribute to Jennie Florence, aka “Wendy the Welder.” She helped lay the groundwork for female welders in Connecticut by proving women could succeed in demanding industrial roles. Through her work at Electric Boat during World War II, she demonstrated skill, precision and reliability in a field traditionally closed to women.

Another bicycle dedicated to a Connecticut native was this bicycle dedicated to Benoni “Ben” Lattimore. Born in Wethersfield in 1761, Ben made a significant mark in the fight for America’s independence. Ben enlist in the Continental Army in 1776, around the age of 15. After being captured by the British and forced into servitude, Ben was regained by American forces in 1779 and promised freedom. He continued to fight for the American forces during the Revolutionary War. After the war, he became a cartman, helping to keep the city clean. He also helped establish Albany’s first school for people of color.

Some of the bicycles were more than just decorated bicycles. There were quite a few interactive bicycles. For instance, this bicycle encouraged people to “gently” make noises with their drums, cymbals and horns.

Although Dr. Seuss (Theodor Seuss Geisel) was from Springfield, MA, his works are celebrated all through New England and around the world.

This bicycle was possibly dedicated to one of the participants in the bike parade (more on this later).

This bicycle was decorated as a tribute to Detective Robert (Bobby) C. Garten. His e.o.w. (end of watch) was September 6, 2023.

“I Need More Bike Bell” (a play on a famous SNL skit) bicycle was part of a promotion for the Bike Karma Bicycle and Cycling Stories podcast based out of Old Wethersfield, CT.

This bike display was right in my wheelhouse. As the sign says, the 80s are calling and they want their childhood back. The display encouraged people to write what they love to do that doesn’t include technology and attach it to the bike. Toy racing cars, a landline telephone and toy binoculars were just some of the items that don’t involve technology, or at least too much technology, people like to use. Some of the tags people filled out and attached to the bike had things like hiking, exploring and Legos written on them (who doesn’t love Legos until you step on one of them).

This bike was interactive. It encouraged people to ride as Richard Simmons watched.

This bike was another interactive display. It encouraged people to follow a QR code and leave a story on the kudoboard you are directed to much like the passage from The Winter’s Tale by William Shakespeare.

This bike asked people to consider what Old Wethersfield will be like in another 250 years. People could fill out tags and tie them to the bike.

There were many other bikes with a variety of different types of decorations from a bike on fire, a tribute to the World Cup and even a time machine bike! But, floral and food designs were particularly popular.

One of the homes along Main, technically off Main St, always has a great display in front of their home during these Main St events. They kept with the bike theme in some of the decorations.

Oh yeah, did I mention there was a bike parade? People of all ages and in a variety of modes of transportation participated in the parade.

This band played music while the cyclists went along the parade route.

You can see video of the bike parade below!

22 Comments   |  tags: , , , , , , , , , , , | posted in art, bicycles, bikes, connecticut, Massachusetts, New England, parade, photographs, photography, photos, Uncategorized

March 28, 2026

2025 Phantoms By Firelight (Old Sturbridge Village, Sturbridge, MA)

By New England Nomad

Date Of Event: Oct. 11, 2025

Location: Old Sturbridge Village, 29 Stallion Hill Road, Sturbridge, MA (for GPS directions)

Cost: Prices ranged $28 to $45 for this event (members get a discount)

Parking: Lots of free parking

Universally Accessible: Since most of the events are outdoors, the event was universally accessible. But, many of the buildings at the village are not universally accessible.

Website: Old Sturbridge Village

Summary: Performers showed off their gravity defying, fire breathing and feats of strength at the Phantoms By Firelight event at Old Sturbridge Village.

Old Sturbridge Village transformed into a fiery family friendly festival. Alliteration aside, performers with a diverse set of skills enthralled the audience of people of all ages.

Fire breathing, knife juggling and gravity defying tricks were just a few of the performances on display during the October event at Old Sturbridge Village.

People at the event got into the Halloween spirit. These people cam to the event in their own Halloween costumes!

At the Meetinghouse, there was a display with common fears people had back when in the late 1700s and early 1800s, proving people today are not so different from people off this earlier era. We all have many of the same fears and worried about the same things. Fear of the dark, spiders and heights were some of the fears on display at this exhibit. I have some of these very same fears. Ok, make that all of them. In fact, add rollercoasters and Chucky to the list.

The fear of spiders, also known as Arachnophobia, is a fear many people have. Although some spiders can be venomous, this fear is largely unfounded. See how cute they look!

Claustrophobia, or fear of enclosed places, was, and still is, a very reasonable fear especially since people often worked in confined spaces.

Thanatophobia, the fear of death, is a fear all of us probably have.

Acrophobia, the fear of heights, was another common fear in the 1700 and 1800s. Early New Englanders had to navigate many steep and dangerous cliffs and ledges. Folklore and superstition claimed the “Devil’s Footprint” were on some of these precipices. People were said to be facing tests of faith on these cliffs. People that fell were said to have faced “divine punishment.”

Nyctophobia is a fear many of us probably suffered from as children. People who have a fear of the dark are not necessarily afraid of the darkness. Rather, they fear what may lie in the darkness like n in-law or the tax collector!

People, like these visitors, could write down their biggest fears and add it to the collection box.

If you saw my previous post about last year’s Phantoms By Firelight (2024) event, you may notice many of the events were similar, or the same. But, the performers added different twists, in some cases literally, to their performances. And, in one case, different people were performing.

The first performer was Alexander The Upside Down Man. Or sideways man for that matter!

The musical act Fox and Dragon provided the music for Alexander’s performance.

Philomena and her magic rope kept the audience riveted with her climbing and acrobatic skills. As her entrance, she did a freaky spider walk!

Philomena dazzled the audience with her mastery of the rope!

The highlight for many of the visitors were the “Masters Of The Flame”. These performers were playing with fire. Literally. These talented daredevils put on such an amazing show. Finding the best photos of their feats was very challenging.

Richard Hankes and Ashlee Morgan performed at the finale of the event. Ashlee is a Cirque du Soleil alum and a finalist from Season 19 of “America’s Got Talent.” Hankes and she hold the Guinness World Records holder for “Longest duration balancing on pointe on the shoulders,” with a recorded time of 4 minutes and 2.75 seconds. More on that later.

The finale began with an introduction of the performers. And some dancing by Ashlee and Richard.

Ashlee and Richard showed off some of the skills that put them in the record books.

Ashlee was not done dancing. After she carefully got off Richard’s shoulders, Ashlee did some hot stepping on the stage!

But, Ashlee wasn’t done. Drawing on her Cirque du Soleil experience, she showed off her skills on the rings!

Besides the featured artists, there were many other attractions. For instance, the bridge at the village was lit up and a mysterious fog hung around the entrance.

Inside the bridge were actual portraits from the houses at the village.

This is a portrait of Hannah Elizabeth Tucker circa 1843 (artist unknown). Born June 11, 1836 to Thomas and Nancy Tucker of Newton, MA, Hannah died of marasmus, a deficiency in all the macronutrients that the body requires to function, including carbohydrates, protein and fats, on December 30, 1843. The portrait was probably commissioned by her parents after her death. The portrait shows her marking a spot in her book with her finger. It is a symbol of her life interrupted. Her short life shows how difficult it was to survive and provide what we would consider the basics of nutrition during those times.

This portrait of Maria Brown was made circa 1835 by an unknown artist. Maria and her twin sister Maranda were born in Wendell, MA, on March 19, 1820. At some point they moved with their parents Jonathan and Abigail to Gardener, MA. Maranda died of consumption on April 23, 1844 at the age of 24. Eight months later on January 6, 1845, Maria died from inflammation in her lungs. They are both buried in Gardner, MA, under one headstone.

This is a family portrait that was also hung on the inside of the bridge.

The blacksmith was also busy at work. They always seem to be working on one thing or another whenever I visit the village.

From the pumpkins, flames and the buildings, there were many photo opportunities at the village.

Finally, there was a new attraction at this annual event; Halloween wreaths! After viewing the wreaths, people could vote for their favorite wreath.

This wreath made by Danielle Peters is called “Fall On The Farm.” The theme of the wreath is Autumn. She used blown eggs from her creme legbar chickens and feathers from her heritage breed turkeys.

This wreath had a spell to keep evil away on Halloween attached to the wreath. You may notice some of the elements of the spell, such as the fox and the vulture, are included in the wreath’s design.

For those of you who may be fans of the Nightmare Before Christmas, this wreath made by Jeremy Levesque was titled, “It’s Jack-O-Ween Time!”

“Witch Dream” by Jamie Black was made in honor of his mother. According to Jamie, she loved to be a witch for Halloween and she taught him many of the skills he used to make the wreath.

“The Witches Garden” by Alyssa Kellogg is a hidden garden where witches cast spells, mix potions and deadly foliage grows. The wreath features natural elements such as empty wasp nests acorns, dead hydrangeas and dry leaves.

Kristina Tyree made “Fall-O-Ween as an expression of her love for fall and the beauty it brings. Each piece was cut and stitched by hand from a pattern that she created.

“Ghost Witch Riding On Her Pet Bat Deliver A Wreath” was made by Elaine Hartman. She said she hoped the wreath made people smile. It was her first craft project.

“Pretty Deadly – Midnight Apothecary” by Danielle Ballard was inspired by the Asa Knight Store (more commonly known as the “Village Store” at Old Sturbridge Village) after dark. Danielle described it as a mournful bed of cracked flowers and tulle, dried roses and flowers are interspersed with handmade clay frames and original graphic art from an imagined Midnight Apothecary.

The theme of “Creepy Welcome” is simplicity with a touch of glam. Nadine Bransky enjoyed repurposing found objects into fun home decor.

“Bubble, Bubble, Toil & Tinsel” by Monica and Brandyn Greeno is about witches, potions, brewing and spells.

These are a few more of the wreaths that were on display!

There were some very impressive works of art. I do hope they continue this part of the event!

There were so many events and interesting attractions at the Phantoms By Firelight event. That’s why it took so long to post. I’ll jus try to post the photos more quickly after this year’s event!

17 Comments   |  tags: , , , , , , , , , | posted in Massachusetts, New England, Old Sturbridge Village, photographs, photography, photos, Sturbridge, Uncategorized

March 11, 2026

Thanksgiving at Old Sturbridge Village (Old Sturbridge Village, Sturbridge, MA)

By New England Nomad

Date Of Event: Nov. 18, 2025

Location: Old Sturbridge Village,

Cost: $30 for daytime events. There are discounts for seniors, military personnel and college students. See their website for additional info

Website:Old Sturbridge Village

Summary: Old Sturbridge Village celebrated Thanksgiving

The week before Thanksgiving, Old Sturbridge Village replicated Thanksgiving in the early United States. From Thanksgiving dinner (more like lunch) and turkey shoots were just some of the highlights of the festivities during my visit.

Thanksgiving was celebrated very differently in New England during the late 18th and early 19th century. Instead of watching football and shopping online for Christmas presents, people went to turkey shoots and cooked some unusual dishes (more on that later).

The first stop was to the small home and garden. I had never noticed before during my many but there is a room located adjacent to the fireplace. It is a very cozy accommodation.

Some of the workers were busy quilting stockings and clothing for the coming winter season. .

The fabric below was dyed using the method from the late 1700s and early 1800s. Dyers in the 19th century used natural materials to make their colors. Housewives gathered black walnuts, oak galls and goldenrod from the countryside. They cultivated plants used for dying like sage in their kitchen gardens. Local New England dyestuffs produced a range of yellows, greens and browns. More vibrant colors usually came from dyestuffs grown in warmer climates. Many country stores stocked imported dyes all over the world.

One of my favorite places to visit at the village is the Blacksmith Shop. The blacksmith always seems to be working on something interesting.

This Blacksmith Shop was originally located in Bolton, MA around 1810. It was relocated to the village in 1957.

Blacksmith Moses Wilder owned land that adjoined a stone quarry operated by his wife’s cousins in Bolton, Massachusetts. Wilder built the Blacksmith Shop using some 400 granite stones from the quarry to form the walls. He was able to maintain a prosperous business making and repairing tools used in the neighboring quarry. His son, Abraham, later took over the business.

Neighborhood blacksmiths undertook several different kinds of work in rural New England, and most towns had several blacksmiths. Some specialized in producing edge tools or machinery. Others shoed horses or turned to wheelwrighting and repairing vehicles. Many did general iron work, repairing manufactured and imported tools, shoeing horses and oxen, and making hardware and other metal items needed in the community.

This tin shop, which was reconstructed in 1975, is believed to have been in operation around 1800 to 1850.

The tin business in New England grew rapidly after 1820. Tin shop owners imported tinplated sheet iron from Great Britain, shaped it into a variety of forms, and distributed their finished goods through peddlers and country stores. They also sold tinware in their shops. Colanders, dippers, dish kettles, funnels, measures, and pans were in greatest demand. Other common items included lanterns, foot stoves, teapots, coffeepots, “tin kitchens”, skimmers, and sconces.

The Tin Shop at Old Sturbridge Village is a reconfigured the early 1800s shed. Here, “tinners” work with hand tools as well as machines that were new innovations in the early 19th century. These machines turned tinplate, made grooves and folds, and inserted wire, increasing a shop’s production.

Sturbridge and the surrounding region were home to some of the foremost rural cabinetmakers of the early 19th century, including Nathan Lumbard and Oliver Wight. These craftspeople, as well as others like them, were integral to 19th-century rural New England communities. In 2017, Village staff and Trustees began working on a plan to create a permanent home for cabinetmaking at the Village. The Cabinetmaking Shop opened in October, 2021, as a highlight of the Village’s 75th anniversary.

In the new cabinetmaking shop,  cabinetmakers discuss the tools and techniques used in period furniture construction, including turning demonstrations on a treadle lathe, preparing stock with hand tools, and Federal-style table construction.

The Cabinetmaking Shop is a hybrid building, built using both historic and modern building methods in the construction of the Shop. The shop is patterned after period structures operated by early 19th-century New England craftsmen. Many elements of the final Cabinetmaking Shop will be created by craftsmen and interpretive staff working in the Village, including reproduction period tools, doors, shelves, and the box stove. The large timbers for the construction of the shop were even cut by the Village Sawmill.

The sawmill was one of the most important buildings in the village. This sawmill was reproduced in 1984.

This rare water-powered sawmill—erected on the millpond site that David Wight, Jr. first created in the 1790s—is used to cut lumber for Old Sturbridge Village and other historic sites. The Sawmill is based on what had been one of the oldest surviving sawmills in the area: the Nichols-Colby Sawmill of Bow, New Hampshire, which was destroyed in a 1938 hurricane.

Although the Village demonstrates sawmilling in spring, summer, and fall, rural mills were busiest during late winter and early spring, when waterpower was most abundant and the demands of farming were less pressing. Sawmill account books suggest that since it was so difficult and expensive to transport logs and lumber, mills like this one concentrated on custom production for local customers.

The Gristmill was also active during my visit.

The Gristmill was one of the first buildings constructed at Old Sturbridge Village. Built on the site of the Wight family’s original gristmill, the mill is made of recycled old timbers and new lumber. The mill’s massive millstones and other parts came from the Porter Gristmill in Hebron, Connecticut.

Gristmill owners served their customers by grinding grain into flour and meal for baking or provender for feeding livestock. By Massachusetts law, a miller could charge a fee or toll of 1/16th of the grain bought to him as payment for milling the rest. But rural milling was changing along with the rest of the economy; even in the countryside, cash fees were beginning to replace traditional tolls.

Originally built in Worcester, MA around 1780, the Printing Office was moved to Old Sturbridge Village in 1951.

Printing required speed, dexterity, and strength. Setting type and printing were generally the work of men and boys, but women were employed in stitching and binding books. Country printers concentrated on books, pamphlets, broadsides, and forms. Newspapers were seldom profitable in small towns, but many rural printers tried to make money from them. In order to have a variety of titles for their customers, rural printers exchanged large quantities of books with printers throughout New England. Then they sold the books to country merchants, often taking store goods in exchange. By 1820, many were printing books for publishers in Boston, New York, and Philadelphia.

The Printing Office at Old Sturbridge Village was owned for a time by noted printer Isaiah Thomas. Thomas moved from Boston to Worcester during the Revolutionary War to preserve his freedom to publish. It is unlikely that Thomas printed in this building, but the association with him is important. As one of America’s most successful printers, he trained many craftsmen, who influenced the trade for two generations.

The printer showed off the tools of the print shop as well as how the papers were printed on. This copy of the Connecticut, which was printed on the printer in the office is an original from the 1800s.

Of course, what would a Thanksgiving celebration be without a feast?

Thanksgiving was the biggest holiday in 19th century Sturbridge. While the turkey is usually the biggest part of the Thanksgiving meal in modern day America, it was not the case in 19th century Sturbridge. And, other parts of the meal were considered more important. es were baked weeks ahead of time and stored in unheated attics and bedrooms where they would freeze and keep for months. Pies not consumed at Thanksgiving would sometimes last until April. Also, while many people might be surprised to read this, prayer was not said before the big meal. Grace, or a proclamation of gratitude, was often said before the meal.

Turkey wasn’t the only thing on the menu. This hoof (possibly from a boar, sheep or deer) was a common delicacy of these meals.

But there were also more savory items like pies, cake, vegetables and a turkey cooking near an open flame.

Sometimes, they would store extra vegetables in unusual places!

The highlight for most, though, was the “turkey shoot.” But, no turkeys were harmed during this event. Men and women from the village took their turns at trying to hit the targets. While beginning to fall out of favor by the 1830s, competitive turkey shoots were still fairly common New England events in the fall and early winter. Participants would pay cash to shoot at nearly impossible ranges to try to win their own bird.

While no animals were used or harmed during the shoot, there were other targets used in the shooting. Instead of turkeys or other living things, the shooters aimed at the paper targets, jugs and bowls.

These are the rounds used during the time of the turkey shoot they were recreating. The shooters used the largest projectile to the left for the target practice. Imagine getting hit by that bullet, or any of these bullets for that matter. Ouch.

There were musicians and a few roosters at the turkey shoot.

I couldn’t end my post without adding some of my favorite artsy photos. One of the things I like to photograph in the village are the windows. If you get it the right time of the day when the light is shining just right, you can get some pretty photo opportunities.

14 Comments   |  tags: , , , , , , , , , , | posted in historical, history, Massachusetts, New England, Old Sturbridge Village, photographs, photography, photos, Sturbridge, Thanksgiving, Uncategorized

January 25, 2026

Knox Trail 250 (Springfield, MA)

By New England Nomad

Date Of Event: January 17, 2026

Location: Springfield Armory. 1 Springfield Armory, Springfield, MA (1 Armory St for GPS location) (2 hours southwest of Boston, MA)

Admission cost: Free admission

Parking: Free parking was available at the event

Summary: The Park Ranger Services at the Springfield Armory hosted a ceremony to commemorate Henry Knox’s journey across Massachusetts.

The Knox Trail, also known as the Henry Knox Trail or the Knox Cannon Trail, is a network of roads and paths which traces the route of Colonel Henry Knox’s “noble train of artillery” from Crown Point, NY, to the Continental Army camp just outside of Boston, MA. Knox and his team moved 59 or 60 tons of artillery. The trail, which was called a “Noble Train of Artillery”, was completed using primarily ox-drawn sleds (or sledges) and horses. It was completed in an impressive 56 days and spans approximately 300 miles. While the exact dates aren’t clear, it is believed to have taken place during the winter of 1775 to 1776. The map below shows the path they took. The blue line shows the exact path. It extends from the Lake George area to Boston.

For better or worse, it has been snowing or it recently snowed during many of my trips lately. This day was no different. And wow did it provide for a pretty backdrop!

This was my first photo shoot using my Canon R5 mirrorless camera. I think the photos might look a little more crisp and clearer. One thing I did notice is the camera and lens I used (Canon 35 mm) was better at focusing on the people and their faces despite the snow. My older camera (Canon 5D) would tend to focus on the snow and not the people.

The ceremony began with a march on the grounds of the Springfield Armory which included reenactors and animals.

These horses were used to move some of the artillery, emulating the original Knox Trail.

The Springfield Armory didn’t just have military weapons and historical information Knox Trail. There were a variety of old firearms and gear from different eras and wars.

These weapons showed below were involved in different mishaps during battle.

The first musket was struck by lightning. Because of the intense hear caused by the lightning, a regulation Civil War paper cartridge (which can be found to the right in the photo) was found intact in the breech (the rear end of the barrel where the gunpowder is ignited and the projectile is loaded) when the weapon was disassembled for cataloging and preservation in 1981. While the identity of the sentry whose weapon this was is unknown, it is believed it was a Confederate soldier because the bayonet was from a Confederate manufacturer (although Union soldiers often took weapons, ammunition, clothing and other gear from fallen Confederate soldiers and vice versa).

The barrel of the second weapon, which was found on a Civil War battlefield, was struck by a projectile.

During the Civil War, the stock (the main structural component in this case made of wood) of the third rifle, a British Enfield rifle, became impregnated with salt from perspiration. After the war ended, the soldier took the gun home and stored it in his barn. While it was stored, a porcupine gnawed at the stock in an attempt to chew out the salt from the stock of the rifle.

The other guns in the display were struck by projectiles.

There were many other weapons on display like these personalized weapons.

This Organ of Muskets is partially filled with 645 Springfield U.S. Model 1861 rifle muskets.

This quilt was made by various high school students in all of the cities and towns in Hampden county in Massachusetts to commemorate the 200th anniversary of Knox Trail. Another quilt from a different county in Massachusetts hangs in the Massachusetts State House. As an aside, 50 years ago, also to commemorate the 200th anniversary, reenactors hiked the original Knox Trail. Given our current weather conditions as we are expected 18-24 inches of snow and freezing wind chill temperatures today and tonight.

These are just a few of the weapons and military and gear with a historical background at the armory. It’s certainly worth another visit since I couldn’t spend too much time looking at all the exhibits in the armory.

There was also an activity learning area where people could make their own paper cartridges. Paper cartridges were a type of small arms ammunition used before the advent of metallic cartridges. To be clear, these were not dangerous on their own and no one was injured while making these cartridges. That I know of.

The main event, of course, were the cannon firing and rifle and musket firings.

The reenactors prepared for the cannon by priming the cannon before the firing.

A ranger gave some background info about the Knox Trail and what it was like to be in battle.

The reenactors did fire a canon. But, because of safety precautions, they had us stand far away and everyone was bunched up together. So I was out of position for the cannon firing. This was the aftermath of the canon firing.

But, I was able to get a photo of the firing of the rifles and muskets.

The reenactors were active and approachable at the event. I was able to take a few photos of them during the event.

There are bound to be many more 250th commemorations and celebrations this year. So, I’m sure I’ll be photographing more of these type of events throughout the year!

11 Comments   |  tags: , , , , , , , , , , , , | posted in historical, history, Massachusetts, New England, photographs, photography, photos, Springfield

January 11, 2026

Christmas In Salem – Boughs And Blossoms – Gedney House (Salem, MA)

By New England Nomad

Location: 21 High St, Salem, MA (about 30 minutes northeast of Boston, MA)

Universally Accessible: No

Cost: $40 per ticket ($50 if you purchase day of tour tickets)

Parking: There are several parking garages in Salem, as well as metered on street parking.

Summary: By showing the architecture and “bones” of the home, the Gedney House serves as a model for what the historic homes of Salem look like on the inside.

While we have seen all of the residential homes on the historic homes tour, there was one more building on the tour. But, it’s not a residential home. At least, not now. The Gedney House, once used for rooming, holding events and other occasions, the Gedney Home is now used to showcase the nuts and bolts, sometimes literally, of the homes of that era.

One of the oldest timber-framed dwellings in the country, the Gedney House was built by Eleazer Gedney, a wealthy shipwright whose family had arrived in Salem in 1637. The original structure was a basic post-Medieval center chimney plan consisting of a hall and parlor on either side of the chimney. The location of the house was near Eleazer’s shipyard on the South River. Gedney was married to Elizabeth Turner, sister of John Turner, who built the house of House of the Seven Gables. Although modest in size, the house had features which showed that it was built by a family of means; a spacious, decorative gable and two impressive summer beams (load-bearing building elements) in the main hall, an unusual feature as homes of this style typically had only one.

In 1733 a new owner expanded the house into a multifamily dwelling used as a rooming house. By the early twentieth century, when Salem was becoming home to successive groups of immigrants, the house was a tenement in the area which became known as Little Italy, reportedly once housing 25 people in four households. So much for building codes.

A local builder purchased the house in 1962 with the intent of turning it into apartments. An observant Salem resident, Elizabeth Reardon, noticed 17th century paneling in the trash as the renovations were beginning and alerted Historic New England, which subsequently acquired the house. Because of the halted 1960s renovations, much of the original framing is exposed for visitors to see today.

The exposed framing mentioned above can be found in the structure.

The house, such as it is a “home” is meant to serve as an architectural model to see the “bones” of these old historical homes. There were examples of the home’s architectural frame and design throughout the house. Some lit up for the holiday season. AS you can see, the paneling and wood covered a lot of the original str The photos at the bottom show the original designs of the building.

The “Great Fire Of 1914” in Salem took out much of the McIntire District. The Gedney House, however, was spared, barely.

The map below shows the area the fire spread (in red). The Gedney House is the x on the map.

Here’s a closer look

This concludes the annual Christmas In Salem historic homes tour!

6 Comments   |  tags: , , , , , , , , , , , , | posted in architecture, Christmas, Christmas In Salem, historical, history, Massachusetts, New England, photographs, photography, photos, travel, traveling

January 9, 2026

Christmas In Salem – Boughs And Blossoms – 1 Chestnut St – Built For Francis Cox (Salem, MA)

By New England Nomad

Date Of Visit: December 6, 2025

Location: 1 Chestnut St, Salem, MA (about 30 minutes northeast of Boston, MA)

Universally Accessible: No

Cost: $40 per ticket ($50 if you purchase day of tour tickets)

Parking: There are several parking garages in Salem, as well as metered on street parking.

Summary: The home at 1 Chestnut St had a lot of pretty decorations, an interesting history and quite a few nutcrackers!

Constructed circa 1850 for Francis Cox and his wife, Ellen Barr, 1 Chestnut St exemplifies a blend of Italian Villa and Georgian/Federal styles. Cox began his career as a commission merchant in Boston supplying Cunard steamships (I had to Google that too!). Cunard steamships were those very long steam ships established by Samuel Cunard. Think of the Lusitania and Queen Mary. Or, better yet, “Steamboat Willie’s” boat. These steamships traveled between Boston and Liverpool, England. Following his retirement, he served as President of the Naumkeag National Bank, and Vice President of the Salem Five Cents Savings Bank.

Architecturally, the projecting entrance and bay windows of the home are believed to be the earliest examples of the Italian Villa style in Massachusetts. These elements contrast with the more traditional, boxy Federal features that align with the style of neighboring houses on the street, Prior to the home’s construction, the site was occupied by a bakery and vegetable patch.

Right from the entry and front stairway, the home at 1 Chestnut St was stunning.

The lighting fixture also had some boughs, appropriate with the theme of the tours.

These fireplaces are both black Italian marble with gold striated decor.

There were so many elegant and festive decorations around the home. Each home seemed to have one feature or theme that stood out. As you’ll notice in the photos, nutcrackers were prominent in the holiday decor of this home. And, quite a few Christmas trees! I wonder how long it takes to put all of these decorations up, and, even more daunting, how long it would take to take them all down.

Like many homes on this tour, this house has the original wallpaper. With a twist.

Do you notice anything different about it? The wallpaper was put on upside down! It’s a little hard to see. But, you can tell it is upside down by the flowers that seem to be growing in a downward angle.

This liquor cabinet had a very cool style. If you went into the room next to the this liquor cabinet.

If you go into the room next to the liquor cabinet, you can look through the liquor cabinet from that room when the cabinet doors are open. It’s kind of like a peep hole in your apartment or hotel room!

This is an antique English barometer from 1780.

This 1780s grandfather clock had all of the moon phases and seasons.

This was the last actual lived in home on the tour. There is one more home on the tour. But, it is more of a model home and not furnished. So, I hope you’ve enjoyed the tours of the actual residential homes in the Christmas In Salem Boughs And Blossoms tour!

5 Comments   |  tags: , , , , , , , , , , , , | posted in Christmas, Christmas In Salem, decor, decorations, historical, history, Massachusetts, New England, Nutcrackers, photographs, photography, photos

January 6, 2026

Christmas In Salem – Boughs And Blossoms – 4 Chestnut St – Deacon John Stone House (Salem, MA)

By New England Nomad

Date Of Visit: December 6, 2025

Location: 4 Chestnut St, Salem, MA (about 30 minutes northeast of Boston, MA)

Universally Accessible: No

Cost: $40 per ticket ($50 if you purchase day of tour tickets)

Parking: There are several parking garages in Salem, as well as metered on street parking.

Summary: The home at 4 Chestnut St, another home of Deacon John Stone, was decked out for the holidays. They also let people tour the second floor!

John Stone, a third generation distiller and a deacon in the First Unitarian Church in Salem, MA, built this three story brick double row house in 1827 on the former site of Mrs. Dowst’s Candy Store. An example of the late Federal style, the house boasts a pair of interior chimneys at either end and features semi-circular fan lights over the front doors as well as symmetrically placed windows along its facade. Of note are the somewhat unique two separate, recessed, semi-elliptical arched entrances located in the center two bays of the block, so that each townhouse appears as a mirror image of the other.

The Stone family resided in townhouse #4, the western, or left, side of the two residential units, until 1839 when the building was acquired by Stone’s daughter Lucy and her husband, Salem merchant, John Robinson. Because of their long-time occupancy of the eastern half, the house was often referred to as “The Robinson Block.” After the Civil War the double dwelling became known as “The Studio” when Salem artists Frank Benson and Phillip Little rented the studio space in it. In the 1880s the property was leased by two physicians. Then, in the early 1900s, the east side of the property (#2) housed Miss Howe’s School.

All joining walls and doors between the two units were closed off in 1923 as #2 Chestnut and #4 Chestnut Street were sold as individual properties. The house at #4 Chestnut St was designated a Massachusetts Historic Landmark in 1969.

So, as you can see, the home has a rich history, no pun intended, and has gone through quite a lot of changes over the years.

Fun fact: Chestnut St is the widest street (by a few centimeters) in Salem, MA (ironically, it’s also a one way street) . So, take that Essex St! Now, you have something to talk about at dinner parties and blind dates.

The charming home on 4 Chestnut is actually a two on the corner of Chestnut St. One of the tour guides gave a brief background and history of the home in front of a very festive front door.

A pianist played traditional Christmas music in the living room.

The living room was designed by an interior designer from Atlanta. Of course, it was dressed up for the holidays.

As an added bonus, the Deacon John Stone home, one of a few he owned on the street, was the only home on the tour where they allowed you to visit the second floor.

The second floor had a game room with a pool table, elegant furniture and lots of photos and memorabilia on the walls.

I feel like I say this about every house I tour, But, 4 Chestnut St was a beautiful home with lots of charm!

2 Comments   |  tags: , , , , , , , , , , , , | posted in Christmas In Salem, historical, history, Massachusetts, New England, photographs, photography, photos, Salem

January 4, 2026

Christmas In Salem – Boughs And Blossoms – 9 Cambridge St – Built for David Coggin (Salem, MA)

By New England Nomad

Date Of Visit: December 6, 2025

Location: 9 Cambridge St, Salem, MA (about 30 minutes northeast of Boston, MA)

Universally Accessible: No

Cost: $40 per ticket ($50 if you purchase day of tour tickets)

Parking: There are several parking garages in Salem, as well as metered on street parking.

Summary: The house at 9 Cambridge St, aka the David Coggin home, has some interesting decor, artifacts and is cat friendly!

Like most of the homes in this neighborhood, this late 19th century, this late 19th century house was built on the site of an earlier building that was part of a larger parcel of land belonging to Jonathan Neal in the 1660s. The earlier dwelling remained in the family until the 1880s when tax records describe it as vacant and about to be demolished. Jonathan Neal’s name sound familiar to those of you who have been reading my posts. This home appears to have possibly been part of the parcel of land 10 Broad St currently stands.

Late in 1889 David Coggin, a renowned ophthalmic surgeon at Salem Hospital, had the current house constructed as a two and a half story residence with a gambrel rook in the Dutch Colonial Revival/Shingle Style. Coggin had another on nearby Chestnut St. But, he never resided there, selling the house soon after its completion to Nathaniel Osgood, a leather dealer, and his wife Eliza. Osgood was the son of the Salem portrait painter, Charles Osgood, whose well-known portrait of Nathaniel Hawthorne now resides in the Peabody Essex Museum. By 1900 the Osgoods had purchased a house on Chestnut St and rented out the house at 9 Cambridge St to a series of short-term renters, among them Charles C. Buffum, famed as the old “foxhunter” claiming to have killed more foxes throughout New England than anyone else. Buffum lives there from 192 until his death in 1915.

Like many homes on this tour, this home was deceiving in both size and style. While it may seem “cozy” and “quaint”, neither of which are inherently bad things, the home is bigger (over 1,900 square feet) than it may appear to be from the exterior.

The home had a distinctive charm and holiday appeal.

I adored the kitchen decor!

I thought this was very cool. When the home owners had work done on their home and grounds, the workers found some interesting materials. These pieces of dinnerware and other debris were found when the owners did remodeling and landscaping.

Something I’ve noticed in a few of the houses I toured was doors, holes and other entryways specially made for pets. This home not only had a walkway above the human furniture, it also had a hole for the cat to walk through. They have quite the life!

I liked how this tour guide got into the holiday spirit with his headwear!

This lighting fixture was very pretty! I would have loved to see what it looks like when it is lighted! Maybe I’ll see that next time I tour the home!

I always try to find something unique or different. Not necessarily anything different from the other homes. But, something that I haven’t posted about before. In this case it’s crown molding, or cornice.

Fun fact: While there may be some minor differences, wainscotting and crown molding are basically the same thing. The only big difference is location. The crown molding is located near the ceiling as shown above. Wainscotting is located low on the wall from the baseboard up to a chair rail.

This was an interesting Christmas tree. At least it’s easy to set up and take down!

The decorations continued into the porch and yard.

I hope you’ve been enjoying these tours! Three more left!

7 Comments   |  tags: , , , , , , , , , , | posted in Christmas In Salem, Massachusetts, New England, photographs, photography, photos, Salem, travel