By Doug Farley & Bill Lattin – Vol. 3 No. 3

GAINES – For our forth image in this series we have selected the print entitled, “Alice Blue Gown,” which hangs in the Vagg House at the Cobblestone Museum campus.

The print measures 11 by 14 inches and is a portrait of Alice Roosevelt Longworth, eldest child of President Theodore Roosevelt. She was born in 1884 and died in 1980.  During her early lifetime, she became very popular as a trendsetter and remained a Washington, D.C. socialite most of her life.

This picture became immensely popular in the 1920s and it was widely published in various sizes. The original painting which this print was copied from was created by English painter, Arthur Paine Garratt. However, during the 1920s, Garratt spent several years in New York. He is best remembered as a fine portrait artist, with considerable success during his lifetime.

Arthur Paine Garratt (1873-1955)

Many of Garratt’s female subjects were elegant, high-society ladies who expected a high degree of finish and detail in their portraits. Lavish gowns of exotic textiles were usually a feature. This painting of Alice was no exception. She was a beautiful young girl who was the equivalent of a princess and whose style signature were her azure blue gowns.

The press constantly followed her around to record many of her escapades. Her portrait would suggest a demure young woman but quite the contrary was true. Her father, the President, once said, “I can run the country, or I can control my daughter, but I cannot do both.” She often smoked in public which was a “no-no” for women at the time. She had a pillow in her salon embroidered with the statement, “If you don’t have anything nice to say, come sit by me.”

In the portrait above, we note that it is signed in the lower left corner, “Arthur Garratt.” It is entitled, “An Old Sweetheart of Mine.” No publisher is noted on this print which measures 11 by 15 inches.

“Alice Blue Gown” is purposely displayed in the Vagg House (shown above) which represents the Teens, ’20s, and ’30s through its furnishings. Our print appears to be in the original frame which we believe is circa 1930. Framing of this time period is much more simplistic than picture frames of earlier decades.

It is not unusual to find “Alice Blue Gown” in antique malls today, because it was once so popular. This small 5 by 7 inch copy was framed in an octagonal frame.

The painting likely partly inspired the song “Alice Blue Gown” written by Harry Tierney with lyrics by Joseph McCarthy.  It was sung by Edith Day in the 1919 play “Irene.”  It became a top seller in 1920 and was revived several times in the following decades.  You can listen to the 1920 recording by clicking here.

We end this story with a portrait of Alice Roosevelt Longworth done by Peter Hurd in 1965. This is a Tempura on Masonite and hangs in the National Portrait Gallery at the Smithsonian Institution.

By Bill Lattin and Doug Farley – Vol. 3 No. 2

GAINES – For our third famous painting from the 19th century we have selected what is known as “Pharaoh’s Horses,” or “Pharaoh’s Chariot Horses.” The painting seen here has hung in the Cobblestone Museum’s Ward House for over 30 years.

It was done, no doubt, by an amateur painter around 1890. We might add that it was poorly executed as the lower left area is supposed to represent “a wall of water.” We also note that this painter chose to use a monochromatic color scheme of yellow ocher.

John Frederick Herring, Sr. (1795-1865)

By 1900, this popular image was widely viewed with nearly ubiquitous fake paintings and prints. It is also most usually seen as a “tondo,” meaning in round format.

Many of our readers might be a little more familiar with this image, rather than the images shown in Parts 1 and 2 of this series. However, in today’s world, it is mostly forgotten and its meaning is often not understood.

The original “Pharaoh’s Chariot Horses” was painted in 1848 by John Frederick Herring, Sr. He was born in London, while growing up, he took great interest in drawing horses. In 1814, he moved to Doncaster in the north of England where he was employed as a painter of inn signs and insignias on the sides of coaches.

In his spare time, he painted portraits of horses for inn parlors. His talent was soon recognized by wealthy customers and he began painting hunters and racehorses for the local gentry. In 1845, Herring received a commission from Queen Victoria, who remained a patron for the rest of Herring’s life.

In order to get a better understanding of this painting we need to go to the biblical Book of Exodus to find answers contained in the description of the Ten Plagues of Egypt.

The Lord said to Moses, “Why are you crying out for help?” Tell the people to move forward. Lift up your walking stick and hold it out over the sea. The water will divide, and the Israelites will be able to walk through the sea on dry ground. (Ex. 14:15-16)

This large painting measuring 32 x 34 inches is an oil on canvas in tones of grey. It would have been done by a Sunday Painter in the 1880s. Unlike most copies it is rectangular in format. Note the waves of water in the lower left corner. The painting hangs in the home of Bill Lattin.

…and the Israelites went through the sea on dry ground, with walls of water on both sides. The Egyptians pursued them and went after them into the sea with all their horses, chariots, and drivers. (Ex.14: 22-23)

The oil on canvas shown here measuring 24 inches in diameter was done around 1890 by Harriet Wyman Kilner from the Town of Shelby. She was a Sunday Painter who often copied other artists works. Known as “Aunt Hattie,” she was an older sister to Bill Lattin’s Grandmother Wilson. This painting is now currently owned by local art connoisseurs. We note that it was largely done in tones of blue.

The Lord said to Moses, ‘Hold out your hand over the sea, and the water will come back over the Egyptians and their chariots and drivers.’ (Ex. 14:26)

Here we have another oil on canvas by a Sunday Painter dating to the 1880s. It measures 12 inches in diameter and belongs to a local collector. This piece was done largely in tones of brown.

The water returned and covered the chariots, the drivers, and all the Egyptian army that had followed the Israelites into the sea; not one of them was left. But the Israelites walked through the sea on dry ground, with walls of water on both sides.  (Ex 14:28-29)

We judge this print measuring 20 inches in diameter was published around 1900, and appears to be in its original frame.

In all of the images we see, it is obvious that the horses saw what was coming at them as there is great fright in their eyes.  Moses parting the Red Sea and the Children of Israel “passing over” onto dry ground, is still celebrated by Jewish people today, as part of their observance of Passover.

This small print measuring 6½ inches in diameter was published in the 1890s and is mounted in its original frame.

The popularity of this picture was widely accepted, especially by Protestants, who were often reluctant to have other overtly religious pictures in their homes, mainly because of anti-Catholic sentiment.

Therefore, “Pharaoh’s Horses” was much more acceptable and popular in rural 19th century America than any of Raphael’s beautiful paintings of the Madonna and child.  Above we see a copy of Raphael’s famous “Madonna of the Chair,” done on porcelain, circa 1890.

This 3½ inch diameter painting in a Florentine frame belongs to a local collector. It was probably originally purchased by an American tourist on a trip to Italy. Raphael did a number of Madonna portraits in the early 16th century. In this one, Mary is seated in a chair holding baby Jesus while John the Baptist looks on. Now in the 21st century, there is more public recognition of this than the once very poplar Pharaoh’s Horses in the 19th century.

We end this story with an illustration which shows a conclusion to Pharaoh’s Horses and the Parting of the Red Sea.

The prophet Miriam, Aaron’s sister, took her tambourine, and all the women followed her, playing tambourines and dancing.  Miriam sang for them: “Sing to the Lord, because he has won a glorious victory; he has thrown the horses and their riders into the sea.”  (Exodus 15: 20, 21)

In this rare engraving we see in the foreground, Miriam with tambourine leading the women in joyful triumph. In the middle ground we observe Moses with walking stick, and Aaron, both standing on a cliff. In the background note the sea and pyramids in the far distance. This Victorian print measuring 9” in diameter dates to around 1880 and is in a local private collection.

By Doug Farley and Bill Lattin – Vol. 3 No. 1

GAINES – For a number of years this oil painting on canvas, measuring 22 by 36 inches, in its original frame, has hung in the back of the Cobblestone Church under the organ loft. It is correctly entitled, “The Parting of Ruth and Naomi,” and was undoubtedly done by a “Sunday Painter,” around 1890.

It is, of course, a copy of a famous painting from the late 19th century by Philip Hermogenes Calderon (1833-1898) who began his training in painting in London in 1850 and also studied in Paris in 1851, inspired by the Pre-Raphaelites. Throughout his career, his subjects were often historical, biblical or literary in theme.

This is a close-up picture of the painting in the Cobblestone Church.

We may ask, “How did this painting become so famous and popular back in the day?”  Perhaps that question is answered by the accompanying chromo advertising card measuring 5×6 inches. The front shown here is what our Sunday Painter copied.

But it is the obverse side (back) that tells the story. Yes it was Charles E. Hires of Root Beer fame who truly brought this image into public recognition at the time. Every reproduction that Hires had printed carried the biblical quote from Ruth 1:16 (Old Testament):

“And Ruth said, Intreat me not to leave thee, or to return from following after thee: for whither thou goest, I will go; and where thou lodgest, I will lodge: thy people shall be my people, and thy God my God…”

Shown above is a second chromo lithographic advertising card. In fine print, at the lower left on the front of the card, it states: J. Ottmann Lith. Co. NY.” The earlier card shows “Donaldson Brothers Lith. NY.” The color scheme varies quite differently between the two printers.  We also note that the obverse side of the second example, while carrying the same information as the first, is in its own format.  We believe the colors in our first two examples are more true to the original painting by Calderon.

The framed print shown here is one of those 15×20 inch souvenirs. “Donaldson Brothers, NY” were the printers. Framing of this piece appears to be original from the 1890s. Credit on the print is: “Published and copyrighted by Charles E. Hires Company.” You may wonder, “Why does this picture hang in the Cobblestone Church?”

It was just fifty years ago that Bill Lattin, the first director of the Cobblestone Museum, made an inquiry. He noticed regularly placed nails in the church walls centered between windows and doorways. He asked Homer Brown, then in his eighties, “Why are those nails there?” Homer’s answer was, “There were pictures there.”

Now it seems Homer had attended the church as a child, prior to the Universalist Church being built at Albion in 1894. Those missing pictures and other furnishings were sold at an auction in 1934. Consequently, over the years, to make the interior of the Cobblestone Church more authentic in appearance, prints and this painting of appropriate subject matter for a Universalist Church have been acquired by the Cobblestone Museum.

The biblical quote on the print of Ruth and Naomi is sometimes used as a reading during wedding ceremonies. Therefore, our Sunday Painter’s work fits well for the Cobblestone Church which is often the scene for weddings, as shown above.

We include here a copy of one of Calderon’s most noteworthy and well-known paintings. It was completed in 1856 and is entitled, “Broken Vows.” It appears the beautiful young woman behind a fence, shown wearing a wedding band, overhears a tryst between her mate and another woman. We see obvious tension in the genre story. Likewise, in our painting of Ruth and Naomi, we also see some tension between them. Another similarity with these paintings is Calderon’s desire to show women wearing rich, silky clothing. “Broken Vows” is in the extensive art collection of the Tate Gallery in London.

The theme of Ruth and Naomi was a very popular subject matter, especially during the second half of the 19th century. We show a couple examples below From Bill Lattin’s antique collection.

This 10” tall pitcher with a salt glaze and pewter cover perhaps dates to the 1860s. It depicts Ruth clinging to Naomi while Orpah rests on the ground. The pitcher is marked on the bottom: “Naomi and her Daughters-in-Law.”

In this beautiful Parian-ware rendition we see Naomi, Ruth and Orpah. On the base it is entitled, “Naomi and Her Daughters-in-Law.” This  figurine measures 13” tall and was published circa 1860. It is not uncommon in antiquing today to find images of just Ruth alone. This particular piece of statuary would have been a focal point in someone’s parlor 150 years ago.

Let us end with a more updated story concerning our subject. We are all familiar with the well-known celebrity, Oprah Winfrey. Allegedly, Oprah’s name was supposed to be Orpah, after the daughter-in-law of the biblical Ruth, but her doctor mixed up the letters and spelled the name Oprah when filling out her birth certificate. It was never corrected, so Oprah it is!

Photos by Tom Rivers

GAINES – Charles Prentice Jr. takes the oath of office this morning in the Gaines Town Hall. He is joined by his wife, Laural, who is holding the Bible.

Orleans County Clerk Nadine Hanlon administered the oath.

Prentice, 57, is a retired state corrections officer and also has worked as a paramedic for 40 years, currently working part-time with the Le Roy Ambulance Service.

Chuck Prentice signs the oath of office in the main meeting room of the Gaines Town Hall. He won a Republican primary last June and then the general election in November. He replaces Bruce Schmidt, who retired from the position.

Prentice completed a 40-hour training last month through the New York State Magistrates Association.

He will preside over town court three times a month, including for the first time on Jan. 12. He also will do arraignments at all hours of the day.

Other town officials starting new terms on Jan. 1 include Tyler Allport as town supervisor, Susan Heard as town clerk, and James Kirby and Kenneth Rush on the Town Board.

By Doug Farley & Bill Lattin – Vol. 2 No. 47

Pictured here is Mr. George Morton Pettit of Maple Ridge Road, Medina, standing next to an ancient mortar.

GAINES – It’s not known for certain, but one can make an educated assumption that the Cobblestone Museum’s oldest artifact might be its “mortar.”

This “mortar” is not the typical lime mortar we discuss when we look at the “glue” that holds cobblestone buildings together.  This 800-year-old “other” mortar is a Native American tool that the museum acquired in 1993.

The story of this Indian relic was first reported by former director Bill Lattin in an article that he penned in 1993 while serving as Orleans County Historian entitled, “Mort’s Mortar.”

Webster’s Dictionary describes a mortar as “a strong vessel in which material is pounded or rubbed with a pestle.

In 1993, Mr. George Morton Pettit gave this artifact to the Cobblestone Museum at Childs, N.Y. He also related this known history about how it had been passed down in his family.

The Pettits, that is, Henry who was George’s great-grandfather, bought their farm in the Town of Shelby in 1850. George M. Pettit was the fourth generation to grow upon this farm, preceded by his father Clark Pettit and his grandfather also named Clark Pettit.

It seems that Henry Pettit discovered the mortar near a spring in the woods on his farm over a century ago. Being intrigued with this unusual hollowed-out stone, he placed it near the well pump and watering trough in the dooryard.

Mr. Pettit remembers vividly his dog “Shep” of many years ago using this millennial artifact as a water dish! He also recalls when wheat harvest came and they shocked up the bundles they would sometimes find arrowheads on the ground in the general vicinity of where the mortar had been discovered years before. It seems likely that some Native Americans had an encampment in this area several centuries ago.

In due time, Mr. Stanley Vanderlaan (shown above), local archaeologist and an authority on local Indian artifacts and lore, examined the mortar. He indicated that he had never seen one quite like this and indeed, if it was a mortar, thought it rather crude.

However, he felt it possible that it could be as much as 800 years old and probably represents an agrarian culture. Mortars and pestles were used by Indians to grind corn and other grains that they raised.

This mortar, shown above in current setting, appears to be made of limestone and obviously displays some tooling marks around the upper portion. It also sits flat upon the ground and would appear, because of its heavy weight, something which was intended to be more stationary, rather than moveable.

Another interesting connection between this 800-plus year old Indian mortar and the Cobblestone Museum is Mr. Vanderlaan’s assumption that the original pestle for this mortar would most likely have been, none other than, a “cobblestone,” which even then, were abundant in the fields occupied by the Native Peoples.

It goes without saying, that the stone pestle which was originally used is long gone, but the mortar remains as silent testimony to the ancient inhabitants of this area.

‘We will miss you and never forget you.’ – Tillman family

Photo by Tom Rivers: Mark Tillman, front right, will close Tillman’s Village Inn after today. He is pictured with some of his employees today including Kim Achzet (front left), an employee for 33 years. In back from left: Marty Wolfe, manager of Fair Haven Inn, employee for 13 years; David Sharp, employee for 7 years; Victoria Mortensen, general manager and employee for 21 years; Tracey Frasier, employee for 15 years; and Sammy Davis, employee for six years.

GAINES – Today is the last day of business for Tillman’s Village Inn after 70 years of operation by four generations of Tillmans.

Mark Tillman, 66, is retiring. He has been working at the restaurant since he was a young boy, first sorting beer bottles for his father, Bill.

Mark lived upstairs at the Village Inn the first three years of his life, and his parents used the liquor room as his nursery when he was a baby.

Tillman has been full-time at the Village Inn since 1977 after serving three years with the Marine Corps. His daughter Samantha has joined him in recent years at the VI.

Mark said the business is still successful and isn’t a “Covid casualty” like many other restaurants around the state and country, which had to close the inside to customers for months due to Covid restrictions.

Tillman wants to retire while “I still have some spring in my step.” The building is for sale.

Mark said closing the business has been difficult and emotional due to the close relationships with so many customers and his employees.

“We’re nothing without the community,” Tillman said today.

He has followed his father’s example of taking on any job that needed to be done at the restaurant. He strove to offer quality food without making people feel they needed to dress up fancy.

Mark motivated his staff by offering respect, rather than fear.

“It’s how you treat people,” he said.

File photos: Tillman’s Village Inn is the only remaining stagecoach stop on Ridge Road still serving the public with food and lodging. It’s been in near continuous operation since 1824. The Tillmans served about 4 million pounds of prime rib over the years.

Mark wanted to retire about two years ago but wanted to see his employees through the early days of the Covid pandemic, when the community and state faced high unemployment. He believes the employees are in demand now and better able to transition to other jobs. But it’s still hard for him to say good bye to the staff. Two of the current waitresses have been at the VI for more than three decades. June Avino has worked there nearly 38 years and Kim Achzet has been with the Village Inn for 33 years.

Victoria Mortensen, the general manager the past five years, started as a server 21 years ago.

She praised the Tillman family for their trust and confidence in her.

“Knowing the Tillmans has been one of my greatest blessings,” Mortensen said. “To start as a server and work up to general manager, for that I will always be grateful.”

The Village Inn has enduring popularity, she said, by offering quality food at affordable prices.

“It’s a beautiful venue and it’s a great place to work,” Mortensen said. “Everyone gets along. It’s like a family.”

Mark is the third generation to run the business. For many years he worked next to his brother Tom with Mark managing the dining room, the staff and the books while Tom ran the bar and kitchen.

The two have taken out an ad in this weekend’s Pennysaver thanking the community and their employees for all the support over the seven decades.

“There is never a good time to say goodbye to a successful business where many of you, your parents, grandparents and beyond celebrated ‘LIFE,’” the two brothers write in their message. “However, this IS the time, to both say goodbye and thank you. You made the Tillman family and the Village Inn family shine for over 70 years. We will miss you and never forget you.”

The Tillmans bought the Village Inn in 1951 when it was a dilapidated structure at the intersection of routes 98 and 104.

This large dining room showcases the original timber frame construction of the carriage barn with antiques and historic photos. The original inn has been enlarged by incorporating two historic barn structures that previously serviced the horses and carriages of early visitors. The hand-hewn beams were shaped by axes and machetes nearly 200 years ago. Tillman displays many artifacts from the bygone era – saddles, harnesses, food barrels and many historical photos. The restaurant’s liquor license is framed from the early 1900s. In 1905, the license cost $150, a fee payable to the state.

Tom and Mark’s grandfather Sam and their father Bill took on the challenge of running the restaurant 70 years ago. They were from Rochester and recruited their buddies from Kodak to help upgrade the building.

The Tillmans built a thriving business often serving 600 to 700 people a night, a destination restaurant known for prime rib. Many wedding receptions, banquet parties, first dates and funeral receptions have been held at the Village Inn.

Mark Tillman said he feels honored the site was a venue for such important gatherings in so many peoples’ lives.

He also praised Norbert Hausner, a Rochester architect, who helped design renovations and expansions at the Village Inn, bringing the family’s vision to reality. The family never wanted a sterile party house atmosphere. It wanted the building to honor its historical roots as a stage coach stop on the Ridge.

“In 1951, our parents and grandparents traveled from their homes in Rochester, to a small farming hamlet in the center of Orleans County to chase a dream,” Mark and Tom write in their thank you message to the community. “You – our customers and staff – made that dream a reality in helping establish a WNY institution in hospitality.”

Provided photo: Cobblestone Society Membership Secretary Gail Johnson receives the 2021 Volunteer of the Year Award from Sue Bonafini, assistant director of the Cobblestone Museum.

GAINES – The Cobblestone Museum has recognized two dedicated supporters for their service to the museum, which is a National Historic Landmark in Gaines.

Toni Plummer, a member of the Board of trustees, was presented with the Proctor Award, which is given annually to someone who goes above and beyond to assist the museum in an extraordinary manner.

Plummer was praised for embracing the museum’s role “to educate as well as entertain.” She arranged for visits by boards members to see other museums and how they’ve navigated issues that are relevant to the Cobblestone Museum’s future goals and growth.

Her idea of hosting future Ladies Luncheons at the Vagg House led to a successful trial run this past fall, with help from some fellow trustees, said Sue Bonafini, the museum’s assistant director.

Plummer also was a key organizer in the Christmas Tour of Homes, a pre-Covid holiday favorite, Bonafini said.

Plummer also led the Marketing Committee and updated the museum’s gift shop to include products from many regional vendors. She also served on the Nominating, Personnel and Strategic Planning Committees in the past year, as well as the Executive Committee.

Gail Johnson was named “Volunteer of the Year.” She serves as membership secretary and on the executive board.

“She works tirelessly behind-the-scenes as head of the Membership Dinner Committee to complete necessary work for the event’s success,” Bonafini said. “She interacts with businesses and private donors to secure auction items. Each component of the evening, including registration tickets, bid slips and more, meets her vision for this important fundraiser and most often touches her hands before it reaches yours.”

Johnson in recent years has spent hours preparing envelopes for all bulk mailing projects. She has become the “go-to volunteer” when an individual is needed to sell or collect tickets at events, Bonafini said.

She also serves on the Strategic Planning and Welcome Center Committees, and has been critical in securing support for the Welcome Center. That project has $575,000 committed to the $750,000 fundraising goal.

Albion Advertiser, August 1959. Photo Courtesy Orleans County Historian

By Doug Farley, Cobblestone Museum Director – Vol 2. No. 46

GAINES – In 1959, the Hamlet of Childs joined forces with a handful of other hamlets in the Town of Gaines to celebrate the town’s Sesquicentennial, the 150th anniversary of its first settler in 1809. Leading up to the festivities, a Sesquicentennial Committee had been hard at work preparing a written history, as well as organizing several community events and celebrations to take place throughout the year.

The Sesquicentennial Committee was comprised of Supervisor Lester Canham, Honorary Chairman; J. Howard Pratt and Cary Lattin, Co-Chairmen; Mrs. Gerald (Janice) Thaine, Executive Secretary; Dean Sprague, Treasurer; Curtis Lyman, Program; Rev. John Minott, Donald Miles and Edwin Weeks, Program; Mrs. Harry Wilder, Hon. Bernard Ryan, and Thomas Heard, Jr., Advisors; and Miss Katharine Hutchinson, Promotion and Publicity. Sixty other town residents worked on various tasks including Antique Cars, Historical Booklet, Gaines Landmarks, Dance Committee, Auction, Parade and Floats, Midway Entertainment, and much more.

Gaines Sesquicentennial Publication, cover sketch by Mrs. Walter E. Mack

The Historical Booklet Committee presented the following dedication to their 32 page Sesquicentennial Publication:

“We wish to dedicate this booklet to your pioneer fathers and mothers who came into the Town of Gaines when it was a trackless wilderness and carved from that wilderness, our roads, our schools, our churches, our farms, our civilization – a righteous heritage of which we should be justly proud.”

Harriet Fitts Ryan, wife of Bernard Ryan, Chief Judge of the NYS Court of Claims, was called upon to write the sesquicentennial book’s Foreword.  (The Ryan family is shown above in the 1930s with Mr. and Mrs. Franklin Roosevelt who made occasional trips to Gaines to visit the Ryan family.) Mrs. Ryan, originally from Mobile, Alabama, served the Sesquicentennial Committee as Hospitality Chair. Her Foreword to the publication follows:

“On a hot Fourth of July in 1921, I first set foot in the town of Gaines. I had thought my new home was in Albion, New York. But I was told in no uncertain terms, ‘You live in the Town of Gaines.” It was some time before I began to understand that the Town of Gaines was a township and to realize the miles encompassed therein. Gaines Village, Childs or Fairhaven, East Gaines, West Gaines, Gaines Basin, Five Corners, Eagle Harbor – it was some time before I realized that all of these constituted the Town of Gaines. However, in short time I realized the beauty of the homes and roads and by-ways of Gaines and the fine character of her citizens; and I felt proud to be an adopted daughter.

The beauty of the homes and the roads of Gaines is a direct inheritance from those who made the long trek over hill and stream from Massachusetts and Connecticut and settled these parts. They were the ones who planted the trees that were to grow into stately beauty and make travel on the Ridge the delight it is. God made the Ridge – mere man could have never given us the Ridge – but it was the early settlers who had the vision to set out the trees that would give shade and comfort to their descendants.  They were the ones, also, who gathered stones from fields and lake and, with their own hands, erected the cobblestone houses of Gaines.

These cobblestone buildings, the fame of which has spread from coast to coast, are the pride of every resident of this vicinity, the envy of every passing traveler.  Men and women of strength and determination were those pioneers – strong enough to journey by oxcart into a far country, determined enough to settle that country and make it a fair land. Men and women of vision and courage – vision enough to look to the future, courage enough to face the present. I, who can claim no descent from those sturdy men and women, am proud of what they did in those far-away days, am proud of the Town of Gaines. I am proud that my husband has lived all of his life in Gaines and that my sons are her native-born.

This sesqui-centennial is a tribute to the men and women who dared all and braved all, who left to us a goodly heritage. Now, let us who have come after them be worthy. Let us strive to leave behind us a community fair to behold, rich in tradition, in which our descendants will rejoice and be exceeding glad, a community that will inspire right living and the development of fine character. We have an obligation to the past and to the future. Noblesse oblige! There is more to it than two words. Let us fulfill that obligation.”

Courtesy Orleans County Historian

In those days, no historical celebration was complete without a beard growing contest. Over forty men participated in this face-lifting project and were photographed together for the August 13th issue of the Albion Advertiser.

Taking part included: (Front row) William Woolston, Theodore Schoonover, Thomas Manning, Glen Woolston, Ralph Appleton, Maynard Bannon, Gerald Thaine, David Sanford, and Everett Hobbs.  (Middle row)  Richard Appleton, Herbert Morrison, Paul Chappius, Richard Peruzzini, Harold Peruzzini, Peter Ricci, Wesley Bennett, James Kerridge, Colonel Ball, Dominic Martillotta, Sortman Jordan, Clure Appleton and Howard Pratt.  (Back row) Jesse Downey, Carl Huthsteiner, Donald Bennett, Andrew Butz, Albert Neal, Jr., William Schuler, Terry Neal, Kenneth Drew, David Youngs, Wilbur Scroger, Royce Freeman, Wayne Rath, Gordon Miller, Arthur Gould, Richard Hill, David Vagg, Rev. John Minott, Whitney Howes and Clifford Allen.

Even registering for the beard growing contest involved some tongue-in-check humor. (Photo Courtesy Orleans County Historian)

On the day of the celebration, a gala parade took place from Childs to Gaines with floats, bands, horses, carriages and old cars.  There was a historical exhibit, a horse show, church smorgasbord, Grange Square Dance and Carolyn Reed was chosen as Sesquicentennial Queen.

By Doug Farley, Cobblestone Museum Director – Vol. 2. No. 45

GAINES –  The Hamlet of Childs is the current home for an outstanding artifact of the mid-19th century. The name settled upon for this object is “The Akeley Fox,” in homage to the taxidermy artist, Carl Akeley, who created the diorama in 1879.

Pictured at top in 1979 is Mr. John Seager, along with the fox his great grandfather Francis Harling shot over 140 years ago. In 1979, Mr. Seager gave his family heirloom to the Cobblestone Museum for its permanent collection in memory of his parents Agnes Harling Seager and John Seager.

Young Carl Akeley – Photo courtesy the Field Museum

The story goes that sometime in 1879m Francis Harling lay near a fox run in a Barre Swamp almost a full day before this specimen came along.  At the time, a young Carl Akeley of Clarendon (shown above) was in his late teens or early twenties and was learning the techniques of taxidermy under the tutelage of David Bruce from Brockport. Knowing Akeley, Francis Harling purposely procured the fox for him to mount. The fox is depicted in a large gold-framed shadow box just as she had killed a partridge.

The Akeley Fox is one of his early works. It is signed on the reverse side of the glass, “C .E. Akeley, Clarendon”

In the late 19th Century Akeley went on to become the great world renowned African explorer and established the African Hall in the American Museum of Natural History in New York City. He was noted as being one of the first taxidermists to place specimens in their natural surroundings and traveled with Theodore Roosevelt and George Eastman on several safaris. One of his staunchest supporters was none other than J. Pierpont Morgan. The image above depicts Akeley surviving a leopard attack on one of his many safaris in Africa.  He captured the leopard using only his bare hands.

Unfortunately, Akeley died in his early sixties before he had a chance to complete his life’s work. The Akeley Fox however is testimony to a great man’s artistic genius. For many years it hung in the parlor of the Harling residence on East County House Road near Albion. It was then inherited by Walker Harling, son of Francis and passed on to his daughter Agnes Harling Seager who kept it in the attic for over forty years. Once arriving in the Hamlet of Childs, the fox was displayed along with the Hon. E. K. Hart Bird Collection at the Cobblestone Museum. Ironically, the Hart Bird Collection was prepared by Akeley’s teacher, David Bruce.

Considering the legacy left by Carl Akeley and the significance of his contributions to the field of history, the little red fox is held in the highest regard and treated as one of the crowning artifacts within the collection of the Museum. Accepting the unique artifact into the collection as a rare representation of the earliest works of a world renowned taxidermist, the Museum retained a distinct piece of history that museums today would fight over.

With thanks to the efforts of the Clarendon Historical Society, a spectacular tribute to the life and legacy of Carl Akeley was arranged to celebrate the passing of Akeley’s 150th birthday. Museum co-coordinators Matthew Ballard and Sarah Karas both attended a celebration in Akeley’s honor where they met John Janelli, chairman of the National Taxidermy Association’s Conservation Committee. After showing him photographs of the fox, the true significance of the piece was finally understood.

(L-R) Sarah Karas, Cobblestone Museum co-coordinator, John Janelli, and Matt Ballard, co-coordinator

Members of the Committee visited the Museum to see the fox firsthand on May 23, 2014 (shown above) when it was decided that the restoration of this artifact was not simply a possibility but a necessity. Heat from being stored in an attic for decades, along with freezing in the winter, had led to severe deterioration. One eye had fallen out, the tail had “melted,” the paws were void of hair and bugs had found their way inside. Melissa Ierlan, Town of Clarendon Historian, said, “It was in bad shape. We thought we would have to replace it, but we didn’t.”

The fox is depicted eating a bird it had caught. The paper mache work on the bird included newspaper from the Holley Standard, dated December 4, 1879. As an important symbol of modern taxidermy’s founding father, the fox needed to be restored and preserved.

On June 5, 2014, the Museum coordinators, Ballard and Karas, presented the proposal to the board of trustees. With a unanimous yes, the board offered their support in the effort to preserve Akeley’s little red fox. Fundraising begin immediately to procure funding for the evaluation and proper restoration of this important piece of history.

The fundraising to enable the restoration was a major project in itself. Ierlan said the restoration resulted from an “amazing grass-roots effort to secure funding” for the project. Private donors, a grant from the Elizabeth Dye Curtis Foundation and donations from the Orleans County Chapter of the Daughters of the American Revolution, Orleans County Historical Association (OCHA) and the Clarendon Historical Society made the project possible.

With funding in place, Melissa Ierlan personally bubble wrapped and transported the fox in her car to the restoration offices of George Dante in New Jersey.

Photo courtesy of Melissa Ierlan: John Janelli, left, is past president of the National Taxidermy Association. He is pictured with George Dante of Wildlife Preservations, LLC, and the refurbished fox at Dante’s studio. Dante has provided taxidermy exhibition services to the American Museum of Natural History in New York City, and Harvard University’s Museum of Comparative Zoology.

Bill Lattin, retired Orleans County Historian and former Cobblestone Museum Director, has a family connection to the fox. He explained that his great-grandfather, Francis Harling of Albion, procured the fox for Akeley. Lattin explained that the fox, enclosed in a framed diorama, is a precious artifact. “In the world of taxidermy, it’s like owning a Rafael,” Lattin said.  “It’s very, very special.”

Akeley (1864-1926), is known as the Father of Modern Taxidermy.  He devised a method for fitting an animal’s skin over a meticulously prepared and sculpted form of the animal’s body.  The process included the animal’s musculature and details such as wrinkles and veins and produced a very realistic result.

Lattin said his great-grandfather wanted the fox diorama to display in the family’s home on East County House Road in Albion. Harling was a middle-class dirt farmer and blacksmith, Lattin explained, but noted it is interesting that, “common ordinary people (of that time) had a sensitivity for aesthetics.” Harling had gone out of his way to procure the fox, Lattin said, so that something beautiful could be made to decorate the family’s home, “that’s remarkable,” he observed.

Akeley’s African Elephant Exhibit, courtesy of the Field Museum, Chicago

Akeley made many trips to Africa to collect specimens and created the African Hall at the American Museum of Natural History in New York City.  Akeley also liked to place the mounted animals in settings that reflected their native habitat. Lattin also explained that during the Akeley Fox restoration, it was discovered that what was thought to be a “tod” (male fox) was found to be a “vixen” (female fox).

In 2017, Melissa Ierlan made a return trek to New Jersey to pick up the fully restored vixen fox. A “welcome home” celebration was held in September 2017 at the Museum’s Cobblestone Church.  At the celebration, shown above, Matthew Ballard (Orleans County Historian), Bill Lattin and Melissa Ierlan pose with Carl Akeley’s restored fox diorama.

Jay Kirk, the author of the book, “Kingdom Under Glass” (shown above), a book about Carl Akeley and his work, attended the celebration as did Akeley expert, John Janelli. County Historian Matt Ballard said, “We wanted to bring (the fox) to the attention of people who would appreciate Akeley’s work.” The fox is part of a transitional phase for Akeley. Ballard noted the legwork done by Ierlan, the Clarendon historian, to have the fox restored as well as the importance of the local fundraising effort. “It’s surreal to see it come to fruition,” Ballard said of the restoration project.  “It’s a piece of national significance.”

At the celebration, Ierlan discussed Carl Akeley’s life and work from his humble beginnings on Hinds Road in Clarendon to the jungles of Africa. “He was the original Indiana Jones,” Ierlan said.  She noted his early work preserving the pet canary of his aunt, his training in taxidermy by David Bruce in Brockport and his apprenticeship at Ward’s Natural Science Establishment in Rochester. She explained that the taxidermy work done before Carl Akeley arrived on the scene, often made animals look like stuffed toys. Akeley wanted “to make them look as real as possible,” Ierlan said.

Melissa Ierlan brought copies of photographs of Akeley’s work including diorama’s from the American Museum of Natural History and the entourage that accompanied Akeley on his African trips to collect specimens (far left), as well as the condition of the fox diorama prior to restoration.

The Cobblestone Museum has prepared a short video to provide additional information for those who missed out attending the Akeley celebration.  It can be viewed by clicking here along with a collection of other videos on local history.

In addition to his taxidermy work, Akeley was an accomplished sculptor, biologist, conservationist and inventor with over 29 patents.  Akeley improved the motion picture camera for filming animal movement. Ierlan said, “He had a remarkable life. He was one of America’s greatest men.”

The cover at left is for the book, Pioneer History of Orleans County. The image at right is the only known photograph of John Proctor.

By Doug Farley, Cobblestone Museum Director – Vol. 2 No. 44

GAINES – One of the most widely read written histories of Orleans County is entitled, “Pioneer History of Orleans County, NY,” by Arad Thomas, written in 1871 and published in Albion.  In this 463-page compendium we are fortunate to find an autobiographical sketch of John Proctor, the patriarch of what many called Proctor’s Corners.

Proctor has been the subject of a few recent articles written for the “Historic Childs” series, but the addition of an article detailing the earliest days of Fair Haven (known as Childs today) written by John Proctor himself, is a valuable addition to this information.  Proctor wrote the following narrative in June 1863, a little short of five years before his death in January 1868.

I was born in the town of Dunstable, Middlesex County, Massachusetts, January 22, 1787. In March, 1810, I arrived in Batavia, since changed to Gaines, on the Holland Purchase, and purchased a lot of land near the Transit Line. I chopped over five acres of land and built a log cabin in what was then called the ‘Nine Mile Woods.’ My cabin was situated seven miles from any cabin going east, and two miles west. There were no inhabitants going south nearer than Batavia village. Here I kept bachelor’s hall, sleeping in the open air on hemlock boughs until I had completed the roof of my cabin, which I covered with bark. I had to travel seven miles to get bread baked.

I went to Massachusetts in the summer and returned to my cabin in January. In the spring of 1811, I cleared off and planted three acres to corn, and in the fall sowed five acres to wheat. In December I went back to Massachusetts on foot. February 11th, 1812, I was married to Miss Polly Cummings, of Dunstable, and started on the 12th with my wife for my home in the woods, in a sleigh drawn by two horses.

Fair Haven, 1852 map

When we arrived at our new home, at what has since been called Fair Haven, in the town of Gaines, there were but three families in Gaines, viz.: Elijah Downer, Amy Gilbert, and —Elliott. The nearest grist mill was at Black Creek, twenty miles distant, and on account of bad roads it was as easy for us to go to Rochester to mill, a distance of thirty miles. Indians came over from Canada and massacred several of the inhabitants on the frontier, and many of  the settlers fled out of the country for safety. The people throughout this region were in great consternation.

The news of the approach of the savages spread rapidly. William Burlingame, who resided about four miles west of my place on the Ridge, called me out of bed and requested me to go immediately and arouse the people east. I immediately mounted my horse, the only horse then owned in the vicinity, and before next daylight visited all the inhabitants as far east as Clarkson.

The effect of the notice was almost electric, for quite a regiment of men in number were on the move early the next morning, to check the advance of the enemy. We marched west to a place called Hardscrabble, near Lewiston, and there performed a sort of garrison duty for two weeks, when I with some others returned, for, having been elected collector of taxes, it became necessary for me to attend to the duties of my office.

Again in September, while the war was in progress at and near Fort Erie, in Canada, news came to us that the British were about to attack the Fort and our troops there must be reinforced. In company with several others I volunteered to go to their relief. On arriving at the Fort, via Buffalo, we made several attacks on the enemy near the Fort, and in the woods opposite Black Rock.

A sortie was made from the Fort September 17th, in which we routed the enemy. In these actions several bullets passed through my clothes, and one grazed my finger. A man of our company named Howard was killed, another named Sheldon was wounded in the shoulder, and Moses Bacon was taken prisoner and carried to Halifax.

In that sortie General Davis, of Le Roy, was killed, and Gen. Peter B. Porter was taken prisoner, and rescued again the same day. We came home after an absence of twenty-four days.

The Proctor monument (left) is located on Route 104 in Gaines. The Proctor family obelisk is located at Mount Albion Cemetery. The other sides of the monument memorialize Proctor’s wives and children, several of whom died in a typhoid breakout in 1828.

About February 1st, 1815, I was notified to attend the sitting of the court in Batavia as constable. Owing to the situation of my family I could not be long absent from home; and in order to get released from court, it was necessary for me to appear before the judge; so taking a rather early start I reached Batavia before the court had opened in the morning. After the court had organized for business I presented my excuse and was discharged.

After that I collected over one hundred dollars taxes, made my returns as town collector, on half a sheet of paper, took a deed of one hundred acres of land of the Holland Company, and an article for another hundred acres and started for home, where I arrived in the evening of the same day, having traveled a distance of not less than forty-four miles.

In December, 1818, I made arrangements to visit my friends in Massachusetts, on horseback. Several of my neighbors were in to see me off. As I was about to mount my horse a deer came down the creek from the south. I ran into the house and got my gun and some cartridges I brought from the war, loaded my gun as I ran out, and as the deer was passing leveled my gun and snapped it, but it missed fire. I took up a stone and struck the flint, and snapped the gun again before the deer got out of range. This time it discharged killing the deer instantly. I remained now and helped dress the deer and divided it with our neighbors, and then went on my journey.

I rode to Vermont, there exchanged my horse and saddle for a cutter and another horse, and drove to my destination, near Boston. After an absence of about sixty days I returned home in time to dine off a piece of the venison I killed just before starting, which had been kept by my wife.

Our associations in our wilderness home undergoing fatigue and hardships together, sharing alike in gratitude for every success, and in sympathy for every adversity, bound the early settlers together as a band of brothers.

For many years our religious worship was held in common together, with no denominational distinctions.

JOHN PROCTOR.

Gaines, June 1863.

Devastating canal breach in 1927 flooded community

Photo courtesy NYS Barge Canal Western Division

By Doug Farley, Cobblestone Museum Director – Vol. 2 No. 43

Eagle Harbor, once a thriving Erie Canal community, was the scene of a devastating canal breach in August, 1927, that caused damages estimated at over $3 Million in today’s economy. The sleepy canal town instantly became the scene of an enormous work force numbering several hundred people that worked 24 hours a day to restore canal commerce.

The underpinning of the disaster can be attributed to the design of the canal in what became known as the south wall of the “Trough at Eagle Harbor.” During the Barge Canal expansion in 1912, a massive embankment or trough with a height of about 50’ feet raising above the level of Otter Creek was created to contain the canal and pass over the creek. The embankment was constructed from earth, concrete and stone.

A portion of the embankment passing over Otter Creek today, known as state canal culvert #86

A short excursion along the towpath at Eagle Harbor quickly identifies the immense scale of the construction project, also seen in the picture above.  The creek itself was channeled through a culvert that was buried 6’ beneath the canal, creating a trough of water 12’ deep above.

On August 3, 1927, bridge tender, Leon Walters, received word from two boys that they had seen a small leak open up in the canal near the embankment. The small leak foretold of the disaster that was about to follow.  A local man, L.E. Bennett, reported seeing a 3’ square hole open up later that day.

This opening began spilling thousands of gallons of water from the canal into the surrounding countryside in short period of time.  The breach occurred about 100’ west of the Otter Creek culvert. Quickly, a massive hole opened up and the south wall of the canal broke apart creating a hole 50’ across and 7’ deep.

Photo courtesy Orleans County Historian

Newspapers stated that canal officials estimated 1 billion gallons of water spilled out of the canal into the surrounding fields, creating an artificial lake about 2 miles long by one-half mile wide with a depth of 20’-60’ throughout.  Numerous houses were flooded with some victims stranded in their second stories until the next day.

The reconstruction efforts began immediately and were supervised by Canal Commissioner Thomas Farrell. Early estimates stated that the canal west of Rochester would need to be closed for ten days, but when the full scope of the disaster was realized, the project dragged on for six weeks.  Some sources reported that during that time, upward to two million bushels of grain were stopped at Buffalo due to the canal break, along with untold amount of other agricultural products from other locales around the Great Lakes.  Local farmers pleaded with Farrell to keep the canal open to the Lattin Bridge Guard Gate so that commerce into and out of Albion (eastbound) could be maintained to help minimize the impact in Orleans County.

Over 200 men were put to work, round the clock to make the repairs. Heavy equipment operators were employed to operate about 20 trucks, 6 steam shovels, concrete mixers, pile drivers and other pieces of earth moving equipment were utilized to complete the project.

Photo courtesy Orleans County Historian

The break became an overnight sensation, drawing motorists thought to number in the thousands to the region. In addition to the cost to repair the canal, many local farmers suffered devastating losses, the ill effects of which lasted a few years in some cases. Local farmer John Potter reported his field of potatoes was submerged under 10’ of water for weeks. Other farmers reported losses of cabbage, tomatoes, cucumbers and grain products.

Repaired canal structures passing over Otter Creek at Eagle Harbor today. Note use of concrete retaining walls on both sides of the canal.

When final reports were published, state officials postulated that the underlying culprit in the disaster was a colony of errant muskrats, close cousins to the otters of Otter Creek fame, that had burrowed into the wall of the embankment, thus setting up the cataclysmic series of events that led to this historic disaster.

The 1927 Eagle Harbor canal breach is probably the most well known, but not the only historic canal breach in Orleans County. A 19th century breach occurred in the 1850s, a few miles east of Eagle Harbor, near the Joseph Lattin farm in the Town of Albion. At that time, it was reported that a canal boat was actually washed out of the canal and deposited into the adjoining farm land.

Following the canal repairs, Bartlett Lattin helped return the boat to its rightful location back in the canal. More specifically, Lattin’s mother and sister came to the rescue, too, by supplying homemade soap that Bartlett used to grease the skids used to move the boat off dry land. The equipment utilized was actually provided by George Pullman who used an ox-powered machine that his father developed to lift and move houses that were in the way during the canal expansion which was ongoing at that time.

Pullman, a furniture manufacturer in Albion, was working a contract that the state had given to Charles Danolds to facilitate the canal enlargement in this region. Pullman, of course, went on in subsequent years to become a railroad tycoon with the improvements he made to railroad sleeping cars that became known as Pullman cars.

Another 19th century canal break in the region occurred around 1870 in the Town of Gaines, very near the northernmost point on the canal. Water from that breach flowed out in great force, making its way to Beardsley Creek on the north side of the canal. It is said that a local farmer, David Bullard and his daughter, were working in a chicken coop at the time of the deluge of water in the creek, which expanded to include the chicken coop in its wake.

The chicken coop, and all of its occupants at the time, were raised form its moorings and carried downstream at a heart-stopping pace. Eyewitnesses reported that Bullard’s daughter jumped out of the chicken coop as it was passing over Gaines Basin Road but Mr. Bullard rode it out until the coop eventually crash landed at a tree where Beardsley Creek crosses Gaines Basin Rd again at the Sanford Farm.

Workers at the site of 2012 canal breach, photo courtesy Times-Union, David Duprey/AP

A much more recent canal breach took place in 2012, once again in the proximity of Gaines Basin. On the evening of July 30, passersby on Albion-Eagle Harbor Road near the Lattin Bridge, noticed that a slight depression in the highway had formed in a very short amount of time. Retired County Historian Bill Lattin reported, “I was the last car that made it through.  I felt a huge ‘kerplunk’ as my car kind of bottomed out.”

The next car to approach the scene came upon a gaping 60’ wide by 16’ deep sinkhole that had opened up in that same spot.  Luckily, a state worker had arrived on the scene to flag that motorist down.

It was discovered that extensive damage had occurred to a large culvert pipe under the Albion Eagle Harbor Road at that spot. The discovery was followed by the closing of a 25-mile stretch of the canal from Middleport in Niagara County to Holley in Orleans County.  Contractors, meanwhile, hauled in 200 tons of crushed stone to fill the sinkhole in the weakened rock-and-clay embankment.

Photo by Tom Rivers: Construction crews led by C.P. Ward were mobilized late into the night of July 30, 2012 to fill a sinkhole on Albion Eagle Harbor Road and a path along the Erie Canal. Crews worked late into the night to fill the hole and stabilize the site so the canal wouldn’t flood two neighboring state prisons.

The sinkhole nearly collapsed the embankment that held back the Erie Canal. Had the wall been washed out, officials feared the two state prisons next to the road would have been flooded.

Dump trucks hauled stone from Keeler Construction in Barre to fill in the road and canal path.

Repairing the road and path cost the state $1.3 million to fix. The sinkhole forced the state Canal Corp. to close a section of the canal in Albion for about 2 ½ weeks.

Gaines has northernmost point of canal, a private bridge, turn basin and lift bridge

Gaines Basin, 1860 map

By Doug Farley, Cobblestone Museum Director

GAINES – Today, a quick blink is all it would take to completely miss the Hamlet of Gaines Basin located just a few miles southwest of Childs.  Other than its 1832 Cobblestone School, the current Gaines Basin ghost town nestled on the towpath of the Erie Canal no longer gives a hint of the bustling canal commerce that took place there once the canal was completed.

Gaines Basin Road that bisects the hamlet, was actually the shortest distance between the Ridge Road and the Erie Canal, a fact that obviously added to the strategic commercial value of the small community that grew up on the banks of the canal. Even the name “Gaines Basin,” is attributed to the hamlet’s early ties to the Erie Canal.

At one time, after the construction of the canal, Gaines Basin could boast almost a dozen residences and at least two thriving businesses.  While most of the residences were associated with farm owners, the businesses included a blacksmith shop and grain warehouse.

The blacksmith shop, present in the 1830s, was gone by the 1870s.  In that time, it served the local farmers from Gaines Basin. One item produced in the blacksmith shop that remains today is an artifact called a “peel,” shown above. For those unaccustomed to the term, as I was, a peel is a shovel-like tool that is used to slide out embers from a brick bake oven. This particular peel, produced in the blacksmith shop in Gaines Basin in 1823, is part of the collection of retired Orleans County Historian Bill Lattin.

Another Gaines Basin business that came and left without a trace was a grain warehouse, also located on the north bank of the canal. It’s location on the canal made it an ideal spot to load and unload grain from a canal boat into the grain bins. While the buildings themselves may be gone, the stories of what went on there still persist.

Bill Lattin explains that his great-grandfather, Bartlett Lattin, sold grain to the owner of the warehouse around 1870. Unfortunately, he never received payment. When Lattin approached the grain warehouse owner, he said he couldn’t pay him, but offered Lattin a percussion muzzleloader flintlock rifle as a substitute for cash.

Bartlett took the gun as payment, and Bill Lattin, through inheritance, now has this artifact in his personal collection. The rifle reaches nearly 6-1/2 feet in length. Bill recalls a childhood story he was told that the early colonists often traded with the Native Americans, offering rifles in exchange for fur belts.  The colonists would set the rifle on the ground and the Native Americans would stack fur pelts next to it until the pile reached the top of the gun barrel.  As time went on, it was said the colonists tricked the Native Peoples by increasing the length of the barrel to garner more fur belts in exchange for a single rifle.

Barge Canal route, Gaines Basin & Eagle Harbor, 1913 map

The Erie Canal, even though it doesn’t occupy much real estate in the Town of Gaines, has been a big part of the community’s history. The canal stretches just a few miles from Gaines Basin to Eagle Harbor, which is another community that owes its name and existence to the construction of the Erie Canal.

It is said that an eagle’s nest was spotted in the area in 1815 at the time of the initial canal survey – hence the name Eagle Harbor. The portion of the Erie Canal situated in Gaines seems an anomaly today as we consider the canal route. Why would canal planners deviate from their southern route and move northward into Gaines? The canal, most likely, would not have passed through Gaines without a decision to put a bend in the proposed canal and move its course substantially northward into Gaines. This can be seen by looking at the map above map and noticing that the canal makes what looks like a northward detour from its course further south, to reach into a small sliver of the Town of Gaines along the town’s southern boundary.

Profile Map of the original Erie Canal, 1825, Long Level highlighted

Looking for an answer to this paradox we have to consider the lack of engineering skills in the 1800s when the canal was constructed. (There wasn’t even a single engineering school in NYS at that time.)  The course of the canal from Lockport east to Rochester is part of what was originally called the “long level.”

This roughly 60-mile stretch was the longest section of the canal that contained no locks to handle changes in elevation related to topography.  The reason for that was in the 1800s when the canal commissioners laid out the eventual path for the canal, they discovered that there was no suitable body of water between Lockport and Rochester from which additional water could be added to the canal.

That fact meant that the water in the canal had to flow completely by gravity through the 60-mile long level from its Lake Erie headwater at Lockport to the Genesee River at Rochester where more water could be added. We all know that water doesn’t flow uphill. The bend in the canal into the Town of Gaines was created by a need to bypass higher ground further south that would have prevented the free flow of water without moving an exorbitant amount of earth.

Northernmost point on the Erie Canal, Cobblestone District #2 Schoolhouse in background

This northern route gave Gaines the distinction of containing the northernmost point along the entire route of the 363-mile Erie Canal. A state marker on the canal marks the spot, now.

Another anomaly regarding the Erie Canal in the Town of Gaines is the presence of a turn basin, shown on the map above, about half way between Gaines Basin and Eagle Harbor on the south side of the canal.  The original Erie Canal was carved into the countryside with a depth of only 4 feet and a width of 40 feet.

To save construction cost, the canal was built with a single towpath servicing mules and horses pulling both eastbound and westbound boats.  This fact created a dilemma when oncoming boats would meet in any spot along the canal and pass each other without tangling lines. One boat would move to the far side of the canal as its mules halted on the outside of the towpath.

The towline which was 100 to 150 feet long would go slack and sink to the bottom of the canal so the overtaking or oncoming boat could pass over it freely. When this simple method didn’t work out, the mule tenders or “hoggees” would carry the lines over the other mule team. Crew members on deck would do the same with the towrope passing over the idled boat.

Canal Turn Basin, Town of Gaines, 2021, Canal partially drained

To facilitate this process, a small number of turn basins or “wide-waters” were cut into the side of the canal to provide a safe harbor for boats that needed to “pull over,” to make repairs or get out of the way of oncoming traffic. It also served to provide a location with sufficient width where boats could be turned in the opposite direction if needed.

If a boat moved into a turn basin, it could sit there for an extended period of time, out of the way of two-way traffic moving on the canal. Also, over time, boats became larger trying to squeeze as much precious cargo on deck as possible. This scenario would create plenty of bottlenecks without an occasional turn basin to assist.

Another part of our shared Erie Canal history concerns canal bridges. From our childhood, we probably recall singing “Low bridge, everybody down. Low bridge, for we’re comin’ to a town.”

Bridges were a real sore point for canal planners. They knew that a 363-mile ribbon of water would necessitate dividing a lot of farms and property. Farmers still needed a way to access their fields on the other side of the canal. In 1817, after canal construction began, literally hundreds of bridges were needed across the state in very short order.

A workforce of state officials quickly approached every property owner along the proposed route of the canal and worked to find a solution that would allow the state to acquire the necessary land from the property owners to construct the canal. Often times, it came down to an offer to build a bridge for a farmer who may need it to reach their barn or farm land on the opposite side of “Clinton’s Ditch.”

The cost of all of these bridges was another major concern.  NYS had allocated $5 million for the canal project and they needed to try to contain their costs, so the bridges needed to be as low-cost as possible. (Canal costs eventually spiked to $7 million at the time of its completion.) Saving money usually meant sticking with a very low bridge built right from ground level, instead of raising the bridge up by building abutments or other superstructures.

Lattin Bridge today

Town of Gaines property owners along the canal were “given” bridges in exchange for their signature on easements or deeds.  One case in point was the farm of Lansing Bailey. In the 1820s during canal construction, a bridge was created to accommodate his farm house in the Town of Albion and farm land in the Town of Gaines. In 1837 the farm and bridge passed into the possession of Joseph Lattin.  The “Lattin Bridge” as it became known, was built ostensibly to service one farm. In the late 1880s, the bridge began to service traffic going to and from the Albion Waterworks nearby.

A similar situation existed on the Starkweather farm, near Eagle Harbor.  At the time of the canal expansion in the late 1800s, both Starkweathers and Lattins were offered a choice of keeping the private bridge or accepting $1,000 from NYS to give up their bridge claim.  Starkweathers accepted the latter, Lattins did not. And, today, the Lattin Bridge is the only canal bridge in the state still serving private property.

Eagle Harbor lift bridge, 2007

Eventually, during the construction of the 1862 Enlarged Erie Canal, and again in the 1900s for the Barge Canal, low bridges were eliminated and replaced with tall stationary bridges or hydraulic lift bridges.

In all, 17 lift bridges were built across NYS to carry vehicular traffic over the canal. Orleans County can lay claim to seven of those lift bridges: Prospect Avenue (Route 63) in Medina, Knowlesville Road, Eagle Harbor Road, North Main Street Albion, Ingersoll Street in Albion, Hulberton Road in Murray and East Avenue in Holley. The small sliver of canal crossing through the Town of Gaines is serviced by a lift bridge in Eagle Harbor and a tall stationary bridge at Gaines Basin Road.

Eagle Harbor Lift Bridge, 2021

In Part 2 of this article, we will look at the historic canal breach that occurred in the Town of Gaines.

By Doug Farley, Cobblestone Museum Director – Vol. 2 No. 41

GAINES – In last week’s article, we looked at the origin of the Murray family dollhouse, a nearly 90-year-old children’s treasure in the Hamlet of Childs.

The dollhouse was created by Mary Miller Murray in 1934, and much enjoyed by the Murray children: George, Joyce and Janice. Also, much enjoyed by countless other children who played out their fantasies and dreams while rearranging miniature furniture or posing the miniature people going about a typical days activities in the “life” of a miniature family.

Janice Mann Beech (shown at right) inherited the dollhouse from her mother and father, Mary & Curtis Murray. Later, Janice’s children also enjoyed playing with the dollhouse.

On October 12, 2021, Janice donated the dollhouse to the Cobblestone Museum for the enjoyment of the current generation of children as well as future generations.

Moving day was accomplished without a lot of fanfare. Janice had worked ahead of time to carefully wrap individual miniature furnishings in tissue paper and lovingly stacked them in handle sacks to make the move from Heritage Estates, where she lives, to the Museum’s Vagg House on the corner of Routes 98 and 104.

Former Museum director Bill Lattin and current director Doug Farley arrived at 1 p.m. to load the dollhouse into Bill’s hatchback to make the short trek. Janice came along on her own with all the furnishings to supervise the placement of the dollhouse in its new home and to unpack and reinstall the tables, couches, chairs and much more!

Every miniature piece of furniture in the dollhouse was crafted to recreate the workings of an actual full sized piece of furniture. Tiny cabinet doors swing open and closed, and dresser drawers pull open to reveal miniature pieces of clothing, and more. Straight pins were cut-off to serve as hinge pins.

Kitchen drawers are complete with miniature wooden silverware that Mary Murray carved by hand. Janice recalled, “We used to play with the silverware outdoors. That was a very bad idea! I think all that’s left are a few knives.” A dining room setting is complete with hanging Tiffany style lamp, parrot on a stand, and dinner on the table.

Mirrors used in the dollhouse were originally given by various companies to advertise their products. Twentieth century ladies carried the mirrors in their purses and used them to check their makeup when out-and-about. One mirror reads, “Red Cross Stoves, Ranges and Furnaces” on the back side. It is shown above in its room setting in the dollhouse.

The dollhouse candles are real candles, but of course, much smaller than life-sized. A small piece of sewing thread was dipped in candle wax to give the appearance of small candlesticks that sit inside small brass candle stands.  Above, one of the “children” plays with a miniature-miniature table, chairs and stove. And irons rest against the small fireplace and “family” portraits adorn the walls.

In order to maintain domestic tranquility when two kids were playing “house” at the same time, all things had to be equal. Janice explained, “There needed to be at least two of each item so both children could have their own.”

Janice remembers that her mother had a hard time crafting people that would be the right size to fit in the dollhouse. She said, “I think ‘Grandma’ looks terrified!” Her face has circles with dots in the middle that were supposed to simulate spectacles. Janice’s daughter, Mary Beth Chassagnol, made a mini-knitting basket (shown) for “Grandmother” who resides in the dollhouse.  She made it from a walnut shell and little pieces of yarn and straight pins for knitting needles.

Janice explained that Mary Beth was an artistic child. Later, in adult life, Mary Beth was a scenery painter, working in New York City. On one occasion, Mary Beth rewarded herself for a successful year at work and planned a trip to Paris. While in The City of Light, she ventured out to eat at about 2 a.m. Andre, her future husband, came out of the restaurant and opened her cab door. He later said he knew it was love-at-first-sight.  Mary Beth needed a little more convincing. The couple married in 1984 and resided in France. Mary Beth passed away in 2020.

The “maids” room has its own wood stove, Strong Museum shopping bag, and a can of Crisco, bottle of milk and box of Cheerios.

“Grandpa” has a woolen hat. The lampshades have pleated coverings held in shape with a hidden wire, just like their full-sized counterparts. A bust of King Louis of France and the Holy Bible sit on the coffee table.

The dollhouse kids had their own toys like a mini-rocking horse. Janice said her family loved playing croquet for many years.  So it was only natural, at some point, to add a croquet set to the dollhouse toys.  The miniature croquet set was purchased in more recent times at the Strong Museum of Play in Rochester.

After a busy day of setting up shop, the miniature “family” takes a well-deserved rest. Cobblestone Society members are welcome to attend a “Housewarming” for the dollhouse on Saturday, November 6th at the Annual Meeting. All others are encouraged to call the museum at (585) 589-9013 to request a Vagg House Tour.