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When the Marist Brothers acquired the acreage west
of route 9-W, they mistakenly named the fieldstone work area north of
the main house "English Village". But Barbara Osberg maintained
that the term English Village was used for the employee cottages.
Drawings at the Avery Library in Columbia University reinforce her
view, as some Carrère & Hastings plans were labeled English Village
and clearly refer to the employee cottages.
The
area described below was space for farm animals and equipment.
The path from the Pratt Dock (now called the coal dock) wound its way
up the hill and around the back of this space. Carrère &
Hastings' designed a completely new set of buildings which housed
garages, male employee rooms on the second floor, stable and
carriage areas (Payne loved horses and boats!), an electric generating
plant and machine shops. The only surviving element from the
Pratt era was one of the two faculty cottages.
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The
main approach from the south road.
photo circa
1915
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The
entry vista remains attractive, with mature foliage.
photo 9 Sept 2002
by John Noone
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View looking west.
The open arch led to the main exit road used by the Pratts. Bays
at left were stalls for carriage horses. Room at right was a tack
room, and tall building with large door was carriage house.
Housing for grooms and drivers was on second floor.
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photo circa 1915
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The stalls and arch have
been filled in harmoniously by the architect in 1952, continuing the
elegant feeling Carrere & Hastings intended to project to
the visitor. ===>>
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photo 9 Sept 2002
by John Noone
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<<===
Even in 2002 the carriage house retains its original look except for the glass block
closing the carriage entrance. Inside space was used for
dormitory in 1942, then a recreation space, and converted
to a dining room in 1952.
photo 9 Sept 2002
John Noone
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<<=== View
looking west. The open arch was blocked off, bays to the left
were turned into rooms. Upper rooms were consolidated and turned
into dormitories in 1943, then became classrooms in 1952.
photo circa 1995
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Looking northwest.
Tall building at left is carriage house. To the right are three
garage bays. The tower is probably merely decorative.===>>
photo circa 1915
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The door to the right of
the garage bays was a machine and carpenter shop. Open bays to
their right were used for storage of feed for the carriage
horses. ===>>
photo circa
1915
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photo circa 1915
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<<=== Garage
bays with three autos, a Pierce Arrow, a Crane Simplex and a Packard,
each with a chauffeur. The Packard belonged to Julian
Burroughs, superintendent, a gift from Oliver H Payne
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photo September 2001
by Rich Foy
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<<=== The
garages became a kitchen in 1952, with a corridor in the section
closest to the open space. This is the only place where
architectural desires gave way to financial necessity: the roof
over the corridor is shingle, not slate or tile.
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In 1952, the
archway facing north was closed in and became the main entrance to the
facility. ===>>
photo 30 august
2001
by Victor VanCarpels
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Despite its enormous
size, the gym does not dominate the visitor to the village, but some
red brick does appear in the background. Building to the left
was the power generating station, then a dormitory, then a gymnasium,
then a chapel, now a conference room. ===>>
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photo 9 Sept 2002
by John Noone
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<<===
The brick of the gym is disguised by the foliage except in
winter. The second cottage is seen at the right of this picture.
photo 9 Sept 2002
by John Noone
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<<===
This annex connecting the new cottage to the original was added
in the 1910s.
photo 9 Sept 2002
by John Noone
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The northern cottage was
built during the Payne era. ===>>
photo Sept 2001
by Rich Foy
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The southern
cottage was built earlier and was used by the superintendent during
the Pratt era. When Payne took over the property, a second
cottage was added almost indistinguishable from the first. One
has brick at corners, the other has stone. ===>>
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photo Sept 2001
by Rich Foy
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<<=== As the
village was converted to a location of specialized summer camps, the
Brothers built an arbor for outdoor dining and conferences.
photo 30 august 2001
by Victor VanCarpels
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