Series Americana, pt ii

Series Americana is a publication that affirmed cultural value in a favored category of my own book collecting that had developed a strong core of regional and series material, including some titles profiled in Carol Fitzgerald's descriptive bibliography, prior to knowledge of her book.

Rivers of America, on the other hand, led to collecting volumes of that series with excited interest since shortly before discovering it I had wondered if, indeed, there was a great profile of American rivers. A timely question. The magic moment happened in the once fascinating and now sadly disappeared Heights Books on Montague Street when I was lucky enough to notice The Suwanee half-hidden on a shelf. The series it evidently belonged to became a focus of investigation with surprising and gratifying connections to several other areas of interest. Rivers of America introduced me to the the author which paved the way to Series Americana; it led to learning about the Bienes Museum of the Modern Book where, in addition to both Fitzgerald projects being presented in their galleries, many other titles have been curated for exhibition (the link has a portal to their online publications); it led to learning about the literary projects of the Works Progress Administration (WPA) and to numerous other subsets of these things such as authors, illustrators, the Library of Congress's Center for the Book etc.  

But returning to Series Americana, the multiple books within the various series reviewed for the project, aptly dubbed "national self portrait", examine a range of cultural facets: customs (see Folkways Series in previous post), forts, lakes, mountains, seaports, trails, to name a few. Most of the series' books don't share a common design, a curious detail since uniform cover art is generally a hallmark of a series. A few of these series feature photographic cover art that, for me,  removes them from the realm of the nuanced illustrative work that generated or promoted the iconography associated with the romantic ideals of American history seen through the mid-twentieth century lens .

It seems to me in mid-century book illustration lay the abundant subtle treatments that thousands of people could have been influenced by whether incidentally, as a minor sideshow on their home bookshelves, quietly radiating into the sub-conscious; or alternatively in the case of some kid lying on his or her bedroom floor, rapt in an imaginative journey that began with zoning into the illustration of a book jacket or end-paper. In a time less visually bombastic than ours the single image or few images of a book loomed large; they were the launching pad to mind trips as much, if not more, than the text was, or at a minimum heavily informed the text. Remember? And I suspect within these reveries unarticulated sensibilities, be they romantic, patriotic, averse, or even hostile, were forged to a degree. So if the source material - the pictures - conflate, generalize or reduce details then the imaginative journey must be affected. If a picture is your departure point for a thought or feeling about something then those thoughts and feelings must be relative to the potency of the picture. Same basic thing as "cowboy movies" representing The West. I suppose in the case of representations of the "space" age it's a little different since it was mostly conjecture of a forward point. These points are the essence of many posts here and in The Waterwall's companion site. So to be continued ...
 
The book art for the American Lakes Series, however, stands out from the others. The jacket designs cohere via monochromatic, nouveau-rustica drawings repeated on each book framing colorful portraits of the lakes. The effect is like that of a jewel set in worked metal, very pretty. Title pages are adorned with an echo of the cover motif; endpapers show map sections. The Bienes Museum digital archive showcases volumes of the notable American lakes: Champlain & George, Great Salt Lake, Okeechobee, Pontchartrain and only Michigan representing the Great Lakes though each was uniquely treated for the series.

I have three volumes from American Lakes: Huron, Superior and Erie. All are first editions in good shape although only Superior has its jacket. In re-examining them for this draft I noticed in Superior, opposite the title page, a list of the series' titles. Under "Published" are Huron, Superior and Michigan while Ontario and Erie are listed under "In Preparation." Clearly the Great Lakes appeared first in the production of American Lakes. I compared this with my copy of Huron. All the Great Lakes were published; Champlain & George, Great Salt Lake and Pontchartrain were "In Preparation." I then checked my Erie - nothing is listed as published or forthcoming. Whoever originally owned this book acquired it within its first printing and I suspect that same person owned all three as each one is evidently a first run. And since I picked them all up at the same used books store - I think it was Book Alcove in Maryland - it is probable the store acquired them in a house lot.

Lake Superior was written by Grace Lee Nute who, as the jacket flap explains, was Curator of Manuscripts in the Minnesota Historical Society and an authority on the Great Lakes. While holding that office she authored The Voyageur, The Voyageur's Highway, and Caesars of the Wilderness. Five years ago I discovered a 1945 printing of Voyageur's Highway in Fenwick Street Books in Leonardtown, MD - another favorite used books store - and the slim volume had instant gravitas as an artifact hailing from within the boundaries of the North Country, that hallowed section of the continent traversed by the coureurs du bois and integral to the history examined by Bernard DeVoto in The Course of Empire, the book that, for me, made non-fiction more incredible than fiction: a hundred years of French explorers, ostensibly in the service of the French fur trade, pressing the boundaries of terra-incognita in birch-bark canoes with their Indian wingmen, and frequently accompanied by missionaries who would save heathen souls. This at a time when the idea persisted that Asia must be over the next horizon. What to any European was virgin country unfolded before them, exotic, brilliant, immense, unending. The mental adjustments for scale as the years went by must have been humbling. The Course of Empire is nothing less than a riveting narrative of the exploration of our continent and it forever altered my perceptions of woodlands and waters since now, when in those places, consideration of the history of exploration is unavoidable.

I hope to write more regarding DeVoto's work and the subjects of the history he enlivened but for now it's time to post. Before closing, a quick nod back to the Edwin Raisz maps post: he contributed the cartographic work to The Course of Empire. The Waterwall is at last gaining traction on connecting its hither-thither preoccupations.

Series Americana

With this post the Waterwall continues its focus on American regional studies and reconnects with an earlier post from 2010 to applaud the tremendous contributions of Carol Fitzgerald in collecting and preserving bibliographic material related to American regionalism in her book Series Americana published in 2009 by Oak Knoll Press. Clicking this post's title will link you to Oak Knoll's page for the book where you can then link to their PDF Table of Contents and excerpts. Here is Oak Knoll's profile of the book:

During the years of the Great Depression and the decades that followed, works of    American regional writing became increasingly popular. The thirteen series highlighted in this book were published from 1938 to 1980 and contain 163 titles, providing a broad representation of series Americana published during this span. Taken together, the series constitute a unique and compelling self-portrait of America, encompassing the American people, their history and culture, and the nation's natural treasures-its mountains, plains, and lakes-over a broad sweep of time measured in centuries. Other aspects of America-landmarks, seaports, forts, trails, folkways, customs, society in America, and even regional murders-are also subjects of these series. "Series Americana" continued to fill in the national self-portrait that began with the publication of state guide series by the Federal Writers Project of the WPA (1937--1942), and continued with the Rivers of America series (1937--1974).

Each of the thirteen sections contains an introduction and publishing history, brief biographical sketches of the series editors, authors, and illustrators, a precise bibliographical description of the first edition/first printing of each title in the series, a tabulation of the number of reprints, and a listing of other works by the book's author. There are 242 biographical sketches altogether. With this wealth of relevant information, the books in these series function as guides to the regions or subjects they address. Much of the information presented about these books and their publishers, editors, and authors, has never before been assembled in an organized and usable format. This book will help preserve the memory of the talented American men and women who contributed to these series.

Carol Fitzgerald is the author of The Rivers of America: A Descriptive Bibliography (Oak Knoll Press, 2001). A longtime book collector, she has co-curated several exhibits of books and ephemera from her personal collections of Americana. She is a member of The Grolier Club, the Book Club of California, and the Fontaneda Society and lives in Fort Lauderdale, Florida, with her husband, Jean.

Published in association with the Center for the Book, Library of Congress. (Oak Knoll Press)

See Nate Pedersen's short interview with Ms. Fitzgerald here http://www.finebooksmagazine.com/fine_books_blog/2012/03/list-lust-carol-fitzgerald.phtml

As with their collaborative effort with Fitzgerald's 2001 project American Rivers: A Descriptive Bibliography The Bienes Museum of the Modern Book presented, and made available in digital format*, a comprehensive presentation of Series Americana. For book lovers and book design lovers it is a real treat to peruse all the titles on view. Is Desert Country's spine not a gem? And how equally quintessential in character is the piñon on the spine of the country book named after it? That illustration is highly evocative of the contorted cottonwood in Holling Clancy Hollings book Tree In the Trail - but that's a story for The Waterwall's companion site. 

 

*7/19/23 postscript: since the above was first posted it appears the Museum has overhauled their website and  through a multi-step path through their digital archives I was only able to find a list of special exhibitions but the visual documentation of the exhibition of Series Americana seems to have been removed from the website. Our loss.

The quintessential qualities of these images and their countless contemporaries endlessly interests me as an active agent of the illustration-house treadmills relentlessly churning out idealized iconography from their era. My question is: was it an intentional effect or is it a feature seen in hindsight of a time marked by pervasive faith in America and an uncorrupted visual sensibility attending that faith? Because any broad review of book illustration, particularly book cover design and particularly that of regional material reveals a consistently sanctified treatment of the material.

From the archives ...

Betty's Last Ride

Since I’m selling Betty as part of the overhaul of my family’s transportation I thought a weekend camping in the Adirondacks with a friend would have been the final jaunt for my pick up truck which has been a faithful steed on many an upstate journey. But surprise circumstances (thank God for out of town visits by old friends … of my wife’s) permitted another free weekend and I thought: Road Trip!

However, considering the heavy footwork of the recent backpacking trip in the mountains a road trip seemed a preferable alternative and a good excuse to log some final miles in the truck, maybe do some car camping in a state park - something I hadn’t done since the backpacking bug bit.

The targeted area for the trip was New York State’s Central region. I’d wanted to further explore this area since first visiting it in summer of 2000 when I camped at Glimmerglass State Park near Cooperstown and had my first experience of the farmlands of New York. The region is a vast valley lying between the Catskill Mountains to the south and the Adirondack Mountains to the north and bisected by the east-west Mohawk River-Erie Canal water route. I packed minimally, jamming a sleeping bag, some long johns and extra socks, and some basic cooking gear into a rucksack. Lightness wasn’t an issue this time since I wasn’t going to have to be the mule for my stuff. I left Brooklyn on a Friday night a few hours before midnight.

As usual I fled the city via the Thruway. Motoring north I mulled over how far to go that night, what set of routes tomorrow might hold and hopes for good weather. I had that giddy feeling an unexpected trip brings to any freewheeling soul. Traveling alone I could expect free reign on all the behavior my wife would suffer: driving late, the windows down, smoking, sleeping in the truck, and most of all no firm plan.

Made good time; factoring in an extended rest stop at one of those travel plazas to slap some cold water on my face and scan the map a while. In the early AM hours, about 10 miles south of Albany metro area limits, I ditched the highway for a state route near Selkirk. Within moments all trace of the tempo and pitch of the interstate vanished and I was the only vehicle moving on the road. The scant presence of any lights would have meant near total darkness but for a radiant full moon chroming the road, landscape and all else in its blue-white luminosity. I was making for NY 144 on a one lane road and each time it dipped I submerged into thick banks of fog. At one point I hadn’t slowed down to the appropriate single digit miles per hour until an enormous stag materialized out of nowhere like some night apparition and bounded away just in the nick of time. Speed adjustments followed immediately. The dense, terrestrial vapors hovered above the ground in enormous sea-like patches stretching beyond view; top lit by the moon, my black truck crested out of them like a manta each time the road took a rise.

I continued on 144 through these surreal filaments until I came to Schoharie where, in 2000, I visited Old Stone Fort, a Palatine garrison, and at the road atlas designated attraction looked over the near valley and was impressed by the clean health of it all. That was the day I fell in love with the state; It would be unfair to neglect mentioning the Old Stone Fort has a respectably thorough collection of state fauna somewhat folkishly exhibited in glass cases reminiscent of post-War public school furniture achieving a sort of dusty, time-stands-still effect somehow. 

 

In Schoharie the road intersected with state route 30 which I followed north for five miles to the town of Esperance. (Fifteen miles further north this same road is my usual exit off the Thruway into the central Adirondacks.) In Esperance I turned onto US 20. Driving west the scenic territory was rendered bright but flat in the night and knowing how much more dimensional it would be in full color I decided to find a cut off the road to park and get a few hours of sleep. That and the fact that it was 3 AM and I was down to one smoke, let’s call it a night. Found a discreet notch off the road and wedged the seat belt anchors behind the seat so they wouldn’t jab my back; and settled into a comfortable enough posture across the bench. I fell asleep looking at Earth’s satellite through the windshield wondering why it was such a pleasure to be in a condition of near vagrancy. Was it relief from doing things some “right” or sensible way, or foregoing the comfort of a motel which I could easily afford? I suppose what felt so good was the sense of detachment, anonymity, and simplicity of style. Or maybe it was merely the indulging of a fantasy cousined to nomadic wayfaring of another era.

I glanced at my watch around 6:00 AM before really waking at 7, that last hour of contented dozing accompanied by the thrum of Saturday’s early commerce - trucks lumbering along. I brushed my teeth there mildly contemplating in the light of day the notch off the road where I had laid over. Moments later, wheeling onto the road, pointing west, I anticipated the first place where I could gas up Betty and get my necessary road trip fuels too. Breakfast was coffee, an egg sandwich and a small sack of beef jerky. The early morning sky and atmosphere suggested it was going to be a beautiful day. Crisp, even light raked the truck cab and calmly heightened all the plain things near me: the coffee cup, the map, a curl of smoke sucking toward the window gap. Plain. Comprehensible. Driving along I was immersed in an arc of waking farms, undulating green ground and fences that lunged parallel to Betty as she coursed along happily in her element. Continuing on US 20 I was skirting north of Glimmerglass State Park and Cooperstown. From this point on I faced unexplored road. I did turn off at one point, my interest piqued by a  KOA. Pretty much RV’s. Wonder lodges of the itinerant retiree, deployed here like giant Easter eggs among the grass. A group or two of elbow pumping wives were out for their early morning brisk walks while various old codgers cranked up their Coleman stoves for breakfast. These acts summarily considered as the taking off and the putting on of fatty foods. I say go for it. You worked all those years; you have the right to decline just however you like. I admire that the underlying motif is being out in a campground and not in a high-rise condo. Although, would they if they could? I don’t know. At some point appearances have to stand for the facts and I'll accept that this is exactly what they want to be doing.

At route 28 I opted north. Approaching the town of Mohawk the road suddenly drops several hundred feet via a trio of rollercoaster descents and bottoms out at the same named river. The appellation invokes the historical fact that not so long ago this was Indian land which became settled first by frontiersmen; then colonists; then citizens. The Remington gun factory and museum here attest to the necessaries of peacekeeping and trading in those times. This town, like others in the region, would have been a distant point on the long routes between centers like New York and Boston and Buffalo, a place of respite and restocking stores along the rugged way.  The Erie Canal extending the river and the advent of railways would have brought towns like Mohawk out of obscurity but I suspect right up until the development of modern highways this was considered territory far flung from the big cities at either end of New York. In considering how distant home now seemed in the midst of this expansive countryside and all the miles I’d driven to get here, I sensed a cross-temporal connection to that frontier heritage. Feeling, I suppose, some pulse of the region’s history and a celebration of regionalism itself, whatever shreds of it are left in the wake of its effacing forces is what impels me to roam like this. 

Much has been discussed of America’s migration west and for me any road trip oriented west, however short, resonates with that history as a kind of reenactment. I think there is even more to be discussed about travels that follow the sun’s path versus those that counter it. To travel west is to move with the grain of time and when that travel and time are ended it is a kind of anti-climax.

North of the river I kept on 28 through Herkimer and on up to Remsen passing from Herkimer County to Oneida County. This area is just outside the western boundary of the Adirondack Park but incrementally north enough from where I’d started this day to evoke small modulations in the terrain and atmosphere. Furs and pines made their appearance in thick stands among  the blazing foliage of hardwoods; a more mineral edge in the grass’s color; the pastoral scenery more nuanced. Compact towns displayed well preserved classic architectural styles in their older homes and work places detailed with stained glass windows, stout stone chimneys, gables, and wrap around porches. A backdrop of clean sky and even plating of gold light highlighted the scenes. Like other migratory creatures I was homing in on a nameless destination guided by internal compass.

In Remsen I turned onto a county route west to connect with NY46, the way to Pixley Falls State Park. This segment ratcheted up the headiness of the previous scenery and towns were becoming more distantly spaced. The drive funneled me through banks of innumerable trees packed across slopes like gigantic pixels of the classic autumn palette: bright, flaking yellows, deep oranges, bouquets of crimson followed up by the greens of their as yet unchanged siblings. Consistent with the day’s mileage some sort of stream, brook or river wound its way astride or across my truck and me. The slow rise of land could barely be detected but a surprise gap on the route allowed a view back to an immense swath of valley which had as its probable horizon the general area I’d woken up in. It was a breathtaking vista evoking a Thomas Hart Benton-like idealized scene of agrarian bounty  and beauty. A vast hatch work of furrowed earth and paling stalks quilted the hips and troughs of ground, staked here and there by silos and brick colored swatches of barn sides.

A moment of anti-climax occurred at Pixley Falls when I read a posted sign: camping was closed for the season. Before leaving home I had checked a state website for which campgrounds were open south of the river but hadn’t for up here so it had been a gamble anyway. I was halfway to Boonville so I proceeded there and paused there for some map reading and decisions about the rest of the day.  I half thought about heading into the Adirondacks for a camp site but that would deflect from the region I’d intended  to focus on. I didn’t mind the idea of retracing 28 all the way back through Mohawk but when I did a U-turn in a church parking lot in Boonville and Betty made a startling scraping noise I got a rush of adrenalin and thought, oh no! don’t break down on me way out here. Okay, this was incentive for shortening the tether on this frivolity. In the six years I’ve had this truck and the numerous trips it has made in New York state, New England and as far south as Maryland it had never broken down or faltered in any way. Considering I got it at 115,000 miles and it was going to hit 170,000 on this trip it had performed well but I prayed the swan song didn’t include a tragic note. I guess it was a caught branch or something because nothing bad happened to diminish Betty’s record for reliability as a road horse.

Entering Otsego County on 28 I had gone full circle and was soon tunneling through the woods abutting the west shore of Canadarago Lake spaciously dotted with older lakeside houses appended with prim little piers. You could tell living there was all about the water. Pontoon boats, sleek hulled motorboats and little skiffs were variously moored. Some kids scuttled around on the piers, others fished lackadaisically.

South of the lake the road returned again to the open country of the state’s meadowed vale with me meandering under a borderless, cerulean sky suffused with the high sun’s radiance and hung with mare’s tail clouds. The road pitched and fell and leaned into the flanks of the October land as I made for Gilbert Lake State Park.

It had been two years since I'd camped in a state park and as I drove around the site loops to find a good spot I was surprised to feel more acutely than expected, differences from my backcountry mountain hikes. It’s apples and oranges really but the campground had a welcome docility. This, like other New York campgrounds I’ve stayed in, was mixed grassy and wooded areas situated around a lake, impeccably clean and sheltered respectful guests contentedly sequestered in their own tent side industry. I staked out my spot and then went for a walk down to the lake, a glacial scar of about 40 acres. At the water’s edge a hem of trees grew out of their blurred rejoinders impressionistically feathering the lake’s mirror with the fall spectra.

Back at my site I set up camp, puttering around with satisfaction: pitching my tent, getting a fire going, rustling up the ridiculous foods I bought in the last town. For dinner I had a 99 cent loaf of white bread and a pack of hot dogs to work with. I chuckled at the thought of the diced vegetables on my dish, steamed loose from their frozen brick, resembling a personal size serving of the seasonal landscape: green, orange and yellow. I traded some packaged chocolate chip cookies with my neighbors for a much appreciated Sprite. Breakfast would be a jumbo can of Campbell’s meat and potatoes soup plus a couple of those cookies dipped in the evaporated milk I bought to go with some instant coffee. The Folger’s had been in my truck for at least one year, drop forged through winter and super-heated in the summer, it had petrified into a slanted wedge in its jar but I wasn’t giving up on scraping out a cup’s worth. Of course, this is exactly what camp-o-phobes fear the cuisine will be if they ever have to go. I had shopped cheap and easy to prepare on purpose. My only requirement of a meal here was warm mass and it tasted great. The rest of the evening I idly stoked the fire, listening to muted end of day chat among other campers.

In spot number 67 my tent was pitched off to the side on a flat of lush grass centered in a circle of 100 foot pines naked three quarters of the way up. Their lofty branches ringed a perfect circle of sky animated in the dark by the constellations arcing through the "lens"; quick blips of interstellar debris combusting in its fall; and for a period, the false incandescence of a full moon. I fell asleep to these movements visible through the skylight of my tent’s ceiling, the near end of the towering telescope.

On Sunday I burned the last little firewood while I broke down the camp. I packed up Betty and set off on routes decided over breakfast, a course which reckoned a want to wander with the requirement to not stray too far and roughly bend home. South of the campground I traveled on route 7 which parallels the Susquehanna River, a magnificent stretch of road which passes yet more lovely farms. Iconic white and green farm homes, broad red barns with mansard roofs and attendant wells, sheds, pens, hen houses and spines of fencing planted across the hills and pasture sat with healthful dignity in their bucolic order and strained mutely to recall a pastoral ideal only occasionally betrayed by oversized carbon colored satellite dishes.  Route 7 wound beside the river past produce stands with pumpkins, knobby gourds and Indian corn and yard sales with tempting tables of junk and on through noiseless small towns. One of these towns, Unadilla, with dark red banners on lamp posts along its main street informed passers-through it is the hometown of Boy Scout Troop 1.

Further on trout fishing camps showed themselves to be the local preference in a campground lifestyle. “Ready to catch fish?” dared a billboard. The occupants of these sites and their various RV’s and pop-up trailers seemed a contented riparian society. In Sidney, with not a little resignation, I wheeled east across the Susquehanna for the final section of my tour. Route 206 due east climbed out of the valley into the western foothills of the Catskill Mountains. Elevated panoramas of the lowlands showcased rural junctions like toy villages nestled in the crooks of the hills.

A county road loop detoured from 206 down to the Cannonsville Reservoir, one of several huge upstate water reserves managed by the Dept. of Environmental Protection for New York City’s drinking water. I threaded through the two prongs of the reservoir’s north end and crossed and crossed back, just for the fun of it, a municipal works bridge whose coordinates are in the middle of a many mile diameter lake surface corralled by mountains crenelated in burnished colors like flames ravaging the forest canopy. When the loop returned to 206 I was near adventure’s end. Towns became more robust and active with the easily spotted city antique hunters as I got nearer to the Catskills border. The East Branch of the Delaware River flanks the west side of the park preserve and turning south it’s only a short drive on it before coming to Route 17 where an access ramp thrust me back on the highway and suddenly, brashly, with  the other cars hurtling who knows where.

I’m a fan of the road trip. Wending country byways and taking in the scenery is a pastime of limitless gratification for me. I don’t necessarily forge acquaintances but what conversation there is along the way is usually friendly; I can rely on returning home with a sense of some level of connection with those there by simply having visited the far flung habitations of my countrymen. Seeing the lay of towns and the routes between them, smelling the country earth, pondering the atrophied muscle of old mills and factories, these things make map points mean something more to me than mere names. I always feel like my truck runs better, too, on a trip like this. I’ve come to know its hum as well as its tired groans when it’s time to rest. Betty has been my wheels, a carriage for stowed equipment and yard sale trophies of the trip, a living room, bedroom and a widescreen for un-programmed viewing. I can count on more trips in cars to come but it will take many miles for any of them to achieve the stripes this truck has earned and I hope where ever it goes will be a kindly fate. But buyer beware: she likes to roam.   

October 2003

NYPL Library Walk

Click on the post title to tour the New York Public Library's Library Walk on 41st St between Fifth and Park Avenues. An elegant tribute to literature, readers and preservation of the written word. 

Erwin Raisz' Landforms of the United States

Erwin Raisz was a notable cartographer best known for his physiographic maps of landforms. This map is useful for the generalized section at the bottom illustrating the topographical relief across the land.

Cobblestone Landmarks of New York

In the preceding post I introduced the York State Book Cobblestone Landmarks of New York State and mentioned that finding the book in a used bookstore was the occasion of learning about this mildly exotic architectural form largely particular to New York State. This post primarily serves to share the introduction to the book which gives a thorough overview of the form and how it came into being as well as some other notes. Here it is:

THE STONES AND THE STYLE  Our upstate cobblestone landmarks are works of art created by pioneer craftsmen in the middle of the nineteenth century. Using an Ice Age residue of glacially rounded native stones, those craftsmen of the 1830s and 1840s perfected a form of folk art that was without precedent in America. For approximately thirty years they created a variety of decorative walls on hundreds of buildings. Today their creations are unique among all those structures erected in the Great Lakes region before the Industrial Revolution rendered such craftsmanship economically obsolete.             The evolution of the humble cobblestone began 325-475 million years ago. During the Ordovician, Silurian and Devonian periods of the Paleozoic Era all of the Great Lakes region west of the present Hudson Valley was a great shallow salt sea filled with the living creatures whose remains, falling to the bottom, gradually formed layers of limestone deposits. Erosion of the young Appalachian Mountains, a more ancient land mass to the east of this salty sea, washed down additional layers of sand and clay, depositing these in thicknesses of thousands of feet. Under enormous pressure, these various layers of sediment became limestone, dolomite, sandstone and shale. Finally, some 250 million years ago, as the salty, sediment-filled sea dried up and the land mass emerged, new rivers began to cut into and expose our regional sedimentary bedrock. The forces of erosion, pressure, and time that produced this foundation were eventually to form the cobbles that later were wrought from this same bedrock.             In the last million years or so the Ice Age redesigned our landscape. Great juggernaut masses of ice ground loose stones on top of the bedrock surface into a generous supply of cobblestones, smoothing the bedrock surface as well. Advancing slowly down from Labrador, these glaciers and ice sheets picked up rock rubble and carried it south. Thus, in addition to polishing and redistributing the loose fragments of local sedimentary sandstone and limestone, the ice mass brought with it a small number of harder Canadian metamorphic stones, such as gneiss and quartzite, which were tumbled and crushed along the way. These stones were eventually left on the land when the ice melted. Geologists call this glacial deposit of rocky debris over the bedrock layer the till sheet or drift mantle. The layman knows it as topsoil or subsoil.             There are two types of till or drift deposits: ice-laid and water-laid. Stones from an ice-laid deposit are roughly rounded fragments of many sizes and kinds of rock. These are what have come to be called field cobbles; perhaps more properly they should be called glaciated cobbles. The glaciated cobbles are found predominantly in the drumlin areas of central and western New York, between Rochester and Syracuse. In contrast, stones from water-laid deposits have had their sharp edges rounded and their surfaces smoothed. These are the stones that were released from the ice and then subjected to additional tumbling action in glacial-born waters of streams and lakes. These water-rounded cobbles are found predominantly in the moraine areas of central and western New York. Lake Ontario’s preset shoreline for the most part is lined with water-rounded stones, and here wave action continues the process of cobblestone polishing. Thus, through the advent of natural forces a natural building material was deposited and shaped in central and western New York.             Following the American Revolution, settlers began to push, and be pushed, westward into new lands in central and western New York. Initially, surviving and conquering the forested land were their immediate concerns. Forests had to be cleared to provide farm lands on which food crops might be planted. The houses they built first on their new land were usually log, or hand-hewn frame cabins, although virgin hardwood forests of maple, beech, and oak did not surrender easily to the farmers axe. To the first generation of farmers the axe, broadaxe, froe, saw, and other woodworking tools were no less important then the plow. With these tools the farmer began many years of forest removal and with them put up his rude log or frame cabin in the forest clearing. Sawmills, gristmills, and other water-powered mills were rapidly constructed wherever streams could be dammed. Locally milled lumber was a necessary luxury when increasing numbers of farm buildings were needed for a completely self-sufficient farm economy.             The farmer’s remaining woodlots of uncleared land supplied fuel and free construction materials for the growing farm complex. With a broadaxe, felled trees were squared into massive beams and then pegged together to form the skeletons of barns, animal shelters, stables, carriage, wood sheds, granaries, and other farm buildings. Split logs and fieldstones became fences. Lumber for walls and floors was cut at the closest sawmill. Hand-split wooden shingles made excellent roofs and siding. As the necessities of life were secured, larger frame houses replaced the log cabins to accommodate growing families. Between 1800 and 1820 brickyards, stone quarries, lime kilns, and glass factories appeared in every corner of the state to offer farmers and townsfolk alike a choice between wood, brick, or stone construction.             In central and western New York settling the land proceeded slowly, due mainly to the scarcity of natural transportation routes. Waterways were the simplest mode of transportation, and west of the Mohawk River there was scarcely anything of this sort. In 1817, following an unsuccessful attempt to have the federal government build an artificial waterway to the West, New York State started the project on its own. Derisively called Clinton’s Ditch by its opponents (in honor of the governor and principal proponent), the Erie Canal began to thread its way westward to Lake Erie. The canal required construction workers with various skills, among them masons to quarry and lay stone for canal locks and aqueducts. To build these the remnant of the prehistoric sea – limestone – was quarried for stone blocks. Quarried limestone was also crushed and burned to produce lime for the mortar with which these blocks were laid. The canal provided the first opportunity for subsistence farmers to become cash crop farmers, for their crops could now be carried back east to established centers of population. In 1825 the canal was finally connected with Lake Erie, linking the Great Lakes with the Atlantic Ocean via waterways across New York State. From New England more Yankee farmers came with the marketing of their wheat, flour, and other cash crops on the Atlantic seaboard.             The newly prosperous farmers were now able to build houses reflecting this prosperity and their confidence in the future. Building materials in those days usually came from the immediate area, and only in rare instances were they transported great distances, as is common now. Central and western New York had, in addition to timber and clay for bricks, all the stones, gravel and sand left by the glaciers of long ago. Sometime after 1825 the first cobblestone building was constructed in upstate New York, probably in Wayne or Monroe Country, and the cobblestone era was begun. We do not know which building was the first, where it was, or who the mason was. In the years to come virtually every type of building was constructed in this regional mode, incorporating within them the most popular architectural styles of the early nineteenth century. The majority of cobblestone buildings are in the Greek Revival style, which appeared in western New York about 1835. Those constructed before this date are in the Federal style. Gothic revival and Italianate style cobblestone buildings are relatively few. Cobblestone Landmarks of NY State             While most of the cobblestone structures built were farmhouses, since most upstate New Yorkers were farmers, cobblestone structures were built in villages and cities also, including a business block in Batavia, a reaper manufacturing building in Perry, a warehouse in Palmyra, and an agricultural equipment factory in Macedon, all razed years ago.              In all more than 700 cobblestone buildings were built in the counties to the south of Lake Ontario. Most are concentrated on the Lake Ontario Plain and among the Finger Lakes, but some isolated examples were built as far south as Bath, Elmira, and Cortland. Wayne County exceeds all others with over 180 documented buildings. Monroe, Orleans, and Ontario Counties each record about 100 buildings. There is even a cobblestone house in Colorado, built by a Monroe County man who went west after the Civil War. Octagonal house, Madison Cty, Rt. 20 (from the book) The same house today (photo mine)             Following the frontier, New Yorkers soon carried the craft west to new farms and villages in southern Ontario, Canada, southern Michigan, and beyond Lake Michigan as far as Beloit, Wisconsin. Chester Clark of Marion, NY, whose 1838 letters to the Genesee Farmer and Gardener’s Journal provide us with an early document of the art, and his brothers introduced cobblestone masonry in 1844 to Beloit, where they built the Smith-Gaston house and several more prior to 1863. Levi Boughton learned the cobblestone craft in Monroe County and took it to Paris, Ontario, Canada, in 1838. There twelve houses and churches were built.             Thus on both sides of the Illinois-Wisconsin border the second largest group of American cobblestone buildings appeared in the 1840s and 1850s. In fact, much of the best cobblestone work in Wisconsin and southern Michigan is located in or near places with transplanted New York names such as Rochester, Geneva, Troy, Farmington, Palmyra, Genesee and Walworth.             A much less significant number of cobblestone structures is found scattered in a thin line eastward through the Mohawk Valley to Guilderland in Albany County, and Bennington and Brattleboro, Vermont. Eight hundred and fifty miles and almost as many cobblestone buildings separate Brattleboro from Beloit, but the dates clearly indicate that the idea moved west and east from its origin in upstate New York. From Shelgren, Lattin & Frasch’s Cobblestone Landmarks of New York State. Coolidge House, Bouckville, Rt. 20 (from the book)   Above photos (mine) of Coolidge House, Bouckville, NY Rt. 20 today a charming inn and beautiful ground floor bar. For anyone interested in visiting New York's cobblestone houses Cobblestone Quest: Road Tours of New York's Historic Buildings by Rich and Sue Freeman © 2005 Footprint Press organizes extant structures in 17 loop tours within the counties between Buffalo and Syracuse. The book elaborates on the history and diagrams details of the architectural style over a dozen or so pages. Reproductions are pretty low grade but it is a good resource for visiting the buildings.