FORBIS-VENN HOUSE

 

This report was written on Jan. 31, 1991

1. Name and location of the property: The property known as the Forbis-Venn House is located at 5607 Matthews-Mint Hill Road, Mint Hill, in Mecklenburg County, North Carolina.

2. Name, Address and telephone number of the present owner of the property: The owners of the property are:

Robert G. and Rebecca B. Venn
5607 Matthews-Mint Hill Road
Mint Hill, North Carolina 28227

Telephone: (704) 545-0780

Tax Parcel Numbers: 135-281-14

3. Representative photographs of the property: This report contains representative photographs of the property.

4. A map depicting the location of the property: This report contains maps which depict the location of the property.

 

 

Click on the map to browse

5. Current Deed Book Reference to the property: The most recent deed to Tax Parcel Number 135-281-14 is listed in Mecklenburg County Deed Book 4317 at page 822.

6. A brief historical sketch of the property: This report contains a brief historical sketch of the property prepared by Ms. Paula M. Stathakis and Ms. Nora M. Black.

7. A brief architectural description of the property: This report contains a brief architectural description of the property prepared by Ms. Nora M. Black.

8. Documentation of why and in what ways the property meets criteria for designation set forth in N.C.G.S. 160A-400.5:

 

a. Special significance in terms of its history, architecture, and cultural importance: The Commission judges that the property known as the Forbis-Venn House does possess special significance in terms of Mint Hill and Mecklenburg County. The Commission bases its judgment on the following, considerations:
1) the ca. 1878 Forbis-Venn House is one of the most intact dwellings in Mint Hill of the post-Civil War period;
2) the Forbis-Venn House is architecturally significant for exemplifying Mecklenburg County’s vernacular two-story, I-house with extension;
3) the braced frame structure and reused materials show the ingenuity required of local farmers following the Civil War;
4) the cross gable dormers demonstrate the use of vernacular decoration;
5) many original features remain following ownership by three generations of the Forbis family; and
6) the Forbis-Venn House provides valuable insight to the life of farm families in Mecklenburg County.

b. Integrity of design setting, workmanship materials feeling, and/or association: The Commission contends that the architectural description by Ms. Nora M. Black included in this report demonstrates that the Forbis-Venn House meets this criterion.

9. Ad Valorem Tax Appraisal: The Commission is aware that designation would allow the owner to apply for an automatic deferral of 50% of the Ad Valorem taxes on all or any portion of the property which becomes a designated “historic landmark.” The current appraised value of the improvements is $60,630. The current appraised value of the 1.000 acres is $15,000. The total appraised value of the property is $75,630. The property is zoned R-20.

Date of Preparation of this Report: 31 January 1991

Prepared by: Dr. Dan L. Morrill
in conjunction with
Ms. Nora M. Black
Charlotte-Mecklenburg Historic Landmarks Commission
1225 South Caldwell Street, Box D
Charlotte, North Carolina 28203

Telephone: 704/376-9115

 

 

Historical Overview

Prepared by: Ms. Paula M. Stathakis and Ms. Nora M. Black

The Forbis-Venn House was built cat 1878 by Richard Calvin Forbis. A Civil War veteran who was wounded twice during his tour of duty, Forbis returned to Mecklenburg County to the peace time occupation of farmer with his second wife, Jennie McCombs Forbis. According to family legend, neighboring friends helped Forbis build a two story house on family land. This house has been home to three generations of the Forbis family.

The style was supposedly copied by other farmers in the area. The house, built out of oak that was felled on the lot, had two downstairs bedrooms and attic space that could be finished as the family required. The kitchen was attached to the rear of the house as a fire precaution. The house still has the L-shaped porch that was part of the original plan. The doors were put together with round pegs instead of nails. Behind the front door is a gun peg where Richard Forbis was reputed to have kept a gun handy to discourage unwanted visitors. This gun is now in the possession of Mrs. Betty Ross, a granddaughter of Richard Forbis, who lives next door to the Forbis-Venn House.¹

Richard Forbis appears in the 1870 Agricultural Census with only thirty acres of land, the total value of the land and buildings was $170. He owned some cattle, one mule and six hogs. He raised winter wheat (19 bushels), Indian corn (190 bushels), and Irish potatoes (20 bushels). In addition to his crops, he made 40 pounds of butter, 16 gallons of molasses, and $100 from his yearly slaughter. He demonstrated vast economic improvement in the ten years that followed 1870.

The 1880 Agricultural Census shows Forbis to be the owner of seventy tilled acres, one hundred and seventy acres of woodlands, three acres of meadows, and twenty acres of other unimproved land, a total of two hundred and sixty-three acres. The total estimated value of the farm was $2,925. In 1879, Forbis hired black farm laborers (actual number not disclosed) for forty-five weeks and spent approximately $44 on their labor.

Like many farmers in the area, Forbis placed a strong emphasis on corn (25 acres, 300 bushels) and cotton (12 acres, 5 bales). Unlike many farmers of the post-war period, however, he did not depend exclusively on these crops. At least in 1880, Forbis did not place himself in the difficult position of dependency on cash crops such as cotton at the expense of self-sufficiency. Forbis also grew oats, wheat, Irish and sweet potatoes as well as some orchard produce. He also continued his production of molasses, an uncommon enterprise in Mecklenburg County.²

Forbis also maintained a full barnyard. He raised two milk cows and six sheep; the sheep produced eleven pounds of wool and six lambs in 1879. He raised eleven hogs and one hundred and twenty-five barnyard poultry that produced two hundred and twenty-five barnyard poultry that produced two hundred dozen eggs.³

Richard Calvin Forbis died in 1926 and left the farm to Henry Baxter Forbis, his son. Henry Baxter Forbis and his wife, Maude Allen Forbis, raised the following six children in the Forbis-Venn House: Betty Forbis Ross, Richard Forbis, Frances Forbis Blanchard, Henry Baxter Forbis, Jr., Mary Forbis Duncan, and Wilma Forbis Todd.

Henry Forbis, Sr., farmed the land, and worked for Cole Manufacturing Company. As a farmer, Henry Forbis’ interests were as diverse as his father’s. He raised corn, cotton, and strawberries and other garden produce, as well as hogs and chickens. Betty Forbis Ross remembers that her father sold strawberries in town and at one time hired two laborers that lived on the property. One laborer lived in the house and one lived in an outbuilding. She does not recall that hired labor was commonplace on the farm during her childhood.⁴

Henry Forbis, Sr., died at age 81 in the same downstairs bedroom where he was born. Prior to his death, the house passed to his son Richard and his wife Linda Williams Ross.⁵ Henry Forbis’ other children received lots near the house.

In 1978, Richard Forbis sold the house to Bart and Juanita Peaden, who lived there until 1980.⁶ The Peadens sold the house to the present owners, Robert and Rebecca Venn.⁷ The Venns have done extensive work to the exterior of the house. Henry Forbis, Sr., had covered the unpainted oak boards with asbestos shingles. The Venns removed these shingles to discover that most of the original oak siding had survived in good condition. Today, the nineteenth century farmhouse built by Richard Forbis stands amid late twentieth century suburban development.

 

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Notes

¹ The above information was gathered from an interview with Mrs. Betty Ross, 9/6/90. Mrs. Ross quoted descriptions of the exterior and interior construction from an article written by Mrs. Bart (Juanita) Peaden, who owned the house from 1978-1980. This article was published in The Southeast News, March 28, 1979.

²Agricultural Schedule, 1880, Mecklenburg County.

³ Ibid.

⁴ Mrs. Betty F. Ross, 9/6/90.

⁵ Deed 2949-107, November 6, 1967. Register of Deeds, Mecklenburg County Courthouse.

⁶ Deed 4122-100, October 27, 1978. Mecklenburg County Courthouse.

⁷ Deed 4316-822, July 5, 1980. Mecklenburg County Courthouse.

 

 

Architectural Sketch

Prepared by: Ms. Nora M. Black

The Forbis-Venn House is located on the northwest side of Matthews-Mint Hill Road (Highway 51), north of the intersection with Shea Lane and south of the intersection with Carving Tree Drive, in the Town of Mint Hill in southeastern Mecklenburg County. The entry facade of the house faces southeast. The house is currently owned by Robert G. and Rebecca B. Venn.

The house is an excellent example of the two-story, extended I-house with center hall that was fairly common in the post-railroad years between approximately 1850 to 1890. This period, often referred to as the National Folk House period, coincided with the spread of the railroad throughout the United States. The Forbis-Venn House is enriched with two cross gable dormers on the southeast facade and a cross gable incorporated into the front porch over the entry.

Construction of the Forbis-Venn House was probably completed in 1878 by Richard Calvin Forbis. Forbis constructed the house himself with the help of his family. The braced frame structure is joined with hewn-and-pegged joints. The structure contains some pieces of logs and half-round logs. The Forbis family appears to have been a frugal lot using whatever materials happened to be available. ¹

Richard Forbis used German siding on the portion of the wall protected by the front porch. The original foundation consisted of piers of handmade brick; the piers have been infilled with modern brick. Over the years, the house evolved to meet the needs of various owners. The original siding of oak lapped horizontal boards is still in place; rotten or damaged boards have been replaced with similar material. The entire house is painted putty with ivory trim. Shutters are brick red; a narrow band of black encircles the window sash.

The Forbis-Venn House has a compound, L-plan. The ground plan of the section of the house nearest the highway is that of a side-gabled structure three units wide. One gable-roofed, one story wing at the rear (northwest) of the house forms the rest of the L-shape. Originally, the house contained 2,000 square feet. The Venns, current owners, extended the gable-roofed wing with an addition of 1, 500 square feet to the extreme northwest end. Contained in the addition are living spaces and a garage. The addition is also gable-roofed; however, the roofline is lower than the original section. The current owners matched the windows, trim, and cornice returns to the original house. No sections of original construction were removed during renovations; however, an old stone-lined well beside the house was closed for safety reasons. Original glazing still remains in many windows.

The side-gabled section of the house (facing southeast towards Matthews-Mint Hill Road) is one unit deep by three units wide. The front (southeast) elevation of the house is divided into two units having symmetrical windows and one unit with a centered door on the first floor and a window on the second floor. The three upstairs 6/6 windows are original; canvas awnings were added for sun protection. On the first floor, the main entry surround is original. The door is a replica of the original as described by the Forbis family; it consists of two arched glass panels and two wooden panels. The door’s hardware, such as the twist door bell and the brass knob are antique; however, they are not original to the house. The two single first floor windows were replaced with two double 6/6 window units during remodeling in the 1920’s.

The entrance appears to have changed little over the years. The entrance consists of a wooden enframement with abbreviated side lights (three panes of original glass) surrounding the door. Beneath the sidelights are ivory wooden panels. The door itself, as mentioned earlier, is a replica of the original.

The one-story, hipped roof porch on the highway (southeast) facade wraps halfway around each of the gable ends of the I-house section of the house. The porch has a concrete floor and steps installed when the wooden ones needed replacement. It has brass carriage lamps installed by the current owners. The porch ceiling is of beaded board. The porch roof is supported upon square tapered white columns resting on brick piers; these were added in the 1920’s. Originally, the porch had wooden columns with a balustrade. A broad, low-pitched gable indicates entry at the center of the porch; a pediment formed by that gable is covered with shaped shingles laid in a decorative pattern.

Two cross gable dormers on the southeast (highway) facade are covered with the same decorative pattern of shaped shingles found in the porch gable. Each of the cross gables has a small square window framed with white molding. The plane of the cross gables is the same as that of the front wall.

The northeast gable end has four windows, two 6/6 double-hung sash on each story. The southwest gable end has three windows, two 6/6 double-hung sash on the second floor and one 6/6 on the first floor. A window on the first floor of the southwest gable end was replaced in the 1920’s with a fifteen-light French door to give access to the porch. Each of the side gabled facades has an exterior masonry chimney exiting the roof at the peak of the gable.

A small hip-roofed porch added along the northwest (rear) facade of the I-house section was enclosed with 4/4 double hung sash and a double French door; the exact date of this addition and enclosure by the Forbis family is unknown.

The one-story wing to the rear of the side-gabled section is four rooms deep by one room wide. Additional space was obtained for a hallway by enclosing a porch that ran the length of the north side of the wing. A masonry chimney located on the northwest gable wall signals the end of the original construction; it is now an interior chimney between the original house and the extension of the wing added in the 1980’s. The windows of the wing are 6/6 double hung sash. The door on the north side of the wing is modern with nine lights and four triangular panels.

The roof of the house is covered with modern shingles. Relative to the height of the house, the roof has a low pitch which causes the wall to dominate the view of the facades. The boxed eaves have a wide overhang with a single piece of molding for decoration. There is a wide overhang on the gable ends with simple, undecorated cornice returns.

The interior of the house has many original features; however, renovations occurred in the 1920’s and again in the 1980’s. The ceilings of the I-house section of the first floor are boards approximately six inches wide. The upstairs ceilings are of beaded board. The rooms in the I-house section have walls covered with horizontal boards approximately six inches in width. The walls of the dining room and an upstairs bedroom have been covered with wallpaper; however, the original horizontal boards remain beneath the covering. The four rooms in the two-story I-house section are square and approximately 13′ 6″ by 13′ 6″.

One unit of the width in the interior of the I-house is devoted entirely to a hallway and stair from the front entry to the original rear entry. Marks on the stairway and on the wall beside it indicate that the stair was enclosed at one time. The first floor hallway, the stairway wall, and the upstairs hallway have walls covered with German siding. In the hall, the stair landing and a couple of steps drop below the ceiling level. Both were carefully boxed with German siding and trimmed with molding.

The fire surround in the Forbis-Venn House living room or parlor is a close approximation of the original. In the dining room is a 1920’s fire surround with Victorian detailing. The original wood floors are of heart pine laid in random widths. In some rooms, the floors have been covered with carpet. Door surrounds and floor moldings were updated in the 1920’s.

The four panels pegged wooden doors found throughout the interior are original. Over one door are wooden gun supports installed by Richard Forbis.² Most interior doors have flat boards for the door surround; the corners are not mitered.

The interior walls of the kitchen had no board covering until approximately 1912. The Forbis family had wrapped newspapers around the inside of the room to provide insulation. The latest newspaper found by the Venns during renovations was dated 1912.³

An oil furnace and air conditioning make the house more comfortable for the current owners. New lighting fixtures meet current electrical codes. The current owners completed their addition to match the original house including interior trims, finishes, and hardware. One exception is the exterior of the addition which has Masonite siding; however, it is in the same pattern as the original weatherboarding. The second exception is the flooring in the addition; hardwood flooring was not used.

The Forbis-Venn House can provide important information about farm life in Mecklenburg County following the War Between the States. Its presence on Matthews-Mint Hill Road reminds those who pause to admire it of a more peaceful, slower-paced era when farmers tilled the land to earn their livings.

 

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Notes

¹Information gathered from an interview with Robert G. and Rebecca B. Venn, current owners, on 13 January 1991. Mr. Venn did much restoration work himself in the 1980’s and speaks from direct observation.

² Ibid.

³ Ibid.

FLOW-LEE HOUSE

This report was written on Sept. 25, 1993

1. Name and location of the property: The property known as the Flow-Lee House is located at 4122 Hoodridge Lane, in Mint Hill, Mecklenburg County, North Carolina.

2. Name, address, and telephone number of the present owner of the property: The owner of the property is:

Catherine B. Curlee
4122 Hoodridge Lane
Charlotte, North Carolina 28227

Telephone: (704) 394-4838

3. Representative photographs of the property: This report contains representative photographs of the property.

4. Maps depicting the location of the property: This report contains maps which depict the location of the property.

 

 

Click on the map to browse

5. Current deed hook references to the properties: The most recent reference to the Flow-Lee House property, Tax Parcel Number 195-043-69, is listed in Mecklenburg County Deed Book 6907 at page 277.

6. A brief historical sketch of the property: This report contains a brief historical sketch of the property prepared by Frances P. Alexander.

7. A brief architectural description of the property: This report contains brief architectural description of the property prepared by Frances P. Alexander.

8. Documentation of why and in what ways the properties meet criteria for designation set forth in N.C.G.S. 160-400.5:

 

a. Special significance in terms of history, architecture, and cultural importance: The Commission judges that the property known as the Flow-Lee House property does possess special significance in terms of Charlotte and Mecklenburg County. The Commission bases its judgment on the following considerations: 1) the Flow-Lee House was built ca. 1890 and is one of the few historic buildings remaining in the crossroads community of Mint Hill; 2) as the home of a local cotton gin and mill owner, the Flow-Lee House is a vestige of the once predominant cotton culture of rural Mecklenburg County during the late nineteenth and early twentieth centuries; and 3) the Flow-Lee House is a rare surviving example of vernacular Victorian domestic architecture in the county.

b. Integrity of design, setting, workmanship, materials, feeling, and association: The Commission contends that the architectural description by Frances P. Alexander included in this report demonstrates that the Flow-Lee House property meet this criterion.

9. Ad Valorem Tax Appraisal: The Commission is aware that designation would allow the owner to apply for an automatic deferral of 50% of the Ad Valorem taxes on all or any portion properties which become designated historic landmarks. The current appraised value of the improvements to the Flow-Lee House property is $64,630. The current appraised value of Flow-Lee House, Tax Parcel Number 195-043-69 is $22,500. The total appraised value of the Flow-Lee House property is $87,130. Tax Parcel Number 195-043-69 is zoned R20.

Date of Preparation of this Report: 25 September 1993

Prepared by: Frances P. Alexander, M.A.
for
Charlotte-Mecklenburg Historic Landmarks Commission
P.O. Box 35434
Charlotte, North Carolina 28235

(704) 376-9115

 

 

Physical Description

Location and Site Description
The Flow-Lee House is now located on a sparsely developed residential street off Matthews-Mint Hill Road in Mint Hill, North Carolina. Formerly located in the town center of Mint Hill, the house was moved approximately 1 mile to this 1.19 acre site in 1992 when the structure was threatened with demolition.

The house occupies a large, roughly rectangular lot on the north side of Hoodridge Lane. Once part of a large farm tract owned by the Hood family, the area is now comprised of large, single family parcels, some of which are undeveloped. The house is the only building on this lot which is bounded by woods on the north side, a vacant parcel to the west, and a house to the east. Having been moved to this site recently, there is little landscaping. The proposed designation includes the house and the 1.19 acre tract on which the building is situated.

Architectural Description
Exterior The Flow-Lee House is a one story, wood frame dwelling with asymmetrical massing and a multiple gable roof. A hip roof porch extends across the facade (south elevation) and along the west elevation. The house rests on a modern brick foundation which replicates an alteration, made in the mid-1930s, of the original open brick pier foundation.

The house is covered in wooden German, or shiplap, siding, and there are molded pilasters at the corners of the house. The siding under the steeply pitched gables is laid in a herringbone pattern. The roof has wide, overhanging eaves and is covered in replacement asphalt shingles. One of the two brick chimneys has a decorative vernacular Victorian cap.

The porch has the original turned posts and railing pickets, reputedly constructed of heart of cedar, but the floor has been recently replaced because of deterioration. The porch roof has a single gable marking the entrance.

The windows on the facade and portions of the side elevations are one-over-one light, double hung, wooden sash with diamond shaped upper lights. The windows in the rear portions of the house are four-over-one light, double hung, wooden sash. All windows have molded surrounds.

The facade has a central entrance with a bay on the west side and a single window to the east. Decorative jigsaw millwork is evident above the porch roof where the gable projects over the bay. The single Eastlake door has replacement lavender stained glass in the upper section which is said to be the color of the original. There is no transom or sidelights. The original decorative wood framed screen door is also intact.

Two gable end bays project on the side elevations, with the porch terminating at a doorway to the projection on the west side. The paneled wooden door with single light upper section is original. On the east elevation, the end bay is three-sided. This east bay has the same jigsaw millwork found on the facade, marking the extension of the gable over the bay.

There is a rear ell with an enclosed hip roof porch extending along the east side of the ell. The porch was enclosed in the late 1940s, but has been remodeled in the past year with four one-over-one light, double hung, wooden sash windows and the addition of a wood framed, glass door. Until recently, the rear bay of the porch was open and had turned porch posts, but this bay has been enclosed to accommodate a bathroom.

Interior
The house originally had a center hall plan, but the front section of the hall was removed in the 1940s to create a larger parlor. The front entrance now leads directly into the parlor which has vertical beaded board wainscoting, molded chair railing, plaster walls, beaded board ceiling, molded cornice, and hardwood floors. A fireplace is located on the interior (north) wall. The classical mantel with scrolled overmantel and classically derived, turned posts is original as are the fire bricks which have been recently cleaned. The molded door and window surrounds with bull’s eye modillions found in the parlor are repeated throughout the house. All rooms also have 12 foot high, beaded board ceilings except the ell porch which has a ceiling of German siding. The parlor has doorways leading to the dining room on the west side, and on the north side, to what is now an interior hall. The door to the dining room is an original paneled door, while the multiple light, hall door appears to have been added in the 1940s when the hall was remodeled.

The dining room has the same interior features as the parlor, including the vertical beaded board wainscoting, chair railing, hardwood floors, and paneled doors. However, the mantel in this room is not original, but was chosen because it was compatible with the period of construction for the house and because it matched the shadow outline of the original. This mantel has simple classically derived piers, but a highly decorative overmantel with an oval mirror, molded frame, classical columns, and a swag motif. Behind the dining room is a small closet (approximately 4 feet deep), covered in horizontal beaded board, which connects to what is now the kitchen.

The kitchen has a horizontal beaded board walls, vertical beaded board wainscoting, molded chair railing, hardwood floors, and an original fireplace mantel. The mantel is a heavy, vernacular fixture with turned posts and molded panels. Modern appliances and cabinets have been added along two walls. A door to the porch opens from the kitchen, which occupies the projecting west end bay. A wide doorway, situated in the center of the north kitchen wall, opens into one of two rear bedrooms.

The middle bedroom on the west side has the same horizontal beaded board walls above a vertical beaded board wainscoting and hardwood floors. French doors lead to the rear bedroom. Used earlier in this century as a kitchen, the second bedroom apparently was the scene of a stove explosion, and the horizontal beaded board walls show scars from this accident. Because of damage to the hardwood floors during the explosion, this bedroom is the only room to have carpet. A paneled door with multiple light upper section leads to the enclosed porch, which retains the once exterior shiplap sheathing and wooden floors. A modern bathroom is now situated in the rear portion of the enclosed porch. Added in the mid-1930s, a second bathroom is located at the juncture of the main house and the porch. This bathroom has new fixtures, with the exception of a footed tub, and linoleum flooring. Stained glass was used in the single window to prevent the need for more extensive remodeling in this small room. This bathroom is also connected to the east bedroom.

The eight foot wide interior hall allows access to the parlor, kitchen, rear porch, and the east bedroom, located directly behind the parlor. This bedroom has the vertical beaded board wainscoting and molded chair railing found throughout the house, but the walls are plaster. A fireplace is located along the south wall and is identical to the one found in the parlor. The fireplace is flanked by two closets, one of which has a mid-twentieth century, two paneled door rather than the five paneled doors original to the house. Two small overhead storage areas are built into the wall above the closets.

Historical Overview

The Flow-Lee House was built cat 1890 by Thomas Jefferson Flow in the crossroads community of Mint Hill, twelve miles east of Charlotte. Little is known about Flow except that he was born in 1844, married three times, and had no children. He was also an elder in Philadelphia Presbyterian Church, one of the seven eighteenth century Presbyterian churches in the county, around which some of the earliest rural communities were established by the Scotch-Irish settlers. Flow married his third wife, Jeannette Davidson Rankin in 1905, and she continued to live in the house after his death in 1913 (Records of Catherine B. Curlee).

In 1920, John Newton Lee and his wife, Catherine Miller Wilson, bought the house and the eleven acre tract from Mrs. Flow (Letter of Clarkson, Taliaferro, and Clarkson, 6 April 1920). The Lees were also members of Philadelphia Presbyterian, and Mr. Lee owned three farms as well as operating a cotton gin and grist mill in Mint Hill. The family grist mill was located on Bain School Road. John Lee died in 1927, but his wife continued to live in the house with her son, Louis Wilson Lee, and his wife. During the Depression, Louis Lee, a carpenter and farmer, rented the two front rooms of the house to local school teachers, and the family continued to take in boarders through World War II. After Louis Lee’s death, his widow remained in the house until 1984. From 1984 to 1988, the house was leased to tenants, but was vacant from 1988 to 1992 when the current owner bought the house. Rapid suburban growth since World War II has compromised many of the once rural communities of the county, and the Flow-Lee property, rezoned for business because of its location on one of the main streets of Mint Hill, was slated for demolition. The owner had the structure moved to its current site, approximately 1 mile south of its original location.

The Flow-Lee House was originally built near the center of this unincorporated market town, which served the surrounding cotton and corn farms. With a population of 100 in 1896, Mint Hill was not one of the larger rural villages in Mecklenburg County. The absence of rail connections undoubtedly limited the growth of the town. Indeed, the larger towns in the county, such as Davidson, Huntersville, Cowan’s Ford, Matthews, and Pineville, all functioned as minor rail centers and, in many cases, supported textile mills which relied on rail access. Without such transportation facilities, Mint Hill remained an important, but smaller, rural market center. Local merchants or farmers, as represented by the Lees, often operated cotton gins where local farmers would have their cotton ginned and baled for easier shipment to rail depots. In the case of Mint Hill, cotton was taken primarily to Matthews.

The Flow-Lee House was originally sited on the Matthews-Mint Hill Road, one of the principal routes connecting Mint Hill with Matthews to the south. This prominent location, and the attention to stylistic detailing found in this house, suggest that the Flows and Lees were fairly prosperous members of their community. In addition, the historic eleven acre site, which was too small to support farming, indicates that this house was a town house and associated with a mercantile family.

Conclusion

The Flow-Lee House has been moved from its historic location in the center of Mint Hill and therefore has lost its association with the historical and geographical development of the town. However, the house was never the centerpiece of a large farm operation so its current setting on a residential lot, still within the boundaries of Mint Hill, mitigates somewhat the loss of integrity of location. In addition, rapid suburban development in recent years has already compromised the historically rural character of Mint Hill, and despite being moved, the Flow-Lee House is one of the few late nineteenth century buildings to remain in Mint Hill.

The Flow-Lee House remains architecturally significant as a rare example of late nineteenth century domestic architecture in Mecklenburg County. In its substantial size and picturesque architectural elements, the house illustrates the general importance and prosperity of its owners, who had commercial as well as farming interests in this cotton-based agricultural community. The house retains its architectural integrity with few alterations since the 1930s and early 1940s. Since the move, the once-neglected house has undergone a largely sensitive restoration.

 

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Bibliography

Bishir, Catherine. North Carolina Architecture. Chapel Hill: University of North Carolina Press, 1990.

Blythe, LeGette and Charles R. Brockmann. Hornets’ Nest. Charlotte: Public Library of Charlotte and Mecklenburg County, 1961.

Branson, Levi. Branson’s North Carolina Business Directory. 8 volumes. 1869-1896.

Interview with Catherine B. Curlee, 17 September 1993.

Lefler, Hugh Talmadge and Albert Ray Newsome. North Carolina . Chapel Hill: University of North Carolina Press, 1954.

Mint Hill. Vertical Files. Charlotte-Mecklenburg Public Library.

Letter to Mr. John N. Lee. Clarkson, Taliaferro, and Clarkson, Attorneys. 6 April 1920.

Files and Historic Photographs. Records of Catherine B. Curlee.

FIRST UNITED PRESBYTERIAN CHURCH

This report was written on Feb 28, 1977

1. Name and location of the property: The property known as First United Presbyterian Church is located at 400 N. College St. in Charlotte, N.C.

2. Name, address and telephone number of the present owner ant occupant of the property: The present owner and occupant of the property is:

Seventh St. United Presbyterian Church USA, Inc.
400 N. College St.
Charlotte, N.C. 28202

Telephone: 376-8014

3. Representative photographs of the property: This report contains representative photographs of the property.

4. A map depicting the location of the property: This report contains a map depicting the location of the property.

5. Current Deed Book Reference to the property: The most recent reference to this property is found in Mecklenburg County Deed Book 2806 at page 493. The Parcel Number of the Property is 08002103.

6. A brief historical sketch of the property:

In the years immediately following the Civil War the black people of the South struggled to establish a new identity for themselves. Encountering scorn and ridicule from the majority of their white neighbors, the former slaves of the region had neither the training nor education to compete successfully for power and status. Consequently, blacks began to create their own institutions, where they could develop and practice the skills which the dominant culture rewarded and where they could sustain and nurture one another. Especially important to the emerging black community were its churches. Energetic and resourceful blacks associated membership in the white man’s church with the institution of slavery and therefore had no desire to continue to worship there. Mrs. Kathleen Hayes of Charlotte, N.C., summoned the black members of First Presbyterian Church to “come down out of the gallery and worship God on the main floor.” Rev. Samuel C. Alexander, a white Presbyterian missionary from Pittsburgh, Pennsylvania, came to Charlotte soon after the war and purchased property at what is now Davidson and Third Sts., where Mrs. Hayes and her small band commenced to worship.

Apparently, the black congregation prospered, because on February 20, 1873, the “Charlotte Colored Presbyterian Church” bought for $900 the lot at E. Seventh & N. College Sts. owned by F. W. and Laura A. Ahrens. On December 20, 1876, the congregation secured a loan of $800 from the Church Erection Fund of the Synod of Atlanta and Presbytery of Catawba. Tradition holds that the black Presbyterians moved into a structure which had been used by a Lutheran congregation. The documents in the Register of Deeds Office, however, do not support this contention. The congregation most probably continued to meet at Davidson and Third Sts. until the new facility was completed. In any case, the black Presbyterians were worshiping in a substantial structure at E. Seventh and N. College Sts. in 1877. Established in 1866 as the Colored Presbyterian Church of Charlotte, the congregation renamed itself the Seventh Street Presbyterian Church.

The present edifice was erected in the mid-1890’s during the pastorale of R. P. Wyche. On July 13, 1896, the Board of Trustees secured a loan of $1000 from the Church Erection Fund of the General Assembly of the Presbyterian Church in the United States of America. Apparently, this money was used to complete the new building, which had begun to rise in 1894. The building was constructed by the members themselves, working in evenings and on weekends. Supervising much of the work was Mr. William Pethel, a prominent member of the church who resided at 500 N. Myers St. The members were no doubt pleased by the product of their labor. The structure was among the more notable houses of worship in the City and certainly bore testimony to the advance of the black people of the region. Seventh Street Presbyterian Church merged with Brooklyn Presbyterian Church in 1968 to form the First United Presbyterian Church. The congregation continues to occupy the building at N. College and Seventh Sts. Throughout its history the church has participated prominently in the evolution of the black community of Charlotte, N.C. It was intimately associated with the early history of Biddle Memorial Institute, later Johnson C. Smith University. Indeed, Stephen Mattoon, President of Biddle Institute and grandfather of Norman Thomas, was one of its ministers.

7. A brief architectural description of the property: This report contains an architectural description prepared by Jack O. Boyte, A.I.A.

8. Documentation of why and in what ways the property meets the criteria set forth in N.C.G.S. 160A-399.4:

 

a. Historical and cultural significance: The First United Presbyterian Church is historically and culturally significant for two reasons. First, it is one of the older Gothic Revival Churches in the City of Charlotte. Second, it is an important document in the history of the black people of Charlotte, N.C.

b. Suitability for preservation and restoration: The structure is in good repair and certainly can be preserved in its current configuration.

c. Educational value: The property has educational value as an important document in the black history of Charlotte, N.C.

d. Cost of acquisition, restoration, maintenance or repair: At present the Commission has no intention of purchasing this property: It assumes that all costs associated with renovating and maintaining the structure will be paid by the owner or subsequent owners of the property.

e. Possibilities for adaptive or alternative use of the property: The structure would be suitable for a variety of purposes. However, the Commission hopes that the building will continue to be used by the First United Presbyterian Church as a House of Worship.

f. Appraised value: The current tax appraisal of the structure itself is $59,290 and for the .414 acres of land $45,130. The Commission is aware that designation of the property as a historic property would allow the owner to apply annually for an automatic deferral of 50% of the rate upon which the Ad Valorem taxes are calculated.

g. The administrative and financial responsibility of any person or organization willing to underwrite all or a portion of such costs: As indicated earlier, at present the Commission has no intention of purchasing this property. Furthermore, the Commission assumes that all costs associated with the structure and property will be met by whatever party now owns or will own the property.

9. Documentation of why and in what ways the property meets the criteria established for listing in the National Register of Historic Places: The Commission believes that the property known as the First United Presbyterian Church in Charlotte, N.C., does meet the criteria of the National Register of Historic Places. Basic to the Commission’s understanding of the purpose of the National Register. Established in 1966, the National Register represents the decision of the Federal Government to expand its listing of historic properties to include properties of local and State significance. The Commission believes that the First United Presbyterian Church is of local historic significance and therefore meets the criteria for listing in the National Register of Historic Places.

10. Documentation of why and in what ways the property is of historic importance to to Charlotte and/or Mecklenburg County: The property known as the First United Presbyterian Church is historically important to Charlotte, N.C., because it houses the oldest black Presbyterian congregation in the City. It is also one of the older Gothic Revival structures in Charlotte, N.C.

 

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Bibliography

An Inventory of Older Buildings In Mecklenburg County And Charlotte For the Historic Properties Commission.

F. W. Beers Map of Charlotte.

LeGette Blythe and Charles Brockmann, Hornets’ Nest (Charlotte, N.C.: MacNally of Charlotte 1961), p. 214.

Charlotte City Directory (1879-80, 1893-94, 1896-97, 1897-98).

Lydia C. Pride, “Early History of Seventh Street United Presbyterian Church, U.S.A.”

Records of the Mecklenburg County Register of Deeds Office.

Records of the Mecklenburg County Tax Office.

Sanborn Insurance Maps.

Date of Preparation of this Report: February 28, 1977

Prepared by: Dr. Dan L. Morrill, Director
Charlotte-Mecklenburg Historic Properties Commission
139 Middleton Dr.
Charlotte, N.C. 28207

 

 

Architectural Description  

Throughout the nineteenth century religious architectural design was strongly influenced by the great European Gothic churches, whose beginnings went as far back as the twelfth century. In the nineteenth century there seemed to be a universal feeling that Gothic forms and church buildings belonged together. American architects followed this mode consistently in church designs. A number of handbooks on the style were published by mid-century. So during the early Gothic Revival period, as well as in the late period, designers copied the mannerisms of true Gothic, and this resulted in a distinctive eclectic style.

Facing south at the corner of College and Brevard Street, the Seventh Street Presbyterian Church building is an extraordinary example of this eclectic architectural style. A rectangular structure measuring some 54 feet across the front and 70 feet deep, the original building rests on a high solid brick foundation wall enclosing a partial cellar. Exterior walls are all American bond consisting of repeated header courses separated by five courses of stretchers.

The entrance elevation on Seventh Street features a high gabled center section flanked on each side by large square buttressed towers. The left, or western, corner tower soars through three tiers to a four sided, slate covered spire terminating in a large cross. At the first floor doubled paneled entrance doors are cantered in the tower base, set in a pointed arch frame with wooden tracery above the doors. In the gabled center section is another double door entrance, flanked by narrow, high, diamond light windows with pointed arch heads. At the right there is a single matching window centered in the tower base. A continuous brick band formed by three projecting courses defines the second tier level. The left corner tower has two small pointed arch windows at the second level. In the center section are three tall narrow diamond light windows centered over the entrance doors below. The right tower terminates at this level with a steep pitched roof covered in slate shingles. Above the second tier another three brick band defines the third level. In the corner tower are two tall pointed arch louvered openings which enclose the tower bell room on four sides. The center gable at the third tier features a large circle louvered vent in the gable wall and has stepped brick corbeling at the gable rake. Dark flashed brick are used in feature details such as horizontal bands, corbeling and above pointed arches.

On the west side the grade slopes to the rear, exposing the cellar wall. Centered in this wall is a cellar entrance door with a ventilating transom window. Above the door frame is a curved brick arch formed by three header courses of flashed brick. A small gabled roof cover of later construction now shelters this entrance. Along the exterior brick cellar wall, forward of this door, a brick stairway rises in a covered outside arcade to a pair of doors which lead to the nave. Now enclosed with metal louvers, the arcade has two pointed outside arches. The inside nave wall has a pointed arch stained glass window beside the similarly arched door opening.

Another feature of the west side is a high gabled wing which forms half of the side facade. Defined by buttressed pilasters at each corner, this gable has a three section stained glass window centered at the nave level. Wooden dividing mullions rise to carved geometric tracery in an upper pointed arch. Each of the three sections has a pivoted lower ventilator. Flanking this window are two narrow side windows, again with Gothic arch tops. In the high gable wall is a large circular louvered red vent banded with flashed brick headers. At the rake of this roof are corbeled, stepped brick features similar to those in the front gable.

On the opposite side, facing the east, the facade mirrors the composition of the west side. Where the arcaded stairway occurs on the west, there is no east stair. In this wall, rather, there are two stained glass windows with typical Gothic arches above.

At the rear the original wall is now concealed within an addition added soon after the turn of the century. This addition is only large enough to provide a study, an organ chamber, and a choir room at the north side of the sanctuary. Also in this wing is a second stairway leading to the cellar.

In plan the church follows a classical cross form. Front and rear walls form the high gables described above, and at each side of the crossing shallow wings extend to like sized high gable walls. The slate covered roof surfaces also follow this cross form and hare a small cupola above the intersection of the ridge lines at the crossing. This cupola has four slate covered roof surfaces rising steeply to a ball and point crest. At third points in the main roof slate surface, there are four rows of slate with chamfered edges. These special shapes create a typical Victorian fish scale tile pattern.

At the front there is a shallow narthex at the center. From this room there are two pairs of paneled wood doors, glazed in the upper half with opaque patterned glass, leading to side aisles in the nave. Through the tower doors at the west front corner one enters a small square anteroom which also opens to the side aisle of the nave. In the east front tower is a winding oak stairway which rises to a small balcony at the second tier level. Having a solid curved rail arching out from the rear nave wall, this balcony is a narrow platform facing the main auditorium, and was likely the choir loft in the original plan.

Upon entering the sanctuary through any of the several exterior doors one encounters a soaring space of carefully scaled proportion and finished with skillfully executed details. Through stained glass windows on three aides, natural light floods the auditorium. This soft illumination enhances the warmth of the dark stained woodwork throughout the room. A high wainscot of beaded pine strips runs continuously around the perimeter. Above this the walls are smooth plaster rising to the spring line of the ceiling vaults. Where window openings occur the windows are surrounded with angular plaster jambs rising to pointed Gothic arches above. Window stools all occur at the top of the wainscot rail.

Typical of Gothic Revival interior design, the ceiling is formed with a series of ribbed, pointed vaults of narrow beaded wood. Above the crossing these ribbed vaults come together in a spectacular canopy over the pulpit platform. Below this crossing there is a remarkable chandelier of massive proportions. Crafted in a manner which indicates that it was originally for gas, the fixture provides a highly decorative feature in the center of the nave.

This fine building is an extraordinary example of church design most popular during the late Victorian period in Charlotte. During this time the prospering Queen City saw a number of congregations from many different denominations erect new buildings. With few exceptions these new buildings were done in this late Gothic Revival style. The First United Presbyterian Church building is historically significant as an example of this important architectural style. In addition, its unique origin from the efforts of one of Charlot

First National Bank Building Survey & Research Report

First Baptist Church

This report was written on April 5, 1975

 

 

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I. Statement of Purpose: It is the purpose of this document to measure the struture which formerly housed the First Baptist Church of Charlotte, N.C., against the criteria set forth in N. C. G. S. 160A-399.4 and against those establiahed for inclusion on the National Register of Historic Places.

II. Measurement against the criteria set forth in N. C. G. S. 160A-399.4:

 

A. Historical and cultural significance: The structure has considerable significance for the architectural fabric of the city. Constructed between August 1907 and May 1909, the building is an eclectic combination of Romanesque, Gothic, and Byzantine Revival. The large carved oak front doors introduce the visitor to a style of woodwork which persists throughout the sanctuary. The most imposing feature of the structure is the Byzantine Revival central dome. The stained glass windows are superior in quality and design. An impressive balcony surrounds the main sanctuary, thereby highlighting the vertical thrust of the interior toward the magnificent dome. Clearly, especially since no other local example of this style of architecture exists, the structure is of cultural significance to the city of Charlotte.

The historical significance of the structure rests upon the fact that for many years the building housed one of the most influential Christian congregations in the city of Charlotte.

B. Suitability for preservation and restoration: The building is in excellent repair. Therefore the structure is highly suitable for preservation. Very little, if any, restoration is necessary.

C. Educational Value: The educational value of the building rests upon the general contention that it is educational for human beings to visit structures of historical and cultural significance to the local community.

D. Cost of Acquisition, restoration, maintenance, operation or repair: The Charlotte Mecklenburg Historic Properties Commission has no intention of purchasing or recommending public purchase of this structure of this time. The asking price for the structure is $335,000.00. As stated above, the building is in excellent repair. The cost of maintenance would be a responsibility of the eventual purchaser.

E. Possibilities for adaptive or alternative use of the property: The building is well suited for an adaptive or alternative use. Indeed, a local firm is seriously considering purchase of the structure for such a use.

F. Appraised Value: The Commission does not have knowledge of the appraised value of the structure. However, it can be reasonably assumed that the appraised value would reflect the asking price of the building which, as mentioned above, is $335,000.00.

5. The administrative and financial responsibility of any person or organization willing to underwrite all or a portion of such costs: Except for the private firm which has expressed an interest in purchasing the structure and adapting it to contemporary use, no person or organization has officially expressed a willingness to shoulder the financial responsibilities associated with preserving or restoring the building.

II. Measurement against the crteria for inclusion on the National Register of Historic Places: It is important to note that the structure is not on the National Register of Historic Places. Indeed the Commission has made no efforts to secure such designation for the structure.

 

A. That possess integrity of location, design, setting, materials, workmanship, feeling and association. The Building does form a viable aesthetic unit, both in terms of itself and in terms of its overall urban setting.

B. That are associated with events that have made a significant contribution to the broad patterns of our history. The Commission does not know of any events of broad national significance associated with this building.

C. That embody the distinctive charactersitics of a type, period, or method of construction, or that represent the work of a master, or that possess high artistic values, or that represent a significant and distinguishable entity whose components may lack individual distinction. It is my judgment that this structure, although of considerable architectural and historical significance to the local community, does not possess sufficient aesthetic value to allow it to overcome the usual exclusion of churches from the National Register.

D. That are associated with the lives of persons significant in our past. The Commission does not know of any individuals of broad national significance whose lives are associated with this building.

E. That have yielded or may be likely to yield information important in prehistory or history. The accompanying reports provide no information to suggest that the structure meets this criterion.

Respectfully Submitted,
Dan L. Morrill, Director
139 Middleton Dr.
Charlotte, N.C. 28207

Telephone: 332-2726

 

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FROM: RESEARCH COMMITTEE

TO: HISTORIC PROPERTIES COMMISSION

SUBJECT: FIRST BAPTIST CHURCH BUILDING

REFERENCE: INFORMATION AND RESEARCH AVAILABLE ON THE BUILDING. (SEE BIBLIOGRAPHY)

Property description: The site is described and bounded as follows: Beginning at a rock on the side of Trade Street at the intersection of Cedar Street and runs with Trade Street towards the Air Line Railroad 52 1/2 feet; thence back towards Fourth Street 192 feet to a stake; Thence in a line parallel with Trade Street 68 feet to Cedar Street; Thence with Cedar Street 190 feet to the beginning. ¹

Date of construction: August 1907 – May 2, 1909.

Historical sketch:

As 1906 drew to a close, members of the church were discussing the need for a new church building. The congregation had grown so much that a larger structure seemed an absolute necessity. Plans were made to begin a new $50,000.00 auditorium in the spring.

J. A. Durham and R. H. Jordan, trustees of First Baptist Church in Charlotte, North Carolina, paid the trustees of Oliviet Baptist of Charlotte, North Carolina, $1.00 for the property to build their new church building. ²

The story of the building’s erection prepared from information from The Charlotte Observer:

“January 14, 1907, the church unanimously and enthusiastically Adopted a recommendation of the deacons that a new church Building be erected. J. A. Durham was elected chairman of the Building committee. Others named to serve were T. S. Franklin, W. C. Dowd, R. H. Jordan, Willis Brown, H. G. Harper, and H. H. Hulten.” ³

Pews seating more than one thousand were purchased from the American Seating Company and a Molier organ was installed at a cost of $5,000.00. A Swedish artist named Olsen, from New York City, did the frescoing and a beautiful picture of Christ, the Good Shepherd, over the pulpit. ⁴

Chimes were added to the organ in 1925. They were the gift of John C. Shepherd and his brothers, in memory of their parents, Marshall Lafayette and Nancy Shepherd. ⁵

A Kilgen organ was installed to replace the Molier in 1938. ⁶

A beautiful marble baptistry, two side balconies, and an air-conditioning system were added in 1946 under the leadership of Pastor C. C. Warren. ⁷

Architectural description: J. M. Mcmichael was chosen to be the architect and the Byzantine architectural scheme emphasizing the central dome effect was adopted. ⁸

Attachments: see attached photo-copy of deed 224:68 and deed 62:184.

 

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Reference

¹ Deed book #224, page 68, filed june 13, 1906, in the register of deeds Office, Mecklenburg County .

² Same as above.

³ From the information of The Charlotte Observer as printed in The Biography of a Thriving Church, John Marvin Crowe, 1953, page 63-64.

⁴ The Biography of a Thriving Church, John Marvin Crowe, 1953, page 64.

⁵ Same as above.

⁶ Same as above.

⁷ Same as above.

⁸ Same as above.

 

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To: Members of the Charlotte-Mecklenburg Historic Properties Commission

From: Frances Gay, Survey Committee

Date: November 13, 1974 .

Re: a formal request for local designation for the First Baptist Church Sanctuary and placement of the Charlotte-Mecklenburg listing of significant structures.

The main sanctuary, a Charlotte landmark to many of Charlotte-Mecklenburg citizens, fronts on N. Tryon St. and is located next to the library. This structure is classified as Romanesque and was built in 1908-1909. The green dome adds individualization to the growing skyline of glass and steel. The boxy shape and arches, characteristic of this architectural Period, is of great importance to the visual architectural heritage which developed as Charlotte began its growth at the turn of the century.

This structure is one of the more distinctive creations of architect James M. McMichael who designed more than one thousand churches. Some of those still standing are: St. John’s Baptist and Myers Park Presbyterian, which are all familiar to us. Charlotte has unfortunately lost other significant McMichael structures in the name of progress. The prize example being the Carnegie Library about fifteen years ago and whose dome and arched windows complemented the First Baptist Church for almost fifty years. Both the Library and the church gave a stately impression which will linger in the minds of many of the “then youngsters” as they either worshipped in the church or studied to acquire knowledge in the grandiose surroundings of the library.

Please note the attached xerox photographs by Jeep Hunter of the Charlotte News, July 13, 1972 which emphasizes some of the main architectural features.

1. The magnificent stained glass windows which is an art in itself.

2. The large carved oak doors (the style of woodwork is carefully carried through the interior stairways and vestibule as well as the sanctuary).

3. Portion of the imposing dome on the exterior.

4. The large sanctuary with a full surrounding balcony.

It is the recommendation of the Survey Committee that this structure should be designated and placed on the local listing of significant structures to offer it the ninety day protection afforded all structures on the local list. It is indeed a style of architecture that represents an era that ought not to be wiped from the Charlotte landscape by the hungry bulldozer. It has been the site where many Charlotte leaders have worshipped and seen their beloved city grow and progress beyond their dreams.

In an article by Jane Roehcs in the Charlotte News on July 28, 1972, Cleve Scarbrough of the Mint Museum was quoted as saying:

 

“Ut’s an eclectic combination of Romanesque and Gothic with a little Byzantine thrown in and is typical of the type thing that was built at the turn of the century. It gave people a feeling of solidity, of reference to the past. Only time will tell whether it is historically important. It’s not my prerogative to say.”

The survey committee also recommends that the Historic Properties Commission actively seek an adaptive use to economically support this structure and prevent its demise by the omnipresent bulldozer making way for parking lots or other useless and senseless purposes. With a total of 40,000 feet in the sanctuary and educational buildings adjoining the proposed designated structure, an adaptive imaginative utilization should not be difficult to stimulate.