This Grand Mansion was Converted into 8 Luxury Apartments in 1940

Emma Flower Taylor Mansion, Watertown New York

Date added: July 24, 2024 Categories:

Do you have an update on the current status of this structure? Please tell us about it in the comments below.

The Emma Flower Taylor Mansion was designed by the noted New York City architectural firm of Lamb and Rich and built in 1896-97 for Emma Flower Taylor as a wedding gift from her father, Roswell Pettibone Flower, former governor of New York, congressman and prominent Wall Street businessman.

The potential to tap the Black River for water power brought the first white settlers to Watertown in about 1800. It was the recognition of this abundant water power that led to the City's name. The early development of two state roads, one that followed the Black River from Central New York through Watertown and west to Sacketts Harbor on Lake Ontario and a second that ran south from Watertown to Salina (later Syracuse) facilitated the settlement of the community. By 1804 Watertown was an established crossroads community, and when Jefferson and Lewis Counties were formed from Oneida County, Watertown was named the county seat for Jefferson County. The county offices were established on the west side of the village green on Arsenal Street. Already established as an industrial center and center of trade, the new designation as a political center added to the community's growth. During the War of 1812, Watertown was a supply center for the American armed forces.

In 1816, when the village was incorporated, three industrial centers along the Black River were being developed and the radial street pattern was in place with Court Street being the main commercial and residential street in the village. By 1850, the population was concentrated within one-half mile of the center of the village. The railroad reached Watertown in 1851 and the city became a railroad center for northern New York. In 1869, the year Watertown was incorporated as a city, this was a bustling industrial and transportation center with rail connections to the rest of the state and water connections via Lake Ontario to the mid-west and via the St. Lawrence River to Canada and the Atlantic. The city continued to grow throughout the rest of the century with its population doubling between 1880 and 1900.

This was the vibrant bustling community into which Emma Gertrude Flower was born. The Flower family is important in Watertown's history. Roswell Pettibone Flower, born 1835, in Theresa, northeast of Watertown, married Sarah Woodruff, daughter of Norris M. Woodruff, early settler, prominent Watertown financier and owner of the Woodruff Hotel. Roswell's is a classic Horatio Alger story. From a humble birth in small town America, he rose to a position of power and influence and acquired great wealth. At the time of his daughter's marriage (1890), he was serving his second term in Congress. He was elected governor of New York State in 1891 and served from 1892 through 1894. He is the only Watertown resident to have served as governor of the state.

Emma Flower was born in Watertown and spent her youth living in Watertown, New York City and Washington, D.C. In her book, In the Olden Days, written for her grandchildren, she describes summers spent in her grandmother's home on Arsenal Street in Watertown. This family home is where her parents lived at the time of her birth and where she spent her early childhood. It was in Watertown that Emma met her future husband, John Byron Taylor. John's older brother, Bertrand L. Taylor married Emma's cousin, Nellie Cadwell, on November 28^th, 1886, and Emma and John met at the wedding when Emma was sixteen and John was eighteen. On January 2^nd, 1890, they were married in Emma's parent's home in Washington, D.C. The couple settled in Watertown and this mansion was built in 1896-97 as a wedding present from Roswell Flower for his daughter.

The Emma Flower Taylor Mansion is an excellent example of the Queen Anne style. It embodies the distinctive characteristics of the style, and is reported to be the only example of a stone Queen Anne style residence in Watertown. Known for its eclecticism and flamboyance, the Queen Anne style was the perfect choice for this grand mansion, which was given as a wedding present from Roswell Flower (also known as the "King of Wall Street") to his only surviving child. Although most Queen Anne style residences in upstate New York were constructed in wood, there is speculation that Emma favored a brownstone exterior because it reminded her of the Fifth Avenue of her youth. Or the architect of the house, Charles Alonzo Rich, may have been one of those who throughout the 1880s and 1890s continued to imitate Richard Norman Shaw's later English models, which were executed in masonry. For whatever reason brownstone was chosen, it is important to note that only about five percent of Queen Anne houses were constructed of masonry with little wooden detailing, and examples of this type are usually high-style architect-designed houses which exhibit a wide variation in shape and detail. Most were built in large cities, and few have escaped demolition.

From major design conventions to small details, the Taylor mansion incorporates classic examples of the style. Characteristic of the style is its asymmetrical massing and multi-planed roof, pierced by multiple dormers. The round tower on the front facade is extremely common in the Queen Anne style. Its placement, as well as its conical roof with its finial, represents one of the most common features of the style. Known for its asymmetrical footprint, the style also called for deviation in the vertical wall plane. This was achieved by using overhanging gables on the main section of the house, brows over the windows in the gables, bay windows and recessed second-story porches. The one-story porch, spanning the front facade of the first story and wrapping around the west side, is another major design element common to the Queen Anne style. Known for multiple textures, the architect used random cut stone to give a textural pattern to the wall surface while adding stones set in a diamond pattern for a textural effect on the tower.

The fish scale shingles in the porch gables and the tiled dormers further add to the textural complexity. The half-timbering in the cross gable is another common feature of the style and its stone, stucco and wooden elements add to the variety of wall materials on the front facade. The smooth cut stones in the door surround and in the belt course add one more textural element to the design.

Many small details are also characteristic of the Queen Anne style. As exemplified here, most Queen Anne style residences had simple door and window surrounds. Windows are generally single pane double-hung sash. The curved glass in the tower windows is often found in later examples of the style. The brackets under the eaves are another common detail, as are the dentils along the frieze.

The architect, however, was not a slave to the style. Charles Rich, known for his work in the Shingle Style, used a number of elements common to that style when designing this residence. The hipped dormers used in the Taylor mansion are more common to the Shingle Style than to the Queen Anne, as are the double-hung sash windows with multi-upper panes used in many of the dormers. The way the tiles curve into the recessed windows in the dormers is also common of shingles in the Shingle Style. The thicker, more squat stone porch columns are another detail more common to the Shingle Style than the Queen Anne. The arch surround of the main entrance is more often associated with the Richardsonian Romanesque than the Queen Anne style, as is the belt course at the ground floor level. The flare of the eaves is uncommon to any of these styles and seems to be an expression of Mr. Rich's talent for combining elements to create a unique and exuberant mansion, one fitting the lifestyle of Emma Flower Taylor.

After their marriage in 1890, Emma and John moved into the family home at 175 Arsenal Street while they looked for a home of their own. Roswell Flower assisted John in procuring a position at the Hitchcock Lamp Company. John later became president and owner of Watertown Light and Power Company, developing it into Northern New York Utilities, which eventually became the Niagara Mohawk Power Corporation.

Emma's father offered to have a house built for them as a wedding present and Emma began looking for property. Finding no site to her liking, she decided to buy her uncle's property between Clinton and Mullin streets for her house. Her uncle, Silas L. George, had a house at 25 Clinton Street. Emma purchased this property on November 13^th, 1890. The house and associated carriage house were to be torn down to make room for her new home. It appears that Emma and John initially moved into the George residence, for they are listed as residing at 25 Clinton Street in the 1891-1892 Watertown City Directory. However, it was not until 1895 that architects were hired to design the mansion and carriage house. It is possible that the birth and unfortunate death of their first child and Emma's subsequent pregnancy may have slowed their pursuit of an architectural firm to design the mansion. Emma and John's first son, Roswell Flower Taylor, was born on October 11^th, 1891. He died on May 30^th, 1892, at seven months old. A second son, Frederic, was born on June 24^th, 1894.

The architects hired to design the mansion and carriage house were Lamb & Rich, a well-respected architectural firm from New York City. During the late 19^th Century this firm was primarily known for its churches and collegiate buildings in New York, such as the Main Building at Pratt Institute in Brooklyn, Millbank, Brinkerhoff and Fiske Halls at Barnard College, Dartmouth and Smith, and Colgate College in Hamilton, New York.

However, they also were also responsible for many notable residences in New York, such as Sagamore Hill, the distinguished country residence of President Theodore Roosevelt at Oyster Bay, Long Island. Built in 1892, Sagamore Hill is contemporaneous with the Emma Flower Taylor Mansion and, like the Taylor mansion, it is a rambling Queen Anne residence, however, it is of frame rather than stone construction.

Watertown contractor, Patrick Phillips, was hired to oversee the construction of the Emma Flower Taylor Mansion Mr. Phillips's records indicate that the original mansion was built during 1896 and 1897. An addition would be added eight years later. The Watertown Daily Times reported that the Taylors held a grand housewarming to welcome friends and family to their new home on October 7^th, 1897. The mansion was designed for grand entertaining. The great room, which opened off the front reception room, included a grand entry where guests were announced before descending the three steps into the room. A raised area in the large bow window provided a stage for an orchestra. This great room, or west room as the family referred to it, was ballroom and dinning room in one.

It was in this mansion that Emma and John's last two children were born. This is the home where the Taylor children were raised and where Emma lived until 1918. She divorced John in 1910 and he moved across town.

Born into a family known for its philanthropy, Emma is quoted as saying her father impressed on her that wealth was a great responsibility and that one is only the steward of it. He told her that after her basic needs were met, she should share what was left with others" At his death in 1899, Roswell Pettibone Flower's fortune passed to Emma Flower Taylor, his only surviving child. Emma became one of the nation's wealthiest women, and one of Watertown's most generous philanthropists. In 1900 she commissioned Charles Alonzo Rich to design an addition to her mansion. It appears from the 1902 Sanborn map that it wasn't built until after that date, but a 1905 photograph shows the completed mansion with its expanded porches and rear addition.

Emma generously used her fortune for the betterment of her community. In 1904 she had the city's public library built in her father's memory. She not only paid for its construction, but also donated $21,000 for books and set up an endowment for its maintenance and repair.

In 1910, she offered to build a parish house for Trinity Episcopal Church. Her father and uncle had financed the construction of Trinity Church in 1887. Emma made only one stipulation when making the offer, the parish house had to serve the entire community. The building housed not only offices, a kitchen, and clubrooms, but also had a gymnasium, a swimming pool, bowling alleys and a billiard room. Emma envisioned it as a youth center for the city. Emma served on the Trinity House Board of Managers for the rest of her life.

Programs for children played an important role in Emma's life. She had been active with the Girls Friendly Society of Trinity Church until shortly before her death, and she had taught classes at the Trinity Church School for a number of years. Emma held an annual tea for the Catholic children in Watertown. This simple gesture was her way of reaching out to the city's minority population.

Emma also made major financial contributions to All Souls Universalist Church, and the LeRay de Chaumont Chapter of the Daughters of the American Revolution. Emma's contributions to public institutions are easily recognized and have left a physical presence on the landscape of the City of Watertown. Her other, quieter contributions of energy and annual financial assistance to private individuals positively affected thousands of lives.

In 1918, Emma used her personal resources to help provide care for Watertown residents afflicted by the influenza epidemic. She also provided funding for the development of the city's hospitals. At the end of the First World War, she offered her home on Clinton Street to the United States government to be used as a veteran's hospital. When the U.S. government declined her offer, she offered the mansion to the Canadian government for their returning veterans. When they accepted her offer she purchased hospital beds and equipment to set up the mansion to receive the soldiers. She had, that spring, moved into her new smaller home two blocks away at 224 South Massey Street.

The Canadian government used the mansion for only a few months. In 1920, Emma considered converting the mansion into five apartments, but instead rented the mansion to a family for a number of years. Her son, Fredric, was living in the house with his family at the time of his mother's death in 1934. Fredric and his brother, Roswell II, inherited the mansion when Emma died. In 1936, Roswell sold his share to Fredric. Fredric contemplated having the mansion demolished because it was too large to maintain, but in March of 1939 he sold it to John B. Harris, a former advisor to his mother. In 1940, Harris converted the mansion into eight luxury apartments with minimal alterations to the interior and exterior of the mansion. Over the years, these apartments have maintained their status and are still rented out as luxury apartments.

Building Description

The Emma Flower Taylor Mansion was constructed between 1896 and 1897 at 25 Clinton Street (later renumbered 241 Clinton), in the city of Watertown, New York. At the time of its construction, the mansion was situated on nearly 3 acres. To create a site for the mansion in this elegant residential neighborhood, three properties were assembled and a house and its associated carriage house were demolished. The property created spanned the block and had frontage on both Clinton and Mullin Streets. The mansion, which is centered on the property, faces north onto Clinton Street and is set farther back from the street than its neighbors. The property has been subdivided over the years and the mansion now occupies a 1.2 acre parcel.

Built as a wedding gift for his daughter Emma, Roswell Pettibone Flower hired the New York City architectural firm of Lamb & Rich to design the mansion. Local contractor, Patrick Phillips, oversaw the construction of the residence and its carriage house. The house was converted into luxury apartments in 1940. Unless otherwise stated, all features are original.

The massive, two and one-half story, mansion is constructed of rock-faced, random-course Medina sandstone which was hand-cut on site. The mansion's footprint is 5,628 square feet, not including the porches and porte cochere. The asymmetrical composition is Queen Anne in styling with its wrap-around porches, tower, projecting bays, dormers, and complex roofline. The steeply pitched, tiled roof consists of a main gable and a hipped roofed wing and addition. All are pierced by multiple dormers of various sizes. The fenestration is asymmetrical and the windows vary in size and type. There are four large stone chimneys.

In plan, the mansion can be divided into three main rectangles, described here as the main section (A), the rear wing (B) and the addition (C). Facing Clinton Street, Section A, at 63' x 39', is the largest. It housed the main hall, library and main drawing room. Directly behind it and perpendicular to it is the rear wing (B), which at 45' wide and 42' deep is almost square. The billiard room and great room were the principle rooms in this section. Jutting into the southeast corner of B is rear addition (C), which is 31' wide and 48' long. This was the kitchen wing. According to the architect's records, the addition was commissioned in 1900. It was completed sometime between 1902 and 1905. The porches and porte-cochere were also greatly altered at that time.

The front (north) facade is the most complex elevation. The main entrance, which is centered on the facade, consists of two large, glass, round-topped, double doors. An intricate cage of wrought iron encases the glass, but can be opened to gain access to the glass for cleaning. On either side and above the doors are narrow lights, also enhanced with wrought iron filigree. The entry door is highlighted with a smooth stone surround, which, in contrast to the rough-cut stone walls, appears lighter in color and draws attention to the main entrance. To the left of the main entry is a three-story tower with a conical roof. On the first story, the three windows in the tower are large, one-over-one, curved pane, French plate glass. The stone sills are smooth cut, and shaped to allow water to run off. The lintels are one large smooth-cut stone nearly double the depth of the sills. To the right of the main entrance, the wall is flush and the large windows match in size those of the tower and have the same stone sills and lintels.

A gabled, central porch protects the entry, and stone piers support the roof. These piers without a base have paired stone brackets at the roofline. This porch is flanked on either side by a perpendicular porch that stretches across the front of the mansion, curving at each end and culminating in a porte-cochere on the east and a second gabled entry to the porch on the west. Stone piers support the sloping porch roof. The piers flare at the base and are capped by one large cut stone beveled to create a broad capital. The porch roof is copper, standing seam. The porch ceiling is finished in narrow tongue and groove boards painted brown. The floor of the porch is a mosaic with a striped border running around the outer edge. The striping consists of a wide band of brown, square-cut tiles four tiles deep at the outer edge followed by a band of three white tiles and then a band of two brown tiles. The center of the floor is a mosaic of random cut white tiles. Rainwater escapes from the porch via stone downspouts located along the perimeter of the porch floor. The floor has shifted and the mosaic has chipped and cracked in a number of places. It has been patched with concrete. Below the porch, the cellar windows are covered with lattice. Keystone pattern window heads create a decorative motif in the stone porch wall.

Centered above the main entrance on the second story is an ornate elliptical window. This large window provided a sunny spot for growing plants. The interior area below the window is lined with copper to protect the floor from water when the plants were watered. On either side of this window are two small, narrow double-hung windows. To the west of these center windows are two large double-hung windows that match those on the first story below. Within the tower on the second story are three double-hung windows similar to, but smaller than the ones on the first story. These windows have keystone lintels. Above the windows are stones set in a diamond pattern just below the third story. A smooth-cut, bullnose, belt course separates the second and third stories of the tower.

On the third story of the tower are three smaller, paired, diamond-paned casement windows. The third story of the tower is sheathed in rounded tile. The tile curves into the window openings creating the appearance of a rounded column between each window. The conical tower roof is sheathed in the same tile and capped with a finial. Centered above the main entrance on the third story is a gabled roof dormer. This dormer is also sheathed in tile. Paired, six-over-one, double-hung windows light the dormer.

To the west of the center dormer is a much larger, projecting cross gable. The gable is supported by paired wooden brackets that rest on stone bases projecting from the wall. Between the brackets dentils decorate the frieze. The gable is half-timbered and the plaster between the timbers is encrusted with small stones. Decorative pegs appear to fasten the timbers together. Paired, six-over-one, double-hung windows are centered in the dormer.

The west (side) elevation of the mansion is also asymmetrical. Where the rear wing (B) connects to the main structure (A), an ell is formed by the set back. A deep ell is formed where the addition (C) attaches to the wing (B). The front porch wraps around and spans the west facade. There are two gabled entrances to the porch, one at each end of the building. Stone piers identical to those on the front facade support the gabled porch roofs. These porches have copper standing seam roofs. Between the two projecting porches is a long covered porch that was originally open. During the time that Mrs. Taylor occupied the house, a canvas awning was used to shade the porch in the summer. It was removed in the winter to allow the sunlight to reach the interior. A roof was constructed over this area sometime after 1956. A winter photograph taken in that year clearly shows the open porch. The present roof is supported by 2x4 posts and the roofing system is also constructed with 2x4s. The roof has a standing seam metal roof painted green. This change to the original design is reversible.

There are two bay windows on the west elevation in section A. Each has diamond-paned casement windows with fixed transoms above. Within the ell, a glass door with transom opens out onto the porch. Adjacent to the northernmost porch entry, there is a large, one-story bow with four sets of French doors. These doors open onto the porch. Each door has wooden mullions shaped in a decorative upward-sweeping S curve. These doors originally allowed access to the open porch from the great room. All have been fitted with aluminum storm doors.

On the second story of the west elevation, most windows are smaller one-over-one, double-hung sash. There are three narrow windows with six panes over one at the northernmost end of the wing. On this side of the mansion there are two hipped-roof dormers. The window in each dormer is a ten-over-one, double-hung sash window. These dormers are also sheathed in tile with the same rounding at the windows. The roof is also tiled with copper flashing. At the rear of Section B is a shed roofed dormer clad in tile. Its third window is now behind the roof of the addition.

On the east (side) elevation of the mansion, the set back of the wing and the projection of the main structure and the addition create a "U" shape. A belt course of smooth cut stone at the first story line ties the three sections together. Section A is two bays wide. The end gable of the roof overhangs the wall plane and the large overhanging eaves are supported by three evenly spaced large wooden brackets. In the northernmost bay there is a large one-over-one, double-hung sash window on both the first and second stories. A two-story bay window dominates the other bay. On each story, there is a narrow, one-over-one, double-hung sash window in each wall plane of the bay. In the tiled gable are two paired, six-over-one, double-hung sash windows. There is a brow directly over the windows. The roofing tiles on the south side of the gabled roof have been replaced with asphalt shingles.

There is one entry on the east elevation. The door is in the one-story bay in the wing and is reached by a short flight of stone steps. The small open porch has the same mosaic detailing in the floor as the main porch. There is a small square window above the door. On the front plane of the bay are three long, narrow windows. In each, the lower sash is taller than the upper.

Above each window is a smaller, leaded glass window with a figurative design. One large, smooth-cut stone lintel spans all three windows. There is a smooth cut stone belt course below the windows. On the south side of the bay, there is a single long, narrow window matching those on the front of the bay. It too has a small, leaded-glass window above. This was the billiard room. The top of this bay provides a porch for the second story. Two round metal posts support the porch roof. The porch has been enclosed with wire mesh. There are two hipped dormers above this section. Each has a single, ten-over-one, double-hung sash window. These dormers are also tiled. At the crest of the roof is a three-pane skylight. This skylight lit the central art glass dome in the main hall. The glass has been removed and the dome plastered.

The rear (south) addition is two bays wide and three bays deep on the east elevation. The cellar windows in this section have flat stone sills and lintels rather than the keystone design found in those windows opening along the porch. The windows on the first and second stories are one-over-one, double-hung sash of varying sizes. They are asymmetrically placed. There is one unusual long narrow window between the two sash windows on the first story on the north side of the addition. This opening has been sealed. There are dentils under the wide overhanging eaves, but there are no supporting brackets in this section. The addition has a hip roof with a slight pagoda type flare at the eaves. There is a gabled dormer on the east and north sides of the roof. These dormers are similar to the others with rounded tile sheathing. The dormer on the south side has paired, one-over-one, double-hung sash windows. The dormer on the east side has a single, one-over-one, double hung sash window.

The rear (south) elevation of the building has four entries. Three in the rear addition and one grand entrance in the rear wing. The entrance into the rear of the wing is very similar to the double glass entry doors on the front facade, but it is not arched. This was an entrance into the formal dining room and opened onto the rear porch. The porch has been enclosed.

The rear addition has three entrances: one into the cellar, one into a back hall, and one into what was the kitchen. The kitchen entrance is reached through an enclosed porch. This porch has a metal, hipped roof. The entrance to the back hall is reached via cast concrete steps. It is protected by a shed roof. This entrance may have replaced a window at the time the mansion was converted into apartments to facilitate access to the rear of the building. The entrance to the cellar is a wooden bulkhead constructed on a cut stone footing. The wide stone interior stairs lead to an elaborate entry with engaged fluted ionic wooden columns on either side of a door casing hinged to hold heavy double doors. The doors have been removed.

From the rear of the building the flare of the hipped roof with its wide overhanging eaves can best be seen. There are three windows on the first story of this elevation. The largest is at the southwest corner. It has a rounded head with an arched keystone lintel. Above the cellar entrance is a one over one double hung sash window, and between the entry to the back hall and the enclosed porch is a smaller double hung sash window. There is an enclosed sun-porch on the second story in the northwest corner of the addition. There are six windows across the second story of the addition. All are one-over-one, double-hung sash windows, and the two at the northwest corner, at the porch, are paired. There are two hipped dormers in the roof. Each is tiled and has paired, one-over-one, double-hung sash windows.

The rear elevation of the Taylor mansion shows the most alteration. The porches on both ends of the house have been enclosed. New cast concrete steps provide access to the rear entry door. The bulkhead to the cellar appears to have been rebuilt. Other than the enclosure of the rear porches and the covering of the west patio, little of the exterior has changed since Mr. Rich designed the additions for the mansion in 1900

In 1940, with few changes to the exterior, the mansion was converted into eight luxury apartments with as little disruption to the original interior detailing as possible. The great room was subdivided allowing for two bedrooms and a bath to be constructed in the front half of the expansive room. Kitchens were constructed in each of the eight apartments. Most of the apartments were able to utilize one of the original baths so there was little alteration necessary to accommodate new bathrooms in the apartments.

As a result, the interior of the Taylor mansion has retained most of its original features. Great care was taken when the mansion was converted into apartments to preserve as much of the original woodwork, hardware and architectural detailing as possible. Wherever possible, the apartments were created by closing and sealing interior doors. In the main entry hall the paneled wainscoting remains intact as does the coffered ceiling and balustrade with delicate turned spindles. All woodwork is painted white, as it was when Mrs. Taylor occupied the mansion. The entry hall fireplace is tiled with multi-colored tiny tiles and shield motifs decorate the curving fireplace wall. An inglenook at the fireplace still welcomes visitors to the house. The only changes in this impressive room are the narrowing of the door which led to the library (east side) and the permanent closing of the double doors that led to the great room (west side).

Three apartments were created on the first floor. Each utilized one of the major first floor rooms. The largest apartment on this floor, apartment #3, utilized the former ballroom/dining room. This apartment spans the entire west side of the house. The north end of the room was divided into two bedrooms and a bath. The south end of the room remains intact and features paneled wainscoting, an impressive coffered ceiling with elaborate rosettes centered in each coffer and elaborately carved moldings featuring swags, flowers and faces. . The double doors to the rear porch are very similar to the front entry doors. In the slightly raised bay that served as a alcove for musicians the curved French doors provide access to the west porch. The focal point of the room is the projecting marble fireplace opposite the bay. Classical columns support the mantel and frame the hearth.

At the rear of the house is apartment #2. Its combination living room/dining room is in the former billiards room. A large fireplace with satyrs framing the hearth is the focal point of this room. On the east side of the room a bay window features leaded glass transoms.

The smallest apartment on the first floor is apartment #1, a one-bedroom apartment on the east side of the house. Its main room, which serves as a living and dining room, was the former library. As is the case in most of the apartments, its corridor kitchen is tucked into a former hallway.

As with the entry hall, the second-floor hall has retained its original appearance. The split staircase with its ornate balustrade with delicately turned balusters remains. The hall has simple moldings and a cove ceiling. There is a simple fireplace with classical detailing on the rear wall. The skylight which once lit the hall has been removed. Apartments #4, #5, and #6 open off this hall as does an enclosed staircase to the third-floor apartments.

Apartment #6 is at the front of the house. The living room of this two-bedroom apartment was Mr. Taylor's bedroom. This room has less ornate architectural detailing than much of the rest of the house. The simple fireplace and tower bay are the main features of the living room. Apartment #5, on the west side of the house, was created from Mrs. Taylor's private sitting room and bedroom. Here the fireplace and ceiling decorations feature ornate carving of flowers and cherubs similar to those in the ballroom. Apartment #4 was created from the children's suite. The tiles in this apartment's bathroom feature scenes from fairy tales.

Two apartments have been built on the third floor, leaving most of the rear of the house for storage. Originally used as servant's quarters, these apartments are much simpler than those on the two floors below. There is one fireplace with very simple detailing in apartment #7 (east side). It is the only fireplace on the third floor. The simple fireplace surround has fluted pilasters on either side of the hearth. A back servant's stairway provides a rear egress for these apartments. The back stairs, which start in the cellar, continue up one more flight to the attic. These stairs have a simple balustrade of natural wood with simple turned balusters.

In the cellar is more storage space and a large walk in safe. There is an exterior door that provides access to the rear yard. The original double doors have been removed, but the side lights with decorative wooden muntins remains.

Although the Taylor mansion has been divided into 8 apartments, the care taken during the conversion to preserve the architectural integrity of the house. The original fireplaces all remain, as do the original bathrooms. Both were incorporated into the design so that most apartments utilize these original features. In most apartments the corridor kitchens were tucked into existing hallways or dressing rooms. The original woodwork and hardware have been maintained. Entering the main hall on either the first or second floor one can still visualize this as the magnificent single-family home it once was.

When the Methodist Church burned in 1942, the mansion's carriage house and back half of its property were sold to the congregation. The church converted the carriage house into a sanctuary for their use. In 1956, an additional small piece of property was sold to the neighbor to the west. This left the mansion on its present 199 foot by 262-foot lot.

Two multi-car garages have been constructed at the rear of the house. The smaller of the two was built prior to 1943.