Mystic Bridge Historic District

Stonington Town, New London County, CT

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The Mystic Bridge Historic District was listed on the National Register of Historic Places in 1979. Portions of the content on this web page were adapted from a copy of the original nomination document. [‡]

The Mystic Bridge Historic District is located in the Town of Stonington on the east side of the Mystic River in southeastern Connecticut. It is complementary to the Mystic River Historic District that is in the Town of Groton on the west side of the river. The southern section of the Mystic Bridge Historic District embraces approximately the area proposed as a local historic district in 1977 (102 acres), while the northern section of the district is the premises of the Mystic Seaport Museum (50 acres). In all, approximately 400 sites and structures are included, of which 20 are considered not to contribute to the historic character of the district. Vessels owned by the Seaport are included in the inventory and are made a part of this nomination.

The Mystic River, which actually is an estuary of Long Island Sound, divides the community of Mystic between the Towns of Stonington and Groton pursuant to an arrangement reached in 1705. While the two sides of the river traditionally have been one community, there have been traditional differences between them. Mystic River on the west side over the years has had a greater percentage of its area devoted to fine residential use, and a smaller percentage devoted to manufacturing, shipbuilding, and workers' housing, and the Main Street shopping area has always been on the west. On the other hand, Mystic Bridge on the east side over the years has had more shipyards, more factories, and more workers' housing, as well as a large number of fine residences, and now has Mystic Seaport Museum.

The highway, U.S. Route 1 (Main Street), runs through the districts, and its bridge over the river, joining the two halves of the community, presumably has to do with the name given the eastern half. The first bridge (1819) was wooden and was drawn by oxen eastward to open it for the passage of ships. The present bridge (1924), with a span of 85 feet, is lifted by two, 200-ton counterweights of concrete cased in metal shields. The bridge leads to that portion of the National Register District that was proposed as a local historic district. The Mystic Seaport Museum area is to the north.

Immediately east of the bridge is a small square or wide intersection in the center of which is the village flagpole, a two-stage ship's mast with golden arrow finial, from which the flag is always flying. In view of the flagpole are two, three-story, hipped-roof, rectangular, mixed use buildings. The Clinton Building (1900) at 20 East Main Street, covered with stucco, has shops on the first floor and apartments above. The first-floor, wooden, shop front surrounds appear to be unaltered. They are slightly recessed under the upper portion of the building; in the soffit of the recess there is a row of exposed, small, incandescent lamps. Just around the corner at 3 Cottrell Street is the IOOF Building (1906) of similar mass and dimensions. Here, the wooden storefront surrounds, again apparently unaltered, are in a brick wall. Brick continues on all sides of the building for the facing of the first floor, then stucco for the second, and aluminum clapboard siding for the third. The upper two floors are IOOF meeting rooms.

Further east on East Main Street are St. Patrick's Church and the Congregational Church. Once Gothic, St. Patrick's (1908) has been altered by the addition of aluminum clapboard siding, a flat-roofed entrance porch, and a one-story, white brick parish hall. The nearby Methodist Church, 21 Willow Street, also bears little resemblance to its original appearance because the 1868 structure was destroyed by the hurricane of 1938, and a new church was built on the old foundation. The Congregational Church (1860), however, survives intact at the northwest corner of East Main Street and Broadway Avenue. It is a 39' x 71', Greek Revival, frame structure on stone foundations with a gable roof covered by slate. The front facade is a Doric tetrastyle under square tower with octagonal spire and arrow finial. The front wall and the pediment are flush, tongue-in-groove boarding. The central doorway has a touch of Gothic influence in its raised quatrefoil panelling under an obtuse arch opening. Along each side of the building are five tall windows under flat molded caps. The first stage of the square tower has a balustrade. The second stage, which is the belfry for a one-ton Maneeley bell, has clustered corner pilasters separated by round arch openings under an architrave, frieze, and molded cornice that is surmounted by a "Chinese Chippendale" balustrade. The octagonal third stage is built of flush boarding with corner pilasters. The spire is flared slightly over the cornice of the third stage.

In front of the Congregational Church, in the center of the street intersection, there is a Civil War monument (1883) that is the ubiquitous figure of the Union soldier standing at parade rest. Other buildings facing the monument include a modern brick convalescent home on the southwest corner, a one-story food market and parking area on the southeast corner, and a 1962 bank building on the northeast corner. The bank is a tan brick structure with a wide, high porch roof supported by slender columns, reminiscent of Mount Vernon.

Route 1 turns south at this intersection in front of the Congregational Church, and then east again at the railroad depot (1905). The depot is the conventional mass and shape of early 20th century railway passenger stations, and has Georgian Revival detail, including a Palladian window. Next to the depot is one of the Mystic Bridge Historic District's three brick factories. This one is the former Packer Tar Soap factory. The enterprise dates from the mid-19th century, and this factory from 1902. It consists of a two-story building and a three-story building, both with pilasters and corbelling that display the skill of the era's bricklayers. The three-story building has stepped gables reminiscent of Flemish design.

A second brick factory building is the Rossie Velvet Mill (1898) of 15,000 square feet at the northern extreme of the Mystic Seaport premises. Stepped gables appear here again, this time rising at intervals from a one-story brick wall that parallels Greenmanville Avenue. Behind this wall are 19 units of sawtooth-roofed mill buildings. The sawtooth roof is repeated in the Lathrop Engine Factory (1908) on Holmes Street, near the river, north of the bridge.

The Broadway School (1909) at the corner of School Street and Broadway Avenue, is another substantial brick building, no longer used. The school is a three-story, hipped-roof, rectangular structure with a central section that projects slightly, making for an interesting roof configuration that somewhat resembles that of Mystic Academy, the 1910 brick school of similar mass across the river. The Mystic Bridge School also has yellow brick trim akin to the yellow brick pilasters of the contemporary three-story, commercial building across the river.

The Mystic Bridge Historic District's 19th-century shipyards and turn-of-the-century factories required workers and the workers required housing. There are a number of examples of worker's housing, sometimes in rows of identical structures. One such row (1900) is made up of the four houses at 40, 42, 44, and 46 Holmes Street. These are simple, two-story, rectangular, gable-roofed structures with little trim, but they do have porches with turned posts and sawn post brackets and a three-sided bay on the west side. Each house also has a square window in the gable, composed of a central, large pane of clear glass surrounded by small, square panes of colored glass. Another such row is found in the five houses at 28, 30, 32, 34, and 36 Washington Street (1910). These houses are different from most in that they have gambrel roofs and shingled siding.

The buildings described thus far have included churches, commercial structures, a school, factories, and workers' housing — all dating from the early 20th century, except the Congregational Church. Yet Mystic's period of great growth and activity was the 19th century. It is in the district's older houses that 19th-century influences are apparent. Willow Street, Broadway Avenue, and Denison Avenue, running roughly north and south, all are lined with Greek Revival, Italianate, and Queen Anne houses of interest, as are some of the cross streets. The Greek Revival style predominates, in a 2-1/2-story, gable-roofed, three-bay design in which the axis of the house is perpendicular to the street and the front gable forms a pediment. The house at 6 Willow Street (1839) is a typical example, repeated frequently throughout the district. Elaborations on this basic design include 5 Stanton Place (1835), which has a small, Ionic portico (and a delicate wood picket fence), and the Mallory House (1828) at 35 Willow Street, with a tetrastyle Ionic portico and square cupola. The Doric order is represented nearby at the Hoxie House (1841) that has a hexastyle porch, each column matched by a pilaster against the front wall of the house. This is only a 1-1/2-story house, so the porch predominates. It is approached from the side. A further variation within the Greek Revival is found in the hip-roofed house at 10 Willow Street (1853) that consists of a main block and an ell; each section has its own columned porch.

Almost all the houses are frame, although some are on high brick basements. There are only three brick houses in the Mystic Bridge Historic District. The oldest (1840) is in the Greek Revival style, on Church Street, now a part of the Lathrop factory complex. In design it closely resembles the conventional, frame, Greek Revival house, but its execution in brick, with rough stone trim, sets it apart. The other two at 33 Church Street (1846) and 35 Church Street (1851) are near duplicate, four-bay, two-story structures, transitional Greek Revival/Renaissance Revival in style. Their clean lines, low hipped roofs, wide roof overhangs, and large six-over-six windows are Renaissance Revival, but the Greek Revival persists in their moldings including the wide frieze under the eaves and in their doorways with side and transom lights. 35 Church Street appears to be essentially unaltered, while 33 Church Street has received additions of a gabled, coved, front portico and an enclosed side porch.

A good example of the Italianate style, of which there are several, is found at 33 Denison Avenue (1864). The hipped roof has a dormer in each slope. The roof overhang is supported by heavy C-brackets that are separated by a heavy dentil course. The square porch posts have molded capitals from which the low arches are sprung. A Queen Anne house is located at 22 Willow Street (1890). It is a big, rambling house with several gables, each with a sunburst fret, shingled siding, slight flare of the second story over the first, a three-sided, two-story bay, and a flat front-door hood with spindled valance.

While there are a number of 19th-century houses in the Mystic Bridge Historic District, there are only a few dating from the 18th century, primarily because there were only a handful or less, of families living here at that time. One of the 18th-century houses is the Denison House (1770) at 2 Willow Street. It is a 1-1/2-story, gable-roofed, five-bay, central-chimney house thought to have been converted from an outbuilding.

Turning now to the northern part of the district, the Mystic Seaport Museum occupies premises, fronting on the river, that for a large part of the 19th century were the Greenman shipyards. The area was known as Greenmanville and the main street still has the name, Greenmanville Avenue. Three houses, built for the Greenman brothers in 1839, 1841, and 1842, remain in place on the west side of Greenmanville Avenue. All three are 2-1/2-story, three-bay, Greek Revival houses with ells toward the south. All have added detail. Two have identical, elaborate, arcaded, Eastlake porches on the front and side. An iron fence, in part wrought iron, in part cast iron, with cast-iron posts, runs along in front of these houses and continues along the street in front of museum administration buildings. The fence in front of the houses is in its original location, and other sections of the fence have been moved from elsewhere in Greenmanville.

In the museum grounds, between Greenmanville Avenue and the river, there are 73 buildings. Eleven of them are indigenous to the area; 28 are buildings with historic associations that have been moved to the museum from elsewhere in Mystic, Connecticut, or in several cases from further away; and 34 buildings have been constructed by the museum.

Among the indigenous buildings, in addition to the Greenman houses, is the shipyard foreman's home, the Edmundson House (1860), now the Pugsley Clock Shop. It is another two-story, Greek Revival, three-bay, clapboard house, on stone foundations. Several of the indigenous buildings are associated with a mill the Greenmans operated, including the former power house (1890), now the Packard Exhibit, an oblong, brick industrial building ; a square, Georgian, gambrel-roofed, three-story mill building (1865), now the Stillman Building; a machine shop (1890), now the Wendell Building; a work shop (1841), now the children's Museum; an 1842 barn, now the Nantucket Cooperage; and a shed of uncertain date now used to house the Block Island Hand Pumper. A Greenmanville church (1851) is preserved; it is a Greek Revival clapboard building with a square, two-stage belfry.

Probably the most spectacular building among those moved from elsewhere is the New York Yacht Club Building (1845) from Hoboken, New Jersey, attributed to Andrew Jackson Davis. It is a 1-1/2-story, gable-roofed structure with flared eaves and vertical wood siding. The double doors and windows have diamond glazing. The entrance has a lancet arch transom. The bracketed eave overhangs are trimmed with a continuous row of drop finials. The New Shoreham Lifesaving Station from Block Island (1874) is of similar mass and proportions in the Stick style. It has similar vertical-board siding, and its wide roof overhangs are supported by triangular brackets and exposed rafter ends.

Probably the oldest structure in the museum is the Buckingham House (1760) from Old Saybrook, Connecticut. It is a 2-1/2-story, Colonial, gable-roofed, five-bay, central-chimney, clapboard house. The first floor windows and the double door have flat molded caps. The nearby Mystic Bank (1833) from Old Mystic is a two-story, Greek Revival building executed in granite ashlar. Its stone pediment has a semi-elliptical opening for a fanlight.

The Plymouth Cordage company's ropewalk (1824) is the longest building at the Seaport. Its grey, shingled sides and long rows of double-tiered, six-light windows give a more dramatic impression than can be set forth in a verbal description.

Among the buildings constructed by the Seaport, the two most prominent are the Seamen's Inne Restaurant (1964) and the G.W. Blunt White Library (1965), both designed by Francis Day Rogers. Both consist of a central section with wings. The central section of the restaurant is a two-story, Georgian Revival, brick building with pyramidal roof. The wings are one-story, gable-roofed, frame construction. The central section of the library, again Georgian Revival, is a two-story, random ashlar structure with hipped roof and lantern. It has one-story, hipped-roof, clapboard wings to the north and south. Several other of the contemporary buildings are of similar quality. Additional new buildings run the gamut from period reproductions through straight commercial structures for store and snack bar to marine repair shops and sheds. Some of the sheds, with gable roofs and board-and-batten siding, can be mistaken for older buildings. Other sheds of standard metal construction are, like the snack bar, designated non-contributing.

All of these buildings are arranged with care, spaced over the 18 acres of land between Greenmanville Avenue and the river. The buildings are connected by streets and walks of cobblestone, macadam, and flagstone, and by dirt roads, many of them edged with anchor chain. 7,000-pound anchors serve as street furniture. The river is omnipresent, the whole creating a distinctive seaport atmosphere. In some cases the buildings are arrayed along a street, forming a convincing townscape, an example being the grouping that includes the Shipsmith Shop, Firehouse, Weave Shop, Hoop Shop, Mystic Press, Edwards House, Cooperage, Mystic Bank, and Schaeffer's Tavern.

The Seaport's 14 wharves, piers, and docks are an essential part of the scene. Some of the museum's collection of vessels are on display, tied up at the docks and piers. Chief among them is the Charles W. Morgan, a 113-foot whaleship, built in New Bedford in 1841 and designated a National Historic Landmark in 1967. Fully rigged, she carried 13,000 square feet of sail. The huge try-pots used for converting blubber into whale oil are still aboard. The Joseph Conrad, an iron training ship built in 1882, is a 103-foot, full-rigged ship. The Sabino (1908) is the last coal-fired, steamboat in operation in the United States. Additional vessels on display include a fishing schooner, oyster sloop, coastal schooner, Noank smack, and a cutter.

In sum, the Mystic Bridge Historic District reflects maritime activities in two different ways. The southern portion comprises the factories, homes, and commercial activity that grew up from the 19th-century shipbuilding and trading. The northern section preserves the artifacts, crafts, and atmosphere of a maritime life.

In delineating the Mystic Bridge Historic District's boundaries, there are two instances where a street has been used as a boundary, in contrast to the usual practice of including both sides of a street within a district. The proposed local historic district and the National Register district follow the same lines in these two situations. The first is the east side of Greenmanville Avenue between Mistuxet Street and Williams Street, which is a combination of open land and light-construction, mercantile space less than 50 years old. The second is the south side of Washington Street between Jackson Street and Broadway Avenue, and west of Jackson Street to the river. These parcels are occupied by a contemporary lumber yard, a metal marina warehouse, and other industrial and storage buildings that have no architectural or historic merit. Rather than include these areas in the district and declare them non-contributing it seemed better to exclude them.

Mystic Seaport Vessels

The vessel collection of the Mystic Seaport Museum is an integral part of the museum's preservation and presentation of New England maritime history. Almost twenty original vessels (all sizes and types of watercraft) are seasonally in the water in settings, not unlike their original settings when not in use under sail or under power. These vessels form a visible link with the historic structures of the museum to show the land-sea interrelationship of a coastal community. Many of the floating vessels are unique or nearly so, in their own right, as will be explained further in the individual descriptions.

The floating vessels' value is further increased by the representation of vessels that were built in and sailed from Mystic, Connecticut, during the nineteenth century and early twentieth century. The vessels are restored to either their original configuration or to a later, better documented time period depending on the situation. Just as vessels were in everyday evidence in a nineteenth century coastal community for fishing, transportation, commerce, or pleasure, they are now situated to convey this proximity of location to the museum's visitors. The districts of Mystic River and Mystic Bridge also benefit by the vessels presence, particularly with the larger vessels, as the masts are visible from many viewpoints as were masts of an earlier day. The shipyards that once lined the Mystic River produced many types of vessels and the docks and wharves or anchorages along the river, serviced these vessels.

Approximately 30 of the vessels in the collection are currently housed in exhibit buildings. Some of the buildings are new construction designed to house vessels on a rotating basis. The vessels or exhibit may share a common theme or may make an individual statement. The North Boat Shed and Small Craft Exhibits are the two main vessel exhibit buildings. Other buildings with original vessels in them are the Ames Fish House, the Oystering Exhibit, the New Shoreham Life-Saving Station, and the Small Boat Shop. These last named exhibits have a specific theme that the vessel(s) is an integral part with. Examples are the surfboat in the Life-Saving Station and the salmon wherry in the Ames Fish House.

The largest percentage (80%) of our vessel collection is housed in the Rossie Mill or Small Craft Storage Shed. These vessels are to be viewed as a whole as a study collection of New England small craft. This constitutes a valuable research source for writers, boat builders, and historians in general. Mixed in with the small craft of American construction, are a small number of foreign built small craft that serve as a basis of comparison.

The vessel collection of the Mystic Seaport Museum is probably the largest collection in the United States. Because of the importance of nineteenth century Mystic as a shipbuilding center, it is appropriate that a ship, bark, steam powered vessel, schooners, sloops, yachts, and rowing vessels are situated here as a form of continuity with the town's heritage.


The Mystic Bridge Historic District comprises a community of 19th-century homes and early 20th-century factory and commercial buildings that drew their strength from the shipbuilding and maritime activities of the Mystic community. There has been little change in the past 50 years and a strong visual sense of community from an earlier era prevails. The Mystic Seaport museum is an organized presentation of vessels, crafts, and artifacts associated with American 19th-century maritime history in which Mystic played an important part.

The quality of significance in American history and architecture is present in the Mystic Bridge Historic District. The district possesses integrity of location, design, setting, materials, feeling, and association, is associated with events that have made a significant contribution to the broad patterns of our history, embodies the distinctive characteristics of a period, and represents a significant and distinguishable entity whose components may lack individual distinction.

The Mystic Bridge Historic District presents an excellent opportunity for study of American 19th-century maritime history. Prior to the 19th century, there were only a handful of residents in Mystic Bridge. Subsequent to the 19th century, there have been few developments, and little growth of any kind in the district. Transportation and trade in the 19th century depended on shipbuilding and the dispatch of small ships to coastal and to foreign ports — until overtaken by the railroads and steel ships. Mystic built ships in proliferation and became the home port for many seafarers during this period. Two of the three principal Mystic Bridge shipyards were located within the district. The Greenman yards occupied much of the area that is now the site of the Seaport. The Greenman family also operated a textile mill on the site. Known as the Greenmanville Manufacturing Co., it was in operation under several names and managements and made several different fabrics from 1849 until 1920. Some of its structures remain standing as part of the museum complex, including those now known as the Packard Exhibit and the Stillman Building. The Mallory yards were on the southern edge of the Seaport's site, and the Irons and Grinnell yards were south of the district in an area now taken over by sand dunes and marinas. This shipbuilding activity was financed in part with the proceeds of sealing and then whaling that were conducted from Mystic to the time of the Civil War. From about 1850, the yards built clipper ships for voyages to California and the Far East, and wooden steamers for Civil War use and later coastal runs. Successful ship captains and owners were able to build comfortable homes. The banking and trading that was essential to maritime commerce also provided prosperity that became visible in well-designed homes. The Greek Revival was in vogue at the time and the many handsome Greek Revival houses along the streets of Mystic Bridge reflect the growing success of the maritime activity. The integrity of location of the Mystic Bridge Historic District encompasses both the shipbuilding and maritime trade activity and the residential streets that depended for existence on such activity. There has been no intrusion into the design, setting, and feeling of the district because Mystic did not have the deep water that was a prerequisite for moving into construction of 20th-century steel ships. Consequently, the district continues to embody the distinctive characteristics of the 19th-century New England, maritime community.

Toward the end of the 19th century, declining shipbuilding activity was replaced to some degree by increased manufacturing. At one time the community had a soap works, iron works, textile mills, engine shop, and distillery (witch hazel.). The homes for the workers in the factories are Spartan in comparison with the earlier Greek Revival, and then Italianate and Queen Anne, houses of more affluent citizens. Nevertheless, the workers' homes, sometimes in rows of four or five of identical design, add historic interest even though as individual components they lack distinction. They are a distinctive characteristic of the period.

The Mallory family, prominent in shipbuilding and other pursuits, were benefactors to the district by presenting the 1883 Civil War monument to the community. The monument was supplied by the James Batterson organization of Hartford. It is the familiar figure of the Union soldier and his gun created by sculptor Carl Conrads for Batterson for the U.S. Soldier Monument at Antietam.

While names abound for ship captains, shipbuilders, traders, merchants, and bankers associated with Mystic Bridge, not a single architect's name has come to light for work done in the district. An exception may be Amos Clift III (b.1805), a builder by today's standards but perhaps an architect/builder by 19th-century standards. His accounting Day Books for the years 1836-1848 are preserved at the Seaport library, indicating that he worked on 32 structures in the area. Twelve of his Greek Revival houses in Mystic have been identified, including the three Greenman houses and the Baptist Church at the Seaport, and 18 Willow Street, 11 Broadway Avenue, 31 Church Street, and 19 East Main Street. Another craftsman who has been identified is William Kenney, a mason, who often worked in association with Clift. The two-story, three-bay, Greek Revival houses they built were a fairly standard design that may have come from a pattern book, but who was responsible for the design of the more ambitious Willow Street houses with Doric and Ionic tetrastyles and hexastyle? The Congregational Church displays more than country competence in its design, but the designer is unknown.

And who designed the later Italianate and Queen Anne houses, and the stepped gables of the tar soap and velvet factories? Was the architect[1] of the 1909 school the same man who designed the somewhat similar school and commercial building in Mystic River?

The pace of Mystic's maritime activity is reflected by its statistics. The Greenman brothers from their yards launched almost 100 vessels between 1838 and 1878, including the famous clipper, David Crockett. By 1840, the firm of Charles Mallory was sending out four whaling ships annually. At the height of whaling, in 1845 and 1846, Mystic interests owned 18 whalers, although the population was less than 1,500. During the era of the clipper ship (roughly 1850-1860), 22 clipper ships were built here. During the Civil War, Mystic built 56 transports and other steamships. After the war, the building of commercial vessels shifted to other centers, but Mystic continued to build sailing yachts, and small vessels, barges, and schooners down to 1920. Since then, production has tapered off, except for a burst of activity during World War II.

It was against this historic background of maritime significance that the Mystic Seaport Museum, then the Marine Historical Association, was founded in 1929 by Dr. Charles K. Stillman, Edward E. Bradley, and Carl C. Cutler. During the ensuing 50 years, it has grown from a single building and a small collection to more than 60 buildings, ships, and formal exhibits covering approximately 50 acres of land. The land is essentially that once occupied by the Greenmans with their houses, shipyards, and textile mill. It has provided the site for the development of a major interpretive center of American maritime history, ranging from manuscripts to artifacts, presented with a special maritime sense of place. The museum is representative of America's concern for the history of its past. By its own development, it is creating a 20th-century view and understanding of Mystic and maritime history.

The shipyards are gone. Industrial activity has tapered off. Several large buildings, including a hotel in the center of town are no longer there. The fact that prime locations where these buildings once stood, north and south of Main Street just east of the bridge, are now either vacant land or are occupied by one-story, cinder block structures is an indicator of a slower economic pace. New construction pretty much has been limited to activity at the museum.

The importance of Mystic Bridge has to do with how easy it is to walk the streets of the community and imagine one's self in the 19th century. The layout of the streets, the architecture of the houses, the nearness of the river, and the spacing and relationship of all these elements to one another create an ambience and atmosphere that easily transport a sympathetic observer 100 years back in time. And, if an observer actually wants to see artifacts and crafts from the period, he can do so to great advantage by spending a day at the Mystic Seaport Museum.


  1. The Cash Book of the Building committee of the Broadway School is in a private collection. It shows that the architect was Wilson Potter (1868-1936) of New York. He was paid $2,152.90. The total cost of the school was approximately $38,000.


Virginia B. Anderson, Maritime Mystic, Mystic: The Marine Historical Association, 1962. (Has a good general bibliography.)

Amos Clift, "Day Book No. 2," 1836-1840, and "Day Book No. 3," 1841-1848, at G.W. Blunt White Library, Mystic Seaport.

"Guide," Mystic: Mystic Seaport, Inc., 1977.

"Mystic Bridge Historic District Study Committee Report," Town of Stonington, Connecticut, nd (1977).

Daniel H. Wood, "An Architectural Study of the Houses Built by Col. Amos Clift III of Mystic, Connecticut," 1967, unpublished manuscript at G.W. Blunt White Library, Mystic Seaport.

‡ David Ransom, consultant, Connecticut Historical Commission, Mystic Bridge Historic District, New London County, CT, nomination document, 1979, National Park Service, National Register of Historic Places, Washington, D.C.

Nearby Neighborhoods

Street Names
Bay Street • Broadway Avenue • Bruggeman Place • Church Street • Cottrell Street • Denison Avenue • Elm Place • Forsyth Street • Frazier Street • Greenmanville Avenue • Haley Street • Holmes Street • Isham Street • Jackson Avenue • Lincoln Street • Main Street East • Oak Street • Reynolds Hill Road • Roosevelt Street • Route 1 • Route 27 • School Street • Stanton Place • Washington Street • Williams Avenue • Willow Street

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