by Mary Grow

An article in the latest issue of The Saturday Evening Post says the television show M*A*S*H pioneered Sept. 17, 1972, 50 years ago this month.

The show was based on the movie of the same name, which came out in 1970; and the movie was based on the novel MASH, written by Richard Hooker and published in 1968 by William Morrow & Company.

“Richard Hooker” was the pen name of Waterville surgeon H. Richard Hornberger, Jr. (Feb. 1, 1924 – Nov. 4, 1997). The H. stands for Hiester.

A United Press International obituary dated Nov. 5, 1997, says Hornberger chose the pen name as “a reference to his golf swing.”

Hornberger was a New Jersey native who graduated from Bowdoin College and Cornell University Medical School. Drafted for service in the Korean War, he served in a Mobile Army Surgical Hospital, or MASH unit, whose doctors worked close to the front lines, usually in tents, to treat – often to save – wounded soldiers.

The UPI obituary said Hornberger’s family had summered in Maine and had roots here that went “back several generations.” After the war, Hornberger moved to Bremen.

His post-war career included a stint with the Veterans’ Administration at Togus and surgical practice in Waterville, from which he retired in 1988. He began writing drafts of his first novel in the late 1950s; it was followed by M*A*S*H Goes to Maine and M*A*S*H Mania, neither as successful as the original.

His Nov. 7, 1997, obituary in the New York Times said survivors included his widow, Priscilla Storer Hornberger, two sons, two daughters and three grandchildren.

Dr. Hornberger’s circle included two other Waterville doctors, both with national reputations. Fairfield resident Loring Withee Pratt was an otolaryngologist (a specialist in ear, nose and throat problems); Skowhegan’s George E. Young was a radiologist and surgeon.

A long obituary of Dr. Pratt (May 26, 1918 – March 13, 2012), published in the Waterville Morning Sentinel on March 16, 2012, said he was born in Farmington, graduated from Middlebury College in Vermont in 1940 and studied medicine at Johns Hopkins School of Medicine in Baltimore.

The obituary says Pratt spent two years in Air Force flight surgeon training in Texas. After his June 1948 discharge, he and his wife Jennie (Jeanette Burque) came to central Maine, where he ran a Waterville ear, nose and throat medical practice until he retired in 1985.

Additional responsibilities included “assistant director of the F.T. Hill Seminar at Colby College in Waterville; chief of staff at Thayer Hospital in Waterville 1979-1981; and chief of department of otolaryngology — head and neck surgery 1977-1979 at Thayer Hospital.” He worked with tuber­culosis pa­tients at Fairfield’s Central Maine Sanato­rium and was “on the consulting staff of Waterville Osteopathic Hospital; Kennebec Valley Medical Center, Augusta; Franklin Memorial Hospital, Farmington; PenBay Medical Center, Rockland; Redington Fairview General Hospital, Skowhegan; Veterans Administration Hospital (Togus), Augusta; and the Charles Dean Memorial Hospital, Greenville.”

After he retired, the obituary says he continued his connections with the Mayo Clinic in Scottsdale, Arizona, and at Johns Hopkins.

The writer of the obituary said of Pratt, “For a doctor from a small Maine city, he had accomplishments on a national level in the field of medicine.”

Pratt was a fellow of numerous American medical associations; the writer listed as three “of his most prized” the American Medical Association (since 1948), the American College of Surgeons (since 1952) and the Triological Society (aka The American Laryngological, Rhinological and Otological Society, Inc.) (since 1954).

Other contributions the writer mentioned were “publishing papers in medical journals and presenting at professional conferences. One of his specialties was chainsaw injuries to the head and neck. He was recognized nationally for this work.”

In his spare time, Pratt was active in community organizations, including the Masons and the Fairfield Historical Society, and pursued interests in plant and animal life, gardening, geology and photography.

Pratt was survived by his wife, their nine children and numerous grandchildren and great-grandchildren. The large Pratt house on Lawrence Avenue in Fairfield remains a private residence.

Dr. Hornberger’s other nationally known colleague, about whom little information is available from on-line sources, was Dr. George E. Young (Nov. 15, 1888 – Aug. 7, 1960), an early radiologist and a surgeon. He and his wife Clara (1894 – 1978) lived in a large house on Madison Avenue in Skowhegan; like Dr. Pratt, Young worked extensively with tuberculosis patients at Central Maine Sanatorium.

George and Clara Young are buried in Skowhegan’s Southside Cemetery.

The newest building at the former Central Maine Sanatorium, which closed June 30, 1970, is the Young Surgical Building at 50 Mountain Avenue, on the east side of the campus. Built in 1955 and named in honor of George E. Young, it was added to the National Register of Historic Places on June 28, 2021.

The application for National Register status was prepared in March 2021 by Preservation Consultant Christine Beard, of Essex Preservation Consulting, in Amesbury, Massachusetts.

The application says the building has historic value “for its association with the treatment of tuberculosis in Maine” between 1955 and 1970. Maine’s most seriously ill tuberculosis patients were sent to Central Maine Sanatorium because it was there that “surgery could be performed if necessary.”

The explanation continues: “The [Young] Surgical Building is the only building constructed by the state solely for use as a surgical center for tuberculosis patients. At the time it was constructed, the Surgical Building was considered state-of-the-art and greatly expanded the ability to treat advanced cases of tuberculosis.”

The physical description of the building calls it “a three-story brick Modern style institutional building with masonry bearing walls and steel framing. The building has a T-shaped plan, with a rectangular three-story main block and a two-story rectangular rear ell.”

The building’s architect was Stanley S. Merrill, of Auburn, the application says.

Also on the lot, and part of the historic listing, is a 1935 brick boiler house just north of the main building. It is described as one and a half stories high with a single-story wooden addition built around 1950.

At its height, Central Maine Sanatorium consisted of 12 buildings, the application says; five remained when the application was prepared, standing on separate lots since a 1984 division of the property. The demolition of most of the buildings and changes to the surviving ones “preclude the formation of a cohesive historic district.”

The Young Surgical Building was a nursing home for some years. It is currently undergoing major renovations, with the goal of making it Mountain View apartments.

Maine’s other two tuberculosis sanatoria were Northern Maine in Presque Isle, built in the 1920s and improved in 1938 and 1939 with federal funds, and Western Maine in Hebron, started in 1904 as a private hospital and taken over by the state in 1915. Both closed in 1959; 18 of Hebron’s 30 patients came to Fairfield, and the other dozen were discharged.

The Fairfield hospital also began as a private venture about 1909, in Waterville, run by the Central Maine Association for the Relief and Control of Tuberculosis. The temporary housing –- patients spent the day at the facility and went home at night, according to the historic district application – was moved to Fairfield in 1910.

After Frank Chase’s widow, Valora Chase, donated money for the first building, the institution became Chase Memorial Sanatorium in 1914. It too became a state institution in 1915. The additional buildings were built between 1938 and 1955. In 1933 and 1934, Mountain Avenue was rebuilt with federal money.

by Mary Grow

After two weeks‘ digressions, your writer returns to Waterville history, beginning with the C. F. Hathaway Shirt Company, described in Roger Reed and Christie Mitchell’s Lockwood Mill Historic District application as “an internationally known firm that originated in Waterville.” The application adds that Mill Number 2 “is the only intact industrial facility in Waterville associated with the important shirt maker.”

The company was founded by Charles Foster Hathaway, born July 2, 1816, in Plymouth, Massachusetts. In May 1840 he married Temperance Blackwell, of Waterville, in Waterville. Temperance died Jan. 19, 1888; Charles died Dec. 15, 1893. Both are buried in Waterville’s Pine Grove Cemetery.

Wikipedia says Hathaway quit school when he was 11 to work in a nail factory. When he was 15 he switched to printing, and later to his uncle Benjamin’s shirt factory in Plymouth.

The Hathaways moved to Waterville in 1843 or 1844, and Hathaway worked for different printers. In 1847 he bought out one of them for $571.47 and in April started publishing the Waterville Mail, described as “a weekly paper of four pages filled with sermons, religious homilies, and moral stories.” On July 19, 1847, he sold the business, for $475.

Ernest Marriner, who devoted a chapter in his Remembered Maine to Hathaway, explained that Waterville readers were not interested in “the religious homilies and the stern puritanical advice with which Hathaway filled his paper.”

By 1850, perhaps earlier, Hathaway was back in Massachusetts, opening the Hathaway and (Josiah) Tillson shirt factory, in Watertown. He sold out on March 31, 1853, and on April 1, according to his diary quoted on Wikipedia, agreed to start C. F. Hathaway and Company, in Waterville, in partnership with his brother George.

The first Hathaway Shirt Factory site was a one-acre lot on Appleton Street, bought for $900; the ground-breaking was June 1, 1853. Over the summer, Hathaway and two others made shirts in Hathaway’s house. By the end of October, Marriner wrote, quoting Hathaway, the factory was operating: “the working hours were 7 A.M. to 6 P.M., six days a week, with an hour off at noon” – a sixty-hour work week.

Appleton Street runs from Elm Street across Main Street to Water Street, the intersection north of Temple Street. Your writer has been unable to locate the Hathaway factory on the street (Editor’s note: It is now an apartment building on Hathaway St.). She believes the building was wooden, because Marriner described Hathaway’s 1856 negotiations over lumber for an addition.

The Hathaway Company manufactured only men’s shirts until 1874, when a line of ladies’ underwear was added. Henry Kingsbury, writing in 1892, said that since 1853, the business “has grown with the steadiness of an oak tree.” By 1902, Reuben Dunn wrote in Edwin Whittemore’s Waterville history, Clarence A. Leighton, “associated with” Charles Hathaway since 1879, was sole proprietor. (Dunn disagreed with other sources on the dates of the company’s founding and of Hathaway’s death.)

Marriner wrote that the Appleton Street factory ran for more than a century, information that matches Reed and Mitchell’s saying that Mill Number 2 in the Lockwood complex “served as the principal manufacturing plant” for Hathaway shirts from 1957 to 2002, when the business closed.

Kingsbury called Hathaway “a man of strong, original character” who valued “thorough, honest work,” held “unusually earnest religious convictions” and had “friendly and honorable” relations with his employees.

Whittemore showed Hathaway the patriot. When the first two Waterville companies mustered for Civil War service in May 1861, the 183 men and their officers marched to the Hathaway factory, “where each man was presented with a pair of French flannel shirts by Mr. Hathaway.”

Marriner called Hathaway “Poor tortured soul!” He described a man overdriven by his religious belief, seeking to be a saint but constantly bemoaning his own “depravity and deceit” and the “wickedness of…[his] natural heart.”

Hathaway wanted to convert his employees; Marriner said he required prayer at the start of each work day – “Charles Hathaway’s special brand of prayer” – until rebellion and ridicule made him lift the requirement. He felt a duty to preach to everyone he met, including those who found his “starvation wages and other business practices” not very Christian.

He was hard to do business with, being frequently sure he was cheated. Marriner described his feud with Waterville Baptist Church pastor Henry S. Burrage; and joined Whittemore’s contributors and Kingsbury in praising Hathaway’s role in establishing the Second Baptist Church in the South End.

Marriner expressed sympathy for Temperance, writing that in 1840, she could not have foreseen “the ostracism, the loneliness, the ridicule she must encounter as the wife of this man.”

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Before the interjection of the Lockwood Mill Complex and Hathaway’s shirts, readers had followed Matthew Corbett and Scott Hanson’s 2012 application for Historic Preservation listing southward on the east side of Waterville’s Main Street. Crossing to the south end of the west side of the street, Corbett and Hanson listed three buildings south of the intersection where Silver Street joins Main Street from the west. Ticonic Row was at 8-22 Main Street, separated by an alley from the newer Parent Block at 26 Main Street; next was the Milliken Block, bordered on the north by Silver Street.

Ticonic Row is described as showing Greek Revival architectural elements. Brick, four stories high, flat-roofed, it is divided into four sections with name plates from periods of separate ownership: from south to north, Gabrielli Pomerleau, Abraham Joseph, Tozier-Dow and Sarah Levine. Built in 1836, it is the district’s oldest building. Originally three stories with a gable roof, the fourth floor was added, the uppermost windows lengthened and the roof flattened in 1924.

The Parent Block, a four-story brick building with decorative brick trim, dates from 1909. The style is described as “early 20th century commercial.” Corbett and Hanson found a mid-20th-century photograph of “the original storefront with a deeply recessed central entrance between tall display windows on low wood bulkheads…. The floor of the recess was one step up from the sidewalk and appears to be a granite slab.”

The building on the south corner of Silver and Main streets, which now has Silver Street Tavern on the street floor, was in 2012 the Milliken Block, dating from 1877.

An on-line Maine Preservation website gives more history than Corbett and Hanson had space for. The site says in 1866, Waterville National Bank directors hired architect Moses C. Foster (see box) to design a bank building on the site of an earlier wooden building.

Foster’s three-story brick Italianate style building went up in 1877. Waterville National Bank failed two years later, and the building was renamed to honor banker Dennis L. Milliken.

An undated photograph on the website shows a small carriage drawn by a white horse standing on Silver Street and eight men loitering on Main Street, two leaning on hitching posts and one holding a dog on a leash. The photo shows business signs above three street doors on Main Street; the legible ones read “Mitchell Clocks & Jewelry” and “Waterville National Bank.” Smaller signs mark second-floor businesses, and on the building’s northeast corner is a large third-floor shield identifying the Odd-Fellows Hall.

This photo shows the elegant brick and stone trim and the elaborate ornaments on the protruding cornice that Corbett and Hanson described. The Milliken Block is flanked by story-and-a-half wooden buildings south on Main Steet and west on Silver Street.

Early in the 20th century, the Maine Preservation site continues, O. J. Giguere bought the building. He combined three street-level stores into one, Giguere’s Clothing Store, and “installed the “G” lead glass windows.” He also put “a name plaque on the Maine [sic] Street elevation, a common trend in Waterville as Franco-Americans started purchasing commercial blocks on the south end of Maine [sic] Street.”

The plate on the building in the photograph described above is between the second and third floors. It appears to have a name and a date.

Moses Coburn Foster

Moses Coburn Foster was born in Newry, Maine, July 29, 1827. He married Francina Smith (born in 1830), of Bethel, in 1849; they had five daughters and one son.

According to the chapter on businessmen in Whittemore’s Waterville history, Foster was educated at Rumford High School and Gould and Bethel academies. He began his career as a builder and contractor in 1846; during the Civil War he was a master builder in the Union Army’s quartermaster’s department.

The family moved to Waterville in 1874, and in 1880 he incorporated M. C. Foster and Son with his son Herbert (born in 1860, died Aug. 31, 1899).

Foster is credited with many public buildings in New England and adjacent Canadian provinces, including post offices, churches, hotels and the Maine Central Railroad Station, in Brunswick.

Francina Foster died in 1890; Moses died Sept. 21, 1906. They are buried in Pine Grove Cemetery.

Their daughter, Carrie Mae (July 18, 1862 – Dec. 24, 1953), married businessman Frank Redington in 1890. From about 1892 until Moses Foster died, the couple lived with him in the Queen Anne style house that he built, described in a 2014 Central Maine newspaper article as “the first example of this architectural style in Waterville.” The two-story wooden house is an elaborate multi-gabled structure, with a square turret and a small front porch, its fancy shingles and decorative moldings painted contrasting colors. Wikipedia says parts of the interior are original, including “the entrance hallway with formal fireplace and ‘mahogany woodwork’ and stairs.”

The Redingtons remodeled in the early 1900s, probably adding the “tin ceilings, chandeliers, and fluted Doric columns in the opening between the parlor and library.” After Frank Redington’s death in February 1923, Carrie continued to live in the house until her death.

The Foster-Redington House was listed on the National Register of Historic Places on April 11, 2014. Located in a secluded area near downtown Waterville, it is privately owned; anyone visiting is urged to respect the owner’s rights.

Main sources

Corbett, Matthew, and Scott Hanson, National Register of Historic Places Registration Form, Waterville Main Street Historic District, Aug. 28, 2012, supplied by the Maine Historic Preservation Commission.
Kingsbury, Henry D., ed., Illustrated History of Kennebec County Maine 1625-1892 (1892).
Marriner, Ernest, Remembered Maine (1957).
Reed, Roger G., and Christi A. Mitchell, National Register of Historic Places Registration Form, Lockwood Mill Historic District, Jan. 11, 2007.
Whittemore, Rev. Edwin Carey, Centennial History of Waterville 1802-1902 (1902).

Websites, miscellaneous

by Mary Grow

This week’s description of Waterville’s Main Street Historic District begins where last week’s left off, with the Common Street buildings on the south side of Castonguay Square, and continues down the east side of Main Street. It adds a summary of the separate Lockwood Mill Historic District, across the intersection of Spring and Bridge streets at the north end of Water Street (see also the May 7, 2020, issue of The Town Line.)

* * * * * *

Continuing with Matthew Corbett and Scott Hanson’s 2012 application for the Waterville downtown historic district, on the south side of Common Street, the building at the east end (closest to Water Street) is the brick Haines Building at 6-12 Common Street. Built four stories tall in 1897, after a 1942 fire destroyed the top three stories only one was rebuilt.

Next west is the 1890 “Romanesque Revival style Masonic Block,” a four-story brick and granite building. Adjoining it is the three-story Gallert Block, which the application says was built in 1912 to replace wooden stores that had burned in 1911. Corbett and Hanson describe it as blonde brick with granite and brick trim and an example of Commercial Style architecture.

The building on the corner of Common and Main streets is the Krutzky Block (57-59 Main Street), also built a year or so after the 1911 fire. The building “combines elements of the Arts and Crafts and the Spanish Colonial Revival styles.” The façade has two bays that face Common Street; four bays that “begin to turn toward Main Street”; a single narrow bay with the main entrance facing “the corner of Common and Main Streets”; and two bays on Main Street.

Materials in this building include stucco, stone, metals and brick. The brick is “laid in Flemish bond which provides a subtle pattern to the brickwork.”

The next two properties south, the GHM Insurance Company building and the pocket park, are post-1968, too new to count as historic.

Next south of the park, the 1936 three-story Federal Trust Company Bank building at 25-33 Main Street was designed by architects Bunker & Savage, of Augusta, in Art Deco style, the only Art Deco building in the district that was designated in 2012. The original part on the north end “is of limestone construction with later expansions in stone or ceramic tiles and stucco with varied marble and brick storefronts,” Corbett and Hanson wrote.

The bank later absorbed two buildings south, a 19th-century brick one and an undated section, also brick, taken over from the Levine Building. The application says the southern building dated from the early 19th century and “appears to have been a two story brick block with granite piers and lintels at the storefront level and a side gable roof.” By 1875, it was three stories high.

The Levine’s Clothing building dated from 1880. Four stories, brick, it was remodeled in 1905 and again in 1910 before being demolished recently to make room for Colby College’s Lockwood Hotel.

Corbett and Hanson name the hotel on the Levine building’s upper floors the (earlier) Lockwood Hotel. Frank Redington’s chapter on businesses in Whittemore’s history calls the southernmost “pretentious building” on the east side of the street the R. B. Dunn Block, with the Bay View Hotel above the street-level store. The Town Line editor Roland Hallee wrote that the Levine building “expanded in the 1960s to the site of the former Crescent Hotel,” on the then-existing traffic circle at the foot of Main Street. (See the June 9, 2022, issue of The Town Line for Hallee’s memories of Levine’s in the 20th century.)

The historic district application describes the building at 9-11 Main Street as separate from, but by 2012 part of, Levine’s. Built before 1875 as “a two-bay, two-story Italianate style brick commercial building,” it acquired a “third story and new cornice” between 1889 and 1894, “apparently as part of change of use from a grocery store to small restaurant and saloon.”

Your writer and Hallee both remember the Silver Dollar tavern, which Hallee locates overlooking the Kennebec River on the east side of the traffic circle. Whether the Silver Dollar is the “saloon” Corbett and Hanson mentioned is not clear. Hallee wrote that the tavern building was demolished when the rotary was eliminated.

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The Lockwood Mill Historic District was added to the National Register of Historic Places on May 8, 2007. The application was completed in January 2007 by Roger G. Reed, an architectural historian with the Portland architectural firm of Barba and Wheelock, and Christi A. Mitchell, of the Maine Historic Preservation Commission.

The district at “6, 6B, 8, 10 and 10B Water Street” includes three large mill buildings numbered 1, 2 and 3; a 1918 power house and the “Canal Headworks/Forebay Canal”; and a power house too new to count as contributing to the historic value.

Reed and Mitchell’s summary calls it a “complex of brick textile factory buildings and associated water-retaining and hydro-electric generating structures”; and “the only major nineteenth century textile complex constructed in Waterville.”

The three main buildings “represent all the surviving buildings associated with the textile factory except for the Lockwood gasometer building on the west side of Water Street,” too much changed to be included.

The northern building, Number 1, has a long extension northward (once called the Picker Building) paralleling the canal and the Kennebec River and a wheelhouse on its east end. Since 1883, Number 1 has been connected to the central building, Number 3. Number 2 stands alone parallel to the other two.

Prominent Rhode Island industrial designer Amos DeForest Lockwood (Oct. 30, 1811 – Jan. 16, 1884) designed the buildings and machinery, and, since local financiers had no expertise in the textile industry, provided essential financial advice as well.

Reed and Mitchell wrote that Mill Number 1 was started in 1873 – the Hallowell granite cornerstone was laid Oct. 17 — and finished in 1875; the wheelhouse gained a second floor in the first decade of the 20th century, and there were alterations in 1958. Mill Number 2 dates from 1881-82, with alterations in 1957. The middle of Mill Number 3 was built in 1883; the structure was extended westward in 1889 and eastward in 1894 and extensively modified in 1957 and 1958.

Described as brick buildings on granite foundations with granite trim, their architectural style is listed as Late Victorian/Italianate. Reed and Mitchell found that the brick was made in a brickyard in Winslow; the granite came from the famous Hallowell quarries.

The builders provided granite windowsills, and inset the windows and spandrels one brick deep, “creating the appearance of pilasters running the full height of the buildings.” The reason, the application explains, was that Lockwood wanted large windows for maximum natural light, but needed thick walls to withstand the stress caused by the vibrating machinery.

(Spandrels are the near-triangular corners between the tops of arches and the surrounding frame. Pilasters are vertical ornamental columns on walls that look like supports, but are only decorations.)

The application quotes the local newspaper writing in 1874 that Waterville’s large French-Canadian population (21 percent in 1880, 44 percent in 1900, Reed and Mitchell found) provided a good labor supply.

“The construction of a new city hall and opera house in 1901 and a Carnegie library in 1902 were symbolic of the prosperity initiated in large part by the Lockwood Mill,” Reed and Mitchell wrote.

Henry D. Kingsbury, describing mill operations in 1892, wrote that by then $1.8 million had been invested. In the first half of the year, he wrote, the Lockwood Company produced “8,752,682 yards of cotton cloth, weighing 2,978.000 pounds.” Twelve hundred and fifty people worked 10 hours each weekday at the looms and spindles; 50 to 75 “skilled mechanics” were “constantly employed, capable of reconstructing any machinery in use.”

Mill Number 1 is about 70 feet wide and four stories tall, with a five-story tower in the middle of the south side. The tower did not mark the main entrance, Reed and Mitchel found; it was called the “back tower” on early plans, and the mill office, which they imply was the main entrance, was “on the north side facing Water Street.”

The tower housed the freight elevator and bathrooms.

Three curving wooden staircases in the main building were surviving in 2007. They were enclosed between the outside walls and interior walls that also housed sprinkler pipes.

Here is Reed and Mitchell’s description of the interior of the main part of Mill Number 1: “the basement sections (separated by brick fire walls) were allocated for weaving, the storage of mill supplies, and carpentry and machine shop. The first floor was allocated for weaving, the second floor for spinning, the third floor for carding and warping, and the fourth floor for sizing, spooling and spinning.”

The building remained a textile mill until around 1979.

Mill Number 2, the southernmost building, is the largest, about 100 feet wide and in its main section five stories high. It had on the east a “four story wheel house and harness shop” and on the west a four-story wing with a one-story addition on the south. There were “two brick entrance vestibules on the north side.”

Reed and Mitchell wrote that the single-story wing was much changed, both outside (windows and entrance) and inside, in 1957, when it became the C. F. Hathaway Shirt Company. The new entrance and its surroundings were Colonial Revival style. Inside, the building acquired elevators and part of the open space was partitioned to make offices, a third-floor cafeteria and other rooms.

Mill Number 3, dating from 1883, was between and parallel to the other two buildings, and in its early life connected to each at the second-floor level. Of the same original style and materials, it was the most extensively changed in the 1950s.

Reed and Mitchell wrote that the original use was “packing, boiling, rolling and folding on the first floor, and weaving on the second floor.” The extensions in 1889 and 1894 provided more room for weaving.

After Central Maine Power Company moved into the building in 1958, the “brick shell” remained, with replacement doors and windows and “major interior alterations.”

Reed and Mitchell’s application includes descriptions of the canal, replacing earlier wooden cribbing “to channel the water and power the mill,” and the associated Lockwood Powerhouse. The concrete powerhouse, through which water runs “through turbines to power the generators,” is in two sections. The larger north side is open from top to bottom; the south side has “a mezzanine with two floors of rooms.”

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The Hathaway Shirt Company deserves a section of its own, but, as usual, your writer has run out of space. As Vassalboro School Superintendent Alan Pfeiffer often says, “Stay tuned.”

Main sources

Corbett, Matthew, and Scott Hanson, National Register of Historic Places Registration Form, Waterville Main Street Historic District, Aug. 28, 2012, supplied by the Maine Historic Preservation Commission
Kingsbury, Henry D., ed., Illustrated History of Kennebec County Maine 1625-1892, (1892).
Reed, Roger G., and Christi A. Mitchell, National Register of Historic Places Registration Form, Lockwood Mill Historic District Jan. 11, 2007.
Whittemore, Rev. Edwin Carey, Centennial History of Waterville 1802-1902 (1902).

Websites, miscellaneous.