Thank you!
Your support is sustaining the future of local news in our communities.

Canaan’s railroad connection

Canaan’s railroad connection

North Canaan historian Kathryn Boughton explained how Canaan’s past is linked with the railroad at a historical talk in the Art Bar & Gallery in Union Depot.

Robin Roraback

NORTH CANAAN — On Saturday, Nov. 16, at Union Depot, town historian Kathryn Boughton presented a talk titled “Canaan: The Town the Railroad Built.”

Boughton began by saying that a man walks about three miles per hour and a horse trots at about eight to 10 miles an hour and can cover about 30 miles a day.

Trains could reach speeds of 30 miles per hour by the 1830s and people could travel in one hour what it took a horse to do in one day.

“So, it is not hard to imagine the curiosity and excitement occasioned by the coming of the first train to Canaan,” Boughton said.

In December of 1841, the day came when the first train would arrive. “People flocked to Canaan to see the great sight,” according to Connecticut Western newspaper publisher John Rodemeyer, who compiled a scrapbook of “recollected impressions of persons who were there when the train came to town, an event already 57 years in the past,” Boughton said.

They came in “carriages, lumber wagons and two-wheeled gigs. They came off the hills and over, dressed in their Sunday best and work-a-day clothes. Many brought their luncheon and made a holiday of it,” wrote Rodemeyer.

Before the railroad came to Canaan, the town was sparsely populated. Back then, “The majority of houses were clustered from the corner of what is today the junction of routes 44 and 7 and Sand Road,” Boughton said. “But the coming of the railroad set off a land boom.”

In the coming years, the town began to spread from Main Street down what became Railroad Street. Canaan now had “dentists and doctors, a tinsmith, a harness and wagon makers, lawyers, a hat manufacturer, a silver-plating shop, blacksmiths and stone cutters. The town was well and truly established,” Boughton said.

The railroads began “to run excursion trains, both for special events and shopping.” Events such as “‘snow trains which brought spectators to town from New York City to watch the ski jumps created by the gang of youngsters who formed the Applewood Ski Resort on what is now the Granite Avenue Extension,” Boughton said. Train excursions also brought boaters to the Housatonic River by what is now the Falls Village power plant and bicyclists to ride on local roads.

But excursions to Bridgeport to shop at WB Hall & Company took business away from Canaan merchants. Canaan merchants blamed the Housatonic Railroad for causing this loss and “Inevitably, over the decades tensions developed between the railroad and the town.”

S. C. Beckley, editor of the Connecticut Western at the time, complained more tracks were needed.

“The running of so many trains on single tracks is quite an undertaking and it is also dangerous to run them by train dispatchers as a misunderstanding on orders is liable to occur.”

At that time, more than 39 trains ran through Canaan daily.

Railroads continued to be important in Canaan until automobiles took over many of the duties trains had performed.

The railroad is still evident in Canaan today. Its “economy still rocks to the rhythm of the rails and the revitalized Housatonic Railroad still serves local businesses, and they order products from afar and ship their own materials out from our plants,” Boughton said. “It is a living legacy of the forces that created our town.”

Latest News

‘So Little to Do,’ so much to discover at James Barron Art

Curator Deborah Goodman Davis reads the Emily Dickinson poem “The Grass So Little Has to Do.” Spencer Finch’s “Following Three Bees (Zinnias)” buzzes in the background.

Photo by Natalia Zukerman

“The Grass Has So Little to Do,” on view at James Barron Art in Kent, takes its title from Emily Dickinson’s poem “The Grass So Little Has to Do,” written in 1862:

“The Grass so little has to do—
A Sphere of simple Green—
With only Butterflies to brood
And Bees to entertain—”

Keep ReadingShow less
Marina Kotchoubey is taking care of business

Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.

Photo by D.H. Callahan

After 40-something years navigating the world of custom fine furniture, Ian Ingersoll was getting ready to retire. Starting off with a little dovetail stool that he sold at a shop in West Cornwall in the 1970s, he’d grown his skill and his business into something he — and the whole town — could be proud of. Shutting down that business was not an option.

Ingersoll built Ian Ingersoll Cabinetmakers, which produced mainly classical Shaker furniture, on passion: the passion he had to make a living through creative challenges and the passion of his employees, who all seem deeply in love with their craft.

Keep ReadingShow less
A legacy of giving at Norfolk Chamber Music Festival

One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.

The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Two unique exhibitions at Geary Gallery

Henry Klimowicz with his sculpture, “Partial Pillar 1”

Photo by D.H. Callahan

On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.

On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.

Keep ReadingShow less

Writer’s retreat in the woods

Writer’s retreat in the woods

Participants in a 2024 Great Mountain Forest Woodland Academy workshop at Yale Camp.

Photo by Mike Zarfos

Great Mountain Forest (GMF) will host its first Nature Writing Retreat at the historic Yale Camp in Falls Village from Aug. 7-9, 2026. Writers of all levels are invited to draw inspiration from one of New England’s most notable forest landscapes. GMF envisions the retreat becoming an annual event celebrating writing, conservation and the relationship between people and forests.

This immersive three-day retreat reflects on the legacy of Hal Borland, the American writer and New York Times nature columnist whose work was deeply connected to this landscape. The retreat explores how wilderness shapes language, strengthens close observation and fosters environmental consciousness.

Keep ReadingShow less
From Cornwall to Rome, Adam Van Doren at Berkshire Botanical Garden

Artist Adam Van Doren and curator Donna Hassler talk to a group of visitors at the Berkshire Botanical Garden. A Stephen Proctor vessel sits to their left.

Photo by Natalia Zukerman

This summer, the Berkshire Botanical Garden in Stockbridge has hosted “Grounded in Nature: Paintings by Adam Van Doren,” an exhibition exploring the intimate relationship between architecture and the natural world.

On view for only a few more weeks in the Leonhardt Galleries, the exhibition features more than 35 watercolor and oil paintings by the New York-based artist, architect, author and Yale professor, curated by art historian Donna Hassler, director emerita of Chesterwood. The works span three distinct places that have shaped Van Doren’s artistic practice: New York City, Cornwall, Connecticut, and his travels throughout Europe.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.