07. Upper Hall
Second Floor
Transcript
As we stand in the Upper Hall, look back at the mezzanine level, directly at the top of the staircase, to see the door to what was once an elevator shaft. Installed by Florence Bates in 1936, the elevator was later removed and sold by the Historical Society, to help cover expenses during difficult economic times.
Here on the upper landing, you will see a portrait gallery showcasing members of the family. From left to right, the portraits depict Jesse Bennett, Max’s maternal grandfather; young Norman Bates, Max’s nephew; Jacob Richardson, Max’s father; Naomi Richardson, Max’s mother; and Harriet Richardson Bates, Max’s sister.
One of the most striking architectural elements of this space is the stained-glass skylight. Beyond its aesthetic beauty, the skylight was a practical feature, illuminating the otherwise windowless interior hallway with natural light during the day.
Among the furnishings, an armoire attributed to Oswego artisan Louis Lavonier stands as a testament to Victorian-era craftsmanship. Since built-in closets were uncommon at the time, families stored their clothing in dressers and armoires like this one. Nearby, a curio cabinet holds an assortment of small, but cherished keepsakes from destinations as far-reaching as Pompeii and Asia.
Although not original to the home, a beautifully detailed dollhouse is also on display, adding another layer of historical significance to the space. It was among the earliest donations to the Oswego County Historical Society, gifted by the Kellogg family.
Not open to visitors, to the right of the curio cabinet is a door to a small bedroom. To the left of the curio cabinet is a door that leads to the four-story tower. Currently closed to the public, this imposing Italianate structure once held Max’s ‘museum room,’ showcasing his cultural and natural history collections.