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Lecture notes for Classicism and Gothic in the later 19th century “Riverside”, outside Burlington, NJ; Designed by John Notman, built 1837-39 The earliest known representation of the Italianate style in the United States was at the country house of Episcopal Bishop John Doane along the Delaware River in Burlington, NJ, near Philadelphia. It was designed by Scottish architect John Notman. Riverside was published by Downing in Treatise on Landscape Gardening of 1841; he described it as “ one of the best example of the Italian style in this country”. The house was demolished in 1961. St Mary’s Episcopal Church, Burlington, NJ, Designed by Richard Upjohn, 1845-54, Designed by Richard Upjohn, the English-trained architect, St Mary’s is considered the earliest “archaeologically correct” Gothic church in the United States. It was modeled on St John’s Church in Shottesbrook, England, near Upjohn’s own home town. The use of brownstone made use of a locally available and easily workable stone, but also gave the building the instant look of being old and weather-worn King Villa, Newport, Rhode Island, Designed by Richard Upjohn, 1845-47. Also designed by Richard Upjohn, a British-born architect who immigrated to the United States in 1829, and who is best known for his Gothic churches. The large summer house Upjohn designed for Edward King, an early promoter of Newport as a summer haven for the wealthy, is an early representation of the Italianate style in the United States. It features asymmetrical massing, arched window heads, bracketed eaves, and a prominent tower – all of which came to characterize the style. The classical vocabulary is Roman, rather than Greek, and it is clearly a “new” structure rather than an archaeologically/historically correct version of an existing old style. -Blandwood Mansion, Greensboro, North Carolina, Designed by A.J. Davis, 1844 Originally built as a four room Federal style farmhouse in 1795, it was home to o governor John Morehead under whose ownership it was transformed into its present appearance. It is believed to be the oldest extant example of the Italian Villa Style of architecture in the United States. With this design, Davis produced a popular prototype for American house designs in the Italianate style: a central tower projecting from the main façade, and a calm, symmetrical appearance overall with rounded arched windows and prominent brackets along the eaves. Grace Hill or Litchfield Villa, Brooklyn, NY, Designed by A.J. Davis, 1854-57 The country estate first called “Grace Hill” and later “Litchfield Villa” was designed by Davis for the Litchfield family on an estate in Brooklyn. The house and its property became part of Prospect Park (designed by Olmstead & Vaux in 1865). The house is considered A.J. Davis’s finest Italianate villa, fully asymmetrical and Picturesque. It was originally covered with stucco, scored and tinted to resemble a light-color stone. Morse-Libby Mansion, Portland, Maine, Designed by Henry Austin, 1860 1 This stately brownstone Italianate villa was completed in 1860 as a summer home for hotelier Ruggles Sylvester Morse. Its distinctive asymmetric form includes a four-story tower, overhanging eaves, verandas, and ornate windows – but it is essentially the “L” plan house worked out by Downing in the 1840s. The brick and brownstone villa is recognized as one of the finest, and least-altered examples of a large Italianate style house. Philadelphia Athenaeum, Philadelphia, PA, Designed by John Notman, 1845 The Athenaeum was a private library, founded in 1814 to “collect materials connected with the history and antiquities of America”. But by 1845 the library needed a new home, and they hired Notman to design a building that contained both collections space, book storage, reading rooms, and “club rooms” for small gatherings of the literati. Notman looked back but not to the Greek Revival, as the name Athenaeum might have suggested, but to Renaissance Italy and the palazzo form. A variant of “Italianate”, the Renaissance Revival style worked well in urban settings, where there was not space for a rambling asymmetrical composition. The building was intended to have been built with a marble façade over a masonry sub-structure, but the less-expensive brownstone was chosen, a material that through the 1840s was increasingly associated with the Italianate and Renaissance Revival styles. The Cooper Union for the Advancement of Science and Art, New York, NY, Designed by Frederick Peterson, 1853-59 The Cooper Union was established by iron mining and steel manufacturer Peter Cooper to provide free higher education in the sciences and art to deserving students regardless of gender, race or religion. This radical idea was housed in an equally radical building, with a full steel frame; its rolled “I” beams invented by the entrepreneur/founder of the institution, Peter Cooper. It is the oldest surviving steel framed building in the Americas. The steel frame was completely covered in brownstone and terra cotta cladding, both to confirm to aesthetic taste of the day, and to make it fireproof. It suggests a Renaissance palazzo, although a staggeringly large one. The building was fireproof and had a self-supporting metal frame, two of the three requirements for a skyscraper, but it did not have an elevator, and so Cooper Union is not quite a skyscraper but its technology made a big step forward for that type of building. Corcoran Gallery/ Renwick Gallery of the Smithsonian Institution, Gallery of American Art Washington, DC, Designed by James Renwick, Jr., 1858-1861; 1869-74 The building now known as the Renwick Gallery was originally designed to house the art collection of William Wilson Corcoran, a prominent banker, philanthropist, and art collector. In 1858 Corcoran engaged the noted architect James Renwick Jr., who had earlier designed the Smithsonian museum “Castle” in Washington and St. Patrick’s Cathedral in New York City, to design a public museum in which to display his collection of American art. Renwick designed it after the Louvre's recent addition by Hector Lefuel. The building combined the fashionable French Second Empire mansard roof and massing with an American corn cob capital (after Latrobe in the US capital) and an American art collection. The exterior of the building was nearly completed when the Civil War broke out and it was seized by the U.S. Army; in 1869, the building was returned to Corcoran, and construction and repairs commenced for an opening in 1874. 2 Boston City Hall, Boston, Massachusetts, Designed by Arthur Gilman, 1862-65 The Boston City Hall was the rare civic structure commissioned and built during the American Civil War. It was designed, like the Corcoran/Renwick Gallery to closely resemble the renovated Louvre, and it seems to be the first major public building to use the French Second Empire style – a style that would quickly become almost ubiquitous in public buildings. Again, the bulbous mansard roof over the taller, projecting center pavilion offers classical symmetry but a more active and “picturesque” surface than a Greek, Roman, or even genuine Renaissance building. State, War and Navy Building, (Old Executive Office Building), Washington, DC, Supervising Architect for the government, Alfred Mullett, 1870-88 The office building created next to the White House in the 1870s vividly illustrates the growth of America’s federal government in the period during and after the Civil War. Its scale, and its design in the fashionable French Second Empire style meant it stood in sharp contrast to the classical lines and pre-war scale of the rest of official Washington. The State, War & Navy Building is fireproof, but where Robert Mills’ fully vaulted masonry Treasury Building achieved fireproofing with mass, the interior of here is much brighter and lighter due to a cast iron interior encased in the stone exterior. The cast iron structure is frankly expressed inside, even highlighted with polychromatic paints. Again the exterior’s plan as a large box is modified by the three-dimensionality of the classical ornament on the upper floors – rows of columns and cornices casting shadows above a tall rusticated base. Philadelphia City Hall, Philadelphia, PA, Designed by John McArthur, Jr., 1871-1901 Philadelphia is one of the most original American expressions of the French Second Empire style. It was intended to be the world's tallest building, although its long construction period meant it was surpassed during its construction by the Washington Monument and the Eiffel Tower. Philadelphia City Hall remains the world's tallest masonry building, made of thick granite, limestone and brick walls up to 22 feet thick a its base. The Equitable Life Assurance Company Building, New York, NY, Designed by George B. Post, 1868-70 It has been called the first American skyscraper, and although only 6 stories tall (with a 7 th floor storage area) it stood at 130 feet, twice as tall most buildings around it. It was designed with a steel interior frame, made fireproof with a load-bearing masonry exterior, and it depended on an elevator to move people within the structure. The Equitable was designed by Arthur Gilman, who had recently completed the French Second Empire Boston City Hall, and George B. Post, an architect/engineer who literally topped himself several times in his career, designing ever taller structures through the 1870s, ‘80s, and ‘90s. Western Union Telegraph Building, New York, New York, Designed by George Post, 1872-75 Post’s building was the first building in the world to achieve a height of over 10 stories, and rose 230 feet above the pavement. Tribune Building, New York, New York, Designed by Richard Morris Hunt, 1873-75 3 Hunt’s building was only nine stories but rose 260 feet, twice the height of the newly finished Equitable Life Assurance Building, the first skyscraper in the United States. Together, these two buildings forecast the race to the top that would characterize urban building for the next century and more. However, they were both still made of massive masonry on the exterior, and although they had metal frames to carry the interiors, it would be Chicago architects who introduced the true skyscraper with a load-bearing metal frame, an elevator, and fire-proof construction. But the aesthetic of Post and Hunt was still very much tied to architectural taste and fashion of the 1870s with decorations alluding to Second Empire forms in Post’s work and to Modern Gothic design in Hunt’s work. The tower that each uses to punctuate the verticality of the building sets a precedent that would be followed in New York’s tall buildings for decades. Tenth Street Studio, New York, New York , Designed by Richard Morris Hunt, 1857 Hunt was the first American to train at the Ecole des Beaux Arts, perhaps the greatest school of architecture in the world at the time. He worked in Paris on projects that included the renovations to the Louvre under Hector Lefuel. Hunt returned to the United States and established a practice in New York in 1856. He designed the Tenth Street Studio Building to serve as his office and a place to teach students. Hunt's studio within the building housed the first architectural school in the United States where he taught architecture in the atelier system or studio system of the Ecole de Beaux Arts. Hunt was also interested in seeing architecture develop as a respected, regulated profession, as it was in France, and to that end, he and 12 others founded what would become the American Institute of Architects in 1857. Roosevelt Building, New York, New York, Designed by Richard Morris Hunt, 1873 Some of Hunt’s early work in New York was commercial buildings, with cast iron fronts that daringly opened up even larger expanses of glass with ever-more-slender columns. These were some of the last cast-iron buildings created in New York, because of concern about fire. Although there were still classical references in the heavy support columns that divided the building into 3 bays, the incised, flat ornament tells of a more modern sensibility. Hunt embraced the ironwork, and did not want it to be perceived as stone. The flat, incised décor and polychromatic decoration celebrating the iron façade gained popularity, even as cast iron itself faded from use. Sometimes, motifs like these were imitated in terra cotta and brick, in an odd reversal of influence. Called “Neo-Grec”, it stands in contrast to the ornament of the more robust Franco-Italianate trend of classicism, and was considered more “modern” to the late 19 th century viewer. Brooklyn Bridge, New York City, Designed by John, George, and Emily Roebling, 1876-83 After the success of the metal suspension bridge between Cincinnati and Covington, backers of a bridge between Manhattan and Brooklyn got the financial and popular support they needed to start this major infrastructure project. The bridge piers were designed to be obviously medieval, even gothic, with their pointed arches, but with no extraneous detail. Picturesque “Gothick” had given way to a fuller understanding of the engineering sophistication of Gothic cathedrals, and the basic forms of the style came to be associated not just with piety but with craftsmanship, solidity, and human daring. 4 Trinity Church, New York, New York, Designed by Richard Upjohn, 1839-44 The Trinity Church building on lower Broadway in New York is a classic example of Gothic Revival architecture. It was a more-or-less “perfect” rendition of a gothic church with all its finials and decoration intact. Upjohn was designing at this point more in the Picturesque mode, but it has genuine precedents in English gothic buildings. Trinity Church was brownstone, helping to establish the taste for the material for both Gothic and Italianate buildings on the east coast in the 1840s and ‘50s. St Mark’s Episcopal Church, Philadelphia, PA, Designed by John Notman, 1847-49 One of the first American churches that fits the aesthetic and structural desires of the English Ecclesiologists. The full masonry building is noted as having some of the earliest uses of structural vaulting in an ecclesiastical building in the United States – returning to the original medieval techniques for building. (But remember the Spanish Missions: some of them, like San Javier del Bac or Mission Concepcion were also vaulted, constructed in the 18th century. They were not gothic in style, but Baroque). The tower was designed by Notman, but not completed until after the Civil War. St Mark’s Episcopal Church West Orange, NJ, Attributed to Richard Upjohn, 1861-62 Another classic example of the Gothic Revival church within the spirit of the Ecclesiology Movement. In the 1860s, St Mark’s became the largest and wealthiest Episcopal congregation in Essex County New Jersey. It was the local church for the residents of Llewellyn Park, the country’s first planned suburb founded in 1855, with its picturesque streets and common open space “The Ramble” designed by Calvert Vaux and A.J. Davis. St Marks uses brownstone walls and a medieval-looking wooden truss roof. The building is attributed to Richard Upjohn, although it may have been designed by his son, also Richard, Jr., who followed him into church architecture. Upjohn’s designs were broadly adopted through his 1852 publication, Upjohn’s Rural Architecture, which showed how to build small, wooden Gothic churches that met the requirements of the Ecclesiologists. The adaptation of a stone gothic building to a small wooden one was a generous gift of this well-connected architect to American Episcopalians in small towns across the country, and permitted the building of innumerable “Carpenter Gothic” churches. Memorial Hall, Harvard University, Cambridge, MA, Designed by Ware & VanBrunt, 1870-78 The polychromatic effects of High Victorian Gothic were brilliantly used in Memorial Hall at Harvard, designed to resemble a gothic church for an entirely secular purpose. The monumental building honoring the sacrifices made by Harvard men in defense of the Union during the American Civil War was "a symbol of Boston's commitment to the Unionist cause and the abolitionist movement in America.” It has three main divisions: a theater, for academic ceremonies; a vast dining hall covered with a timber truss roof, and a memorial space. From the exterior, the building displays the inherent polychromy of stone, brick, terra cotta, and slate in a massive structure that contrasted sharply with the surrounding colonial and neoclassical buildings of the old campus. 5 Plum Street Synagogue, Cincinnati, Ohio, Designed by James Keys Wilson, 1866 The Plum Street Synagogue is a spectacular use of the Moorish style to define a distinct building for the Reformed Jewish community of Cincinnati. The building reflects a synagogue architecture that emerged in Germany in the nineteenth century, a Byzantine-Moorish style. The complex design of Plum Street Temple mirrors many cultures: from the outside the tall proportions, three pointed arched entrances, and rose window suggest a Gothic Revival church; the crowning minarets hint of Islamic architecture; the motifs decorating the entrances, repeated in the rose window, and on the Torah Ark introduce a Moorish theme. The interior of the Plum Street Temple is covered with stenciled designs, bringing polychromatic color and overall design to a whole new level. They are derived from Owen Jones Grammar of Ornament, a popular book produced by English architect Owen Jones. Olana, Hudson, New York, Designed by Frederic Church & Calvert Vaux, 1870-1891 Olana was the country home of Hudson River landscape painter Frederic Church. He had visited the Middle East and on his return was determined to build a house that captured elements of buildings he saw there. The rambling house is essentially an asymmetrical villa, but the details are in the architectural traditions of Jerusalem, Damascus, and Beirut. The house is arranged around a center courtyard (enclosed for a New York state climate) and decorated with stencils and tilework that recalls Islamic design. The intentional eclecticism fit perfectly with the idea od an artist’s home, and allowed for the display of antiques, curios, and new furnishings that reinforced the idea of the exotic. The siting of the house and the surrounding 250 acres of landscape are a high point of the integration of design and landscape in the late phase of the Picturesque movement. Pennsylvania Academy of the Fine Arts, Philadelphia, PA, Designed by Frank Furness, 1871-76. Furness attended Richard Morris Hunt’s Beaux-Arts inspired atelier in New York from 1859-61 and 1865-66. The tri-partite massing of the façade almost recalls a standard Second Empire gallery form like the Corcoran/Renwick Gallery. The bold center arch and entry recalls the Moorish composition of the Plum Street Temple. But the tiny door and the looming presence of the cornices do not make this an accessible or welcoming building from the street. The exterior is colorful in the best High Victorian Gothic mode, with patterns created in colored brick and stone contrasting with the terra-cotta colored brick walls. The interior supports are iron, and painted in multiple colors to celebrate that fact. Floral motifs are stylized – no realistic American corncob capitals here. His work is characterized by a bold, modern approach to the Gothic in detailing, and the rational planning of the Beaux Arts. Toward the end of his life, his bold style fell out of fashion, and many of his significant works were demolished in the 20th century. 6