Architecture : $b nineteenth and twentieth centuriesHitchcock, Henry-Russell
History
Architecture : $b nineteenth and twentieth centuries
Hitchcock, Henry-Russell
Architecture, Modern -- 19th century; Architecture, Modern -- 20th century
The High Victorian Gothic of the sixties and early seventies in the
United States was no more restricted to the ecclesiastical field than in
England. Despite its churchy look, Memorial Hall served a variety of
secular purposes from refectory to concert hall; only the wide
transeptal lobby was strictly memorial in purpose. But there was rarely
even such relative devotion to the Gothic in this period in the United
States as the major works of Ware & Van Brunt display. For example, the
untutored Elbridge Boyden (1810-98), best known for introducing the
cast-iron commercial front into New England in 1854, could build two
buildings for the Polytechnic Institute of Worcester, Mass., in the same
year 1866 of which one, the Washburn Machine Shop, is mansarded with
crude, vaguely Second Empire, detailing; while the other, Boynton Hall,
is in a very provincial sort of High Victorian Gothic. Hunt, product of
a Parisian education, designed the Yale Divinity School in New Haven in
1869 in a frenzied, rather Teulonian, Gothic; while in his precisely
contemporary Lenox Library in New York, built in 1869-77, he followed
closely and with some dignity French, if not specifically Second Empire,
models.
It is not really surprising, therefore, that Richardson, returning from
Paris and the École des Beaux-Arts at the end of the Civil War and
entering a competition for a new Unitarian church to be built at
Springfield, Mass., offered a High Victorian Gothic project that seems
to derive rather directly from the work of Keeling and other Low Church
English practitioners. What _is_ surprising, however, considering the
lack of special interest to later eyes in his Unity Church as executed
in 1866-8, is the fact that he won the competition! The warm colour and
texture of the rock-faced brownstone from nearby Longmeadow laid up in
random ashlar, a certain masculine scale in the details, and an attempt
at least at a boldly asymmetrical composition evidently struck his
contemporaries as very promising, however. (The church was demolished in
1961.)
Public-domain text, read in full here on John Shaqi.
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