In the years between 1820 and 1850 America’s admiration of Greek culture reached an all time high. Americans felt a kinship with the people of Greece for three reasons: the country had developed as a republic, just as the United States had done; at the time ( 1820-1830 ) the Greeks were at war with the Turks in an effort to gain their independence from Turkish rule; and there was an increased interest in archaeology, especially that of Greece and Egypt.
The number of Greek Revival style buildings erected during the first half of the 1800’s was so widespread that it almost became the only acceptable style, as it was thought of as the style that symbolized democracy upon which our nation was founded.
Built by Ithiel Town in the 1830’s in the Doric style—1900 postcard.
(figure available in print form)
Men like James Stuart and Nicholas Revette traveled to Greece to explore Greek architecture first hand. Making detailed drawings they reproduced them in books like
Antiquities of Athens
. Style was spread by pattern books, the most influential were written by Asher Benjamin and Minard Lafever—
The Practical House Carpenter; The Builders
Guide
and
The Modern Builders Guide, The Beauties of Modern
Architecture
. This type of book was indispensable to architects, most of whom had never seen, first hand, the buildings of Ancient Greece. A man of the period needed only three things to build a home that would reflect his status in life, one of dignity and permanence—money, land and a carpenter. At the time “professional” architects were hired to design public buildings but were rarely employed to build private homes. Anyone wanting to build a home would look around at what was already built, study plan books then turn to an “architect” to build the desired home. The everyday builder, carpenter, and bricklayer all called themselves “architects”. Following plan books architects took the classical lines of the Greek temple and converted the style into a home.
New materials and techniques were developed for use in the Greek Revival home. Stucco penciled to look like ashlar (square cut granite) and brick painted to resemble stucco were widely used. Cream color and white were the dominant colors with soft hues of rose, brown, green and black used to suggest the look of marble and granite. The modest homes were constructed of wood, better homes a combination of wood, brick, stucco, sandstone, marble and granite.
The period between 1820 and 1840 was one of great wealth for the residents of New Haven. The population of the City had already reached over 10,000. With its busy harbor and developing manufacturing the City was expanding in all directions; east along the harbor toward Wooster Square, to the west out toward Westville, itself developing into an industrial area (see note), north from the Green out along the parallel streets of Whitney and Orange. Within the expanding city there was an explosion of buildings. Be it cottage, villa, or mansion, many reflected the Greek Revival style.
The explosion in construction in New Haven brought noted architects, who designed high style buildings in the Grecian style, to the city. One such man was Ithiel Town (1784-1844). Born in Connecticut, he received his training in Boston and opened an office in New Haven in 1810. Town is an excellent example of the new breed of highly educated architects emerging in the United States. With the wealth he acquired from royalties on his design s he established one of the largest architectural libraries of his day. Town was committed to the Greek classical style but did design other styles for his clients. The architectural firm of Town and Davis, along with men like James Hillhouse, a prominent citizen and patron of architecture, helped make New Haven the “Athens of Connecticut” and one of the most beautiful cities in the region.
note:
Polino, V.
The Life and Times of The West River,
1776-1896; A Study of Early Industrial Westville
. Yale New Haven Teachers Institute, 1984. Vol.VI.
Another notable architect of New Haven was Henry Austin. Born at Mt. Carmel in 1804 he eventually went to work for Town. Since Town and Davis spent much of their time working outside of New Haven, Austin supervised many of the firms projects in the city. By 1826 he had established such a reputation for his own work that he helped found the National Academy of Design and in 1836 opened his own office. Austin’s early designs reflected the Greek Revival style. He also designed the entrance gates to the Grove Street Cemetery (1845) in the classical Egyptian style. Throughout the years, until his death in 1891, Austin built so many private homes that many streets in New Haven reflect some of his talents.
(figure available in print form)
Grove Street Cemetery Gates from a 1906 postcard.
Many fine examples of Greek Revival architecture are still visible throughout the New Haven area today.