The Alabama catalog: Historic American Buildings Survey : a guide to the early architecture of the state 9780817301484

Table of contents :
Frontmatter
Acknowledgements (page ix)
A Note on Photographers (page xi)
Foreword (page xiii)
Introduction (page xv)
The Historic American Buildings Survey (page xix)
Part One: Historic Architecture in Alabama A Primer of Styles and Types, 1810-1930 (page 1)
Historic Architecture in Alabama (page 3)
Folk Forms (page 23)
The High Styles (page 44)
Epilogue (page 169)
Part Two: The HABS Catalog (page 175)
HABS Recording in Alabama (page 177)
How to Use the HABS Alabama Catalog (page 188)
A County-by-County Listing (page 193)
Glossary of Architectural Terms (page 371)
Brief Bibliography for Alabama Architecture (page 395)
Appendixes
Index (page 419)

Citation preview

The Alabama Catalog Historic American Buildings Survey

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Historic American Buildings Survey A Guide to the Early Architecture of the State

ROBERT GAMBLE

The University of Alabama Press

Frontispiece: Copyright © 1987 by Tacon-Gordon House, Mobile

(HABS: Jack Boucher photo, The University of Alabama Press

1974.) University, Alabama 35487 All rights reserved

Manufactured in the United States of America

Publication of this book has been made possible in part by assistance from the Alabama Historical Commission.

Library of Congress Cataloging in Publication Data Gamble, Robert S. The Alabama catalog. Bibliography: p. Includes index.

1. Historic buildings—Alabama—Catalogs. 2. Architecture— Alabama—Catalogs. I. Historic American Buildings Survey. II. Title.

NA730.A2G35 1987 720'.9761 82-20288 ISBN 0-8173-0148-8

: 17

Historic Architecture in Alabama

a~~ Omid-. j he miwhite’ , We. e falls ar F unty poor Warn . |a|; Is of nty— ~I »00r hese re rence atiting 00S: s€ ente e e Tallapo -€, ocot b OS:te”

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J ple 5 & We > ¢ n bi errit . =

RBtheplant ' wever Autau ot Ccounty, ‘itorial By 1 ation-g , remat igaville Ta days

bliind 1ecrories 18 1-gearec lie ne Tal Ys; fe th W conor egligil r Pay MO ‘assee blind Tosos t'| ere rea negli rear M‘y, 1allass re JTTY ible wit itgom ries508 ]seve ‘ec | mained aed°planing me Wit *hin al ery also plani th ior town y mills and onmajo Mm iT Tal CC s small yns, as wel id sash. fe d [, and t

Historic Architecture in Alabama 7

1h aS a lA a AS Ee Pe ad NE re SoS A SOE NEMEC NSE TSE DERE AIR RNA Tia 3. Right: The Daniel Pratt Cotton Gin

Factory at Prattville. Below: The Bell tex- | )

tile factory on the Flint River near Hunts- Yi A ville. Architecturally, both complexes mimed \ . f A. 3 ~~ developments of aThe generation or seen two earlier iN :Ye a an in New England. buildings here ieee _¥EY \ NG

dated fromofthe 18405 and 1850s Sete etAS iy.alleen yal | on) in the ° case the Bell factory, somealthough, form ofgeet Le amen a : i’3a | ‘e) ~Bi2 on Ve * . ° -. (fpf hate wing why wee Am manufacturing activity had been carried on ae abn ad Pa x ae Seve fi -

at the complex site since before 1820. The Pratt fa. |... ; aee L i Goa ahr, . Lo(l,l 7ae 7| LG i hl ahl oC oF, |.Te . | | i-.2. Cc.rrrt—~—“‘COCOCtdsC . =. Co DOU Lll es| : Ce 1oF i 4 Te \ i | D7 | Lo. Le Z| -_aa . _ |. 2. FT =. LO oe , . . -. _. 2... . ool jYo 1 yo oe ea On ....._ Ue — We ee Ce 4 ee. Ce .2ae CoeoC. a eee LOL ae lw aCt aCo 2 Be hmDhUmrL CC LLC «hr Ce Ll“ el i7oF Dg l,l oF =... hr .C7_2,Le 2TF hCC CD 0a orio 4.LU i >. 7Laat a Loe ot 4as 7(Zoe oF|7 Le _a | Dea Ata)_ UD 4 a LL ee Da bo ay FO a,_LS Se ee Db 77 evoe eea_ Ae iooo. [_. ~~2. ok aLa To ol Ce ° ce oe) 2 . a 7 | _ 7 i 7. 8 -. : i _ a oe / Uo. i2... oe 2 yan, (_ CC >. Ue 7 Cl | oo 2 (oe CC rrhrmrrrr—tOSC*E oe | |. es Ce i DDLTLDmrt~—“—OCCO |... rr _ ~~ hCC] |. |. i. = 2a... LLULODLCrUrUrLUCULrUF CO rUrhUrUUULCOrCtC“‘#R LO Le Lay, ee ae .,CM) |. 2 |CU 7ee oe Fl2 .LOG PA ee oe eeLo _=~oF -.ee, o. oe _. 7.‘ce Le _7rt— aLL aCT Do yo _ioe .)aeaiCo ,a,Le 7i\ j=2=«—sda ee oo -.| Lae ss Le . a) Le . Wo La a|oo iaSe hr oe Yoo Loo LP alte ie, 2 -_ Co 2 . hh ll >... 8 Ll > _CCC =~—COrté—eSCSs=s=*‘CY Le OO Ly ee hl ae Le Ce yk) = is ge >LU .CULLULUhD””rt~—“‘“‘“‘i—™OCOCOCOCOCO D7 C2 ee Lee te7 Lh ee_he? i) -LU -= CO er De CO LU Co. =e oe Co CO aa ii CO 2 LG DU ~—s -2hh CC -.Ct —h—C—CUr™~—~— CU CCF. yea(Kin. . aa llaly =D Do DCU 7 ee -— Le LUD 2 ; i CCC y Cl Lo — A oo Li _ i _oo —. — = yo LCOS 2... .. rDhLhLmrCsCS CC — —COrrrrr—O*ETB 7 ~—rr—eE Lo ae CC J CU Fe .. Leo -.. =... a _ a «Cl _ a0 ~=~=—e—esers—e |7L454 (0[2UO _Le LI 7Gg Lo>. LU LLL ©. #&#&32~2~ Le oC 0. LU 2-Lye lr.Lee oo) hChrrUFFCULe LO Zs ~~ LNaA=Co DIG COC Ti La eeLo i,.|. Oo .Cl »~==—COrts—“—esS™SOsOS~™—SsS_OO .—hCCCC)U —rt—ei‘(‘UCU Lo 7ae hl SD CU Le os Le SO Lh Lo ek 2 ee Dl . § =. CCC ee es Le ye ~~ —=—eesé—“(—=‘“## Mi i as Ly — ~=—sC LD. OM Lo Lo Mie 2 CC LL 7 =. ri“(itCC yen LU 7 Lo LL Sg /) i oe Le, LL gay) ie = LOG, 2 Go ..hLULDLCULUCUrrCOCO™*F LA Ce Go Ly Le oo... lL . ~—sesse hee a . |... >. | —r—™——eEB oe ~=~2—CsCO a ine LC 2ey,Co 7. De-yyCCU, Oo ie Le ._. 7es i.FD =i rt,CCtCi‘( CC oo ._. .Le =hl Go Do Co 7oo -Le Co 37 @6©=2— ~.~2)——h—h—L 0Ll oe i)-LU 33 Lo vhCUOUrFr™rCUhUOUO LD ys=ae Cl , >. Ve LN oe =... Lg Le CO 0 OO MAE EEGs eA) Oe aChr ae aUL So A ay Lg LTO LO Ee aLo A.oe wih i Oo Le Le ge LUMA EO OO LULL WE OE SO BOE win bh aia | vicinity a — “#ouo4o-"0WT | ve; Sadler house, Besseme pom _— | — call Mil Vieceicccmugea | cay a . ’ a] 4 tf the —Pea — r «The Soe The eercofbe Ps Sadler Gi ieofiehouse Me!Sad, aili oPe L cs ||it.| Right: foorplan the si ome “fh oD acterastyit stands c shed POO MS 7: (| i| i| abi1 “ io ouse with characteristic shed vr mside the house SHED ROON . } », Buried inside the house it::destand. . :" |— —i nal develop. ’loe ey) fae ar ahsasnu ;NEE ||. GE —. &|_——|plan Tf nucleus. || today ts aLA story-and-a-half log — ;incethe iPeit i CUE ee at oy E. _- / iq ; jer Cy ae eae . . epee ~ ij by its thicker walls. To | scsi : scares dded, about 1840, a corre- | oo | nae |

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noted in the plan by it: ’ i i 1 / | DiS COre WaS added, @v0i re _ ‘ : a 4 ae aig. if Za Spe ; i 4 eee i | | ; “tion across an aber nding frame section across an open |bal, / eee y:j||| || Sponaing [rame be | — 0 | a rr vom the dogtrot tradition. Then LJ : : borrowed the ‘j t —PAR_ F hed 1208 A PUP EE from Wo atMes ihe i :oS Ja 7 ;.!4\...ilDOGTROT rooms were built—one the fron re- IGINALL~ ; ft !fateh heeh eieety /HOU |a . ifra / |ja A;: :.} Pag iy. aBA ; F, ere Plone. 3 - Vat ' i Pi eiiie i ek @dbe wrrraar ustraded porch abutting , : i porch abutting the front shed roo Y— /;ompleted th » Familiar pro ile. (Author's - up &_] profile. - yg | the famtliar COM, up CLEA EE : PANS : mecmual pt

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Tidewater-type Cottage 33 The Tidewater-type Cottage (Tennessee Valley and central Alabama; early nineteenth century) Ironically enough, the ancestor of this little-known and largely unappreciated Alabama dwelling-type is one of the most widely admired and imitated of all early American houses: the end-chimneyed, storyand-a-half, gable-roofed cottage of colonial Maryland and Virginia. To the tourist, the form is familiar as that of the tidy frame dwellings which line Duke of Gloucester Street in Williamsburg. Actually, the type goes back much earlier, to such seventeenth-century antecedents as the famous Adam Thoroughgood house (ca. 1650) near Norfolk, and similar dwellings known to have existed elsewhere in the Chesapeake Bay region. These, in turn, derived from contemporary English folk architecture. Modified by eighteenth-century ideas of symmetry and proportion, the Tidewater-type cottage gradually spread inland to the piedmont region and southward down the Atlantic seaboard. During the 1820s and 1830s, settlers from Virginia and the older southern states along the Atlantic brought the form to Alabama, where the most distinctive examples seem to have occurred in the Tennessee Valley. Alabama versions of the cottage tend to have a shallower roof-pitch (a general trend in the early nineteenth century) than do their colonial predecessors. Chimneys are also less monumental, and the cabinetwork and other detail, more spartan. But the basic module remains unchanged. And distinguishing the more sophisticated of these houses is the same firm, rational geometry which had become an earmark of antecedents in Virginia and Maryland by the time of the Revolution: a specific set of ratios governing height to width, length to depth, and so on. Thus the “double square” formula—much used in eighteenth-century Williamsburg—is the controlling figure for such Alabama examples as Bride’s Hill* and Albemarle, near Courtland, and the John Johnson house northeast of Leighton. The term double square means simply that the elevation of the house is twice as long as it is high, or the groundplan twice as wide as it is deep. Passed on from master craftsman to apprentice for generations, such established proportions gave to the most finished of the Tidewater-type cottages an overriding family resemblance. [22] Both single-pile (one-room deep) and double-pile (two-room deep) examples were built in Alabama—one instance of the latter being the William Koger house near Florence. Most Tidewater-type cottages employed a center-hal! plan, although the hall-and-parlor arrangement (see illustration, page 5), with a respectable lineage that could be traced back to medieval England, was not unknown.

34 Folk Forms 22. Two Tidewater-type cottages in the Tenass a nessee Valley. Top: Bride’s Hill, Lawrence = en County, ca. 1830.formula Developed according a the double-square employed by colo-toaei.aa vation of Hillcounting is almost exactly twice nial Virginia builders, the frontof elezl—_ |= a as long asBride’s it 1shouse high, the slope oneafce nH

the roof. Another rare—perhaps unique— 3* feature of this important early Alabama aoa SSS STF house is the cantilevered chimney pent, the oc (oon ia TW lit toed roofed rojetion tha abutsisme | 1B PEL ae if 5: =e eftch chimney inofthethe drawing (there another pent to the rear right chimney). Such = a a| i.EJTHE oe a = He is a

cunt) ae nlp, notoer holdover from 20 =Se U0 = eee Z the colonial tradition. in Sptte of its signifi7 a /ne as See --+—-—-—~—«d cance, Bride’s Hill stood i oie nie zo —————— an on

house near Leighton, another dwelling fol- S = mid-1980s. Bottom: The John Johnson

lowing the double-square formula—this time in brick. The severe but well-proportioned front, laid in Flemish bond, recalls

hoa me rn i deomen pease nat So been abandoned—and in recentwainscotyears = ee eeSS = stripped by vandals of its paneled SSS 'ing; and ’ ;mantelpteces. =| (S08 (Axuthor’s |Z AS collection.) =| |ame) |= = = fee eighteenth-century precursors such as the fa-

mous John Rolfe house in Virginia. Like =

, _ =os | eel] Bae.

More distantly related to the same Chesapeake-area archetype, via the Carolinas and Georgia, are a number of central Alabama houses such as Cedarwood* near Greensboro, the now much-altered William M. Marks house southeast of Montgomery, and both the Martin-Barnes and Graves-Haigler houses, moved from their original locations to the North Hull Street Historic District, in Montgomery. {23] The long, inset front porch of the Graves-Haigler house represents a characteristic modification of the seminal form in the latitudes south of the Chesapeake. The superficial impression of a Tidewater-type cottage is also conveyed in the dormered roof and end chimneys of Altwood, a weatherboarded log dogtrot near Faunsdale built in the 1830s by Richard Harrison Adams, a planter from eastern Virginia. But absent in these lower Alabama examples are the taut proportions exhibited by some of their Tennessee Valley cousins.

. vienna wi me on Tidewater-tyt

im fe | °qd ie ;aLy ai paemipani ” « — ses 23. Marti |;hg ontral Alal gomery, —_— , ae 7 ie 4 eee Lye 14CR to the a j ik tal oo . -_ “in ha lf h Dé GoHnovte p : ] ' SS LC _— ,

.a. a,|2ad ie Uo /fay Li;.“a C—O GEE iim piaiota é,— 4aja:ves j‘ etj— J© aDo .LE — ._aLaalL .St lO .— ee Vg Pr * uo 8 . — > ~~ ee Die, ’ ee ee rr i |. Lo. 2 le . “Ly esis a ; Ce as I Se lp i oe oD , ppepsoyuous wee : oe a. , 7 ee Peeps oyu . ' j A _ lL ee | > 2. oO _ : : board. j hh le oT Oo 5 . a ee eee: :ry ) V7 Cy eee P a4 : . . oo hl a a 7 . oO TD .a-Tl A ¢ yiiy j jh : —— 0 save 7 4 . . a ee ee oo Ch |... _ ey . ._ oe :North " hd ; = 2) oD Cr _— el rr — ~=~C _ Ol -_ f Pe a » EES house w, i from a ee cee UC — OFIE _ . VG oo. . a oo -. oe i 7 Ss Lo 7 ee 7. Lae —_ =. Uo , ¥ OMI Way 7 ‘ «= . — ee Oe . a | a -— ™ l] St veel H rs i) E he | ... Cc _—-— l—F? . i iC oo (ow 1% Rabi a@Co 7- ae LE On _ Loo @ Jb0T ee ,# |.a2 _— . ioe =_. ee. 7ee ae— . Ce ae ored weur Dj":|arrid _- |Vo (oeb .— | ss ——e«€, a-_ — ‘°Aas ZWie ae ay LT oo Le, ee ‘ °.Ied “ws ned ..a~—. 22ee2ey |a. TT

rr_ea‘uYail 7, mnt 2 J oo . | di a. Co | oF Iwi ' oe ait oS | _ _o i 7 oe po E1OtMEeS , JF ; a. , a a) ne hl i ae e J Pes it Con LT — -. fe ; ee. Sage _ L oe ‘; aOS ou~des i ad hich La7 —. oe LV OVER | / grefronted er a ; poetroo— ee ee — 7. oo 7. .—

i , , hataron ;Coo- feiag Ee_—— =oooe |.oo a-_-/— Den., iis. oe aaed —8Ly a. CC | .Ly .|G oe o. f /|Te oo. -_ wo * oe oe.a ee ae a.. oo yy 2. 7aon Yj.) ws Lice in oo - ; oe aoF C ve._ — ‘— og 7a.|:8|aoS La ie -_Gg eG ee Uo Ly |Co aaWiig — ||. oe oo Mic _oe. 2a_1_LZ _a| ce;fo -_ a.oo Le a|_ue[— co 7a ae aee .; _. 7aiaieSo. oF Coe aeeee enee—Ceo Loag, a 7a yUo aeeo_asCo —.. -—i Wi OeSey gs iLh *aeea :Le oesLeo a= 3vi ae,Co ae Lo eaeaoe oe LZ [a . ie Ces ye ge eeeme LG.oo ye Ly Cy,

De ey 2 Lg eg Me i aa Lge 4 eee! oe _ aa) Oy ss Bae Os i , ; oe Le ae goLo aye_fC ico OyDee Ys Do ey Wiens Was se oo |a| =DO oF >|; ee iWe oe-— a ae — LU -‘ia_yGe 4|ai.aooif je — & ~_ Ff oo Loe oo 7 _ _ _ 7. Lo | ES er oe 3 7 4 : — eee 6 |. oe | AO ita, |. vo yy . 7 oe i. a 2.88So _ oe J wwe Lg a :oe o |:ope _a a Le Le 1, ae oe “yy Q 7 aa2 oo . ij LeLe y i a oo) By, oC ogee.Ze7|Deae |fo|oa.aae So C2 _ Wiiiian . es aLows oe / iae>Oo,—

ye _ _ a oe ell |. oo a a 4 ie oe oO HG: a ce - wi ie Ce We LC So De 8 oe | / : | ey | eee ayia-Eae )7 1ba Z/ |7j. Lo seSal ygy,asOO she Wee iGes7 iuyeoo ve 7;,JAo4 |4j ZLG aaeeee dte Be i)aeae DC BSG iee oeLan fi ae le 2Ly piue 7A 77 ee Co oC OE: -— 7UO FFLig) iiA a.co wes ene in aoe a7Anw lotlyy, a oe DCL Co.a2Snes Ooiis aoe en, i)7 aas _ysYO asCC oelogue oo. —— a.waoe omemrenens | oR ~_ Da i,i, =‘| 1 Og a ee oe Oe 2 UN apy Ve oo . Ca oe Co Chel ag | ey i ye i, fi a Lo ao

|lo:ome a: GaN Gs | oo j ia! 7 / . cS 7 G el. ii 4 a 4 ag Ae : 7 ye ey j ie cL | / “— - sas fe 7 i a af ial / Wig i La. 7 a a an ; 4

John Johnso: , OFedasasCBride’ learly edi a | n house, y peaigre seems thi e,ththe story-anc s Bride’s Hil! -ottages ofaef ink tkie“idewaterialges ae ofL% *form—li ar evolutionar 3 in or qi q pa ‘iid similar the ater-Cype COC: 3 Hi similar rionary chain | -Ottage

yard. It uses of t' ; . Fav h ‘

board. houses tl 54 T. A. Fayouse* kb M at later rd. ItIt isi ealittle traged -s ofofthe eighteentl P

versight thi popular irSe@< , that th ry “Atlant :Atco. isthat sei qPOoputar * it. ers’tune * 1ll-) anicic chitectural impl t to begnized fully ongfor Alabama's || nplication b : rcnitec house* : ions. the its se* atMoores Moo . Ine ofbest the of be hn itsOtn social z |a, heOne e) } social and the | voresville, was dest examples, tl nd the iseveral C, was careless! the HWnilear|24 ntpresent time relessly he Hundley standATIpics, onr:the : 906, veral others stand s late as 106§ } at ural ft 'yet —anisning $s)amo: * ncain: . 10larly forms has yetfupecies 3 and hi s has to be yecies among Alascholar}:

© Seri‘ict symmetry 1

geometry of he most academi ® Lonciruc proportional rati nic examp:

ongitudina. Fat1OS les, controll: wit -UdInal gabl — usual! 1a ree: gablelal roof, ollin

sedyp bytched promi etchimne squent occ promineni ]ween *n 30| and 45 erreq (\ . irrence of : “na ‘5 aec, eo. and buttressed by betwe ccasio ce of dormer wi HimMNeys casional occ lormer wind > pent: a na currence (extreme. WS:

and servi ed-roof exflankin: : \iaDamMa, ! chi rving as antion nsion flanksthe r the en as an interi chimney >| )Normally. an interior C anking one of ine ormally Cc nor Closet or g one or both :| lly, center-hall p t Or pantry th chimneys — ; I e i Hig | F y, hall-and | nt). plan (more rarely, | or arrangement) nall plan ( ces he ANCys *

3

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Neoclassicism: Greek Revival 59

50. Madison County Courthouse, 1913). Hunts- CA—! I| ville, 1837-42 (demolished temple-type, amphiprostyle structure with | |

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|..... .i.oi] ee eneaeeo eeec Joenn .. oltlle eeae_ i7. |aye a -— aCl ee Ce ee ee —~—hrr

ibe a : ie . j . .

2_ (AON es aee€;ee _Ce Ee 0CD ie ‘:j.or /sq eh : CA |.— “ .acy & eeeUar #}Tt Re a.;.ee oo. ee | S hn. ~~ is Doric Jabama structur ‘ Oric em @ “ Bee F lg. ame a a: jpillars structures substitute Far more common tute fluted emples was eit! hout state 3emples |.: ci 4wa a:10n ye ie 2a= |e =ithe temples throughout the was either pedi he stateie thanq , ‘ie j me 4 “4 broad ither a pedim fe than such a¢resticate road-bodi pedimented centra ch domestic road-bodied, gab ented central porti ; . abled main b atral portico projecti in Athe , gabled main blo k 0 projectil f

ie. é :; 4C-lat . 7—— Vi a PA, WH| _— ' i Did oh ~(Vias Ous E KIN ip} ed , ivWLaSONn

front t swept downcolonnade ove pped roof, sans pedi TOUSE ‘ontatand someti runni , - OF any

.Ng sometimes wrappi ie running the |, ing. H imes wrapping ng the length Howevs | pping aroun : igth of the | or, the rcling encircli 1 one or Louisiana or peripteral c | bot! sides of the buil

: ae % ° so q 4 ] * " 2 9 4 P

ras | INKNOWN L kb : $0 com . 2 If Il but unknown 1 onnades so : if a Standa rd Ga Esini . git: Ala am ommon “ z = ig q aie ec /| ten ten LONIC — as utL lj anc was utilized itnor“| al. C,»,era,—O | 1. Glennville* in R he Greek 1€SS eh : , ionic, and only tow ) dit was of these hipped Russell County C hipped roof, c« unty is one1 m4

| fC +thece hi lie*™ Kussell © door eeks one Revival e1 - pe matchiin roof, colonnadec the bes xned neoclassical es,ofwith full .™ OTL ays els. Orway }_Full LAOTic ‘ionais. ;4 /‘hornhill* ipa152 you 4 /at iii, ac 4regalia na mai 4£ F‘an ;4oy 14 balcony and iG

. 1 OF the m

and rnhill* 1yial and main-foo Be me i q inear i te aForklanc . “ ° " F Ee 4 Oe ES p 4 a toa ; pIgcolonnaded NDOriNng Rose! nic order emp! ‘0 ap!plump col oring Rosemount*, w! | ;isemployed; root! nt*, where the hi | ~ one aded rooftop oO re the hippec ; ample anyw: ene’ ry that must sv _FISES topIn.most observatory nipped froor rise most Ca , , howev 1ywhere n istinsurely rank most cases, how ywhere ninetNK 4 Ka2 st cases. 1 in nineteenth-c loping roof o! are pier sur sntury America. |:he ' slopt of wever, square pier si EN-COACUEY pi 1g ro yf , f t , as 4 pat ae 3 1s “y( rts *to: ,calle Colli of the piazza, | pports suimced L544 ollier10uses*. houses* or , asatatATuscaloosa’s ) carry . on ysa’s Bartle C.: the Se , , Or at Arling . ‘ ‘tle-~rriedr by modern Bi Arlington* old(now | Friedman™ nt: mingham). [55. in yton swall« 4 A; >:4‘ale Fhipped-roof-wit! " ‘ee = al duce ne produce vith-colonnade f uced Scale oot-with-c produced appeali olonnade forr

pi iL Boys Ap ° » qL535: : hi }POw plication ofrthe + eG

tage and rmula at159.gia a.Al re 3 ind thet |Benjami one-story domici | house* in Mobi Cot}9pealing min g| one-~ Cues .enLIKE Mobile. le. [56] About i

:j

SAAD ADDLALPPALD ’ 4!ayie ##

Lee, ie OE A es Sa 5 oS ce 7 i RE i a iuoNneorapnO NAAN CN muse

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a _TO ee ae i yo eevee as ilseg Sener ag ee ee line aga : ee AF, A Gea oIyy Ge. saemmrarscciinciszeinnnonicesayyll . LG ACF ae iVES) Oh IE=~ail % saidgpiii bid he “a - Lin ny Co, a)aeaes i.oe So .1he aa eeeiy.oOe ee .eS fe Cee alti| Sate slpes no PE ee a2ee :oh _.“a2ee ee ¥StOM os,0h eo NG FMeee ye ay ( Le 2 Wiis a, Gs ge mg Di a i MS sini se co Ot ee ms w iy ae she welt ie me—_ LGRMicon poe o e ,abe j " i 1 af ; TUITTM A edie

OO NN Ores “ae —> | ow > GI ch 7

: mooPLOT ini) a Sasa SseteS ales See PLAN East ELEVATION SCALE Me" + 1-0” t) ° oe ae: 40 fT.

: , Scalt Bl -o

ee eed ie THE Re Raeret piveNct ee | 58. Dargan-Waring house, Mobile, 1840. SEP ay By ) THE WARING, House Ol |a SS [)

(HABS: Edward C. Martt, delineator, a LT ch My Yt yf aA | OS LL ee 1935.)

Neoclassicism: Greek Revival 67

GE So cde 3

: 49 te ote le “ ‘wane aeettsaiei oe a: Ler | | Eas any Sc ee ase THU

Re pe al 2 =

‘ 7Svie on cares as ne ; a a . re . ee — STONE DLS ee. er Ser z ———S— Sasa on pricet 4 eae 2ealien altel ae hs il itmeib iOy il inl i iestucco bl Veneto - - . | . r) » .toe, . . J 4oe —_ | _— fi a RE AO! ON :asMysims, Sh | a Ta | ; I il oan rae |kee 3 wtHboemme, esti Ht , Be ti 2 eee | |(ILM RS aie B08 |S TT | ih on

boas +ditt; haa i ree | TH | |i ie d= | a | BL | sco | |

ow r "ae Oe ys NortH 0 Se aA set EE] : YqemrenNe aatowenvee. AnalELEVATION ames / om peepee ome ol bea! §otshat suiadies pve

: Po A ‘i :he TE :escra eT eet etess Ora ee a= | | ear eee

eatin Peters al GD. 4) ee .

eae ED In residential architecture especially, distinct regional or local : tian twists could often be detected. There were, for example, the low and a, spreading Greek Revival style houses about Gainesville, Boligee, and oa) | eli A: Eutaw in western Alabama—dwellings whose elongated facades seem

+ oat peatgeal ed t+ht 5 fy A et,ae th bat . 4e ° .°‘.°Sah ° .

: SET) = peat | lie to make them neoclassical precursors of the ranch-style suburban rey Bhd Ele houses of the 1950s. {66} The aesthetic possibilities of a forthright

er ee colloquialism are epitomized by Oakleigh*, which stood in rural seSt Setertetertefe Clusion near Mobile when finished around 1838. It is difficult to

| imagine such a house anywhere but along the Gulf Coast. Here, 59. Oak Place, Huntsville, 1840-44. Be- amid semitropical live oaks, the Grecian spirit was adapted to the

hind :an austere Doric facade, owner-archi: raised-cottage format of coastal tradition andae to the T-shaped layout

tect Steele concealed a novel split-level room ens

arrangement devised to isolate entertainment Popular in antebellum Mobile—producing a residence of striking areas from family quarters and to make ju- beauty and conceptual originality. [67} dicious use of volumetric space without sacri- Stephen D. Button’s design for the short-lived first Montgomery

timer, ineator, I¢ ; ie : :

feng fe Wiper cg (HABS: J. T. statehouse, completed in 1847, introduced into central Alabama a

matt: FEE) lush rendition of the Greek Revival that made use of the several vari-

ations on the Corinthian order. {68} In the case of the state capitol building, this was Minard Lafever’s own composite design based, as he put it, on “antique specimans.” A domestic counterpart to the capitol’s ornate, hexastyle portico was that which Button incorporated into his plans for the circa 1848 Montgomery residence of William Knox, one of the building commissioners for the statehouse. {69} The Knox mansion was followed in the 1850s by others of a

668fsHigh rf hStyles A)

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County, are Downing-inspired, although the festive porch of the latter, with its frivolous and lacey ogival arches, carries the ideal of Gothic picturesqueness a little far. Scattered about the state at Selma, Clayton, Greenville, Troy, Tuskegee, Huntsville, and Tuscaloosa are other isolated instances of domestic Gothic Revival, generally dating from the 1860s and 1870s.{89} Most of these manage to achieve a Gothic effect with little or no specific Gothic detail, relying instead upon steep, accentuated cross-gables, clustered chimneys, and ornamental porches that

92 High Styles suggest rather than seriously imitate. Indeed, their light-hearted Gothic mannerisms could place the majority of these houses as easily in that more general class of picturesque dwelling that the nineteenth century knew simply as the cottage orné, a genre touched on later. Summary Characteristics

¢ Prominent, often steeply pitched and bargeboard-trimmed, gables and cross gables. © Especially in the “ecclesiological” churches of the 1850s, a tendency toward asymmetrical massing; secular versions of the Gothic Re-

vival in Alabama tended to remain symmetrical in their disposition. ¢ Frequent preference for board-and-batten sheathing in frame construction, so as to lend a vertical accent and also to express honesty of construction. ¢ Pointed or triangular-headed windows, sometimes filled with tracery.

¢ Cosmetic application of pinnacles, battlements, and buttresses to walls, rooflines, and towers.

The Italianate (1850s to 1880s) Appearing in Alabama around 1850, the Italianate style was another facet of that same broad, European-based romantic movement that included the contemporary Gothic Revival. Italian architecture— whether the spreading, towered farmhouses of Tuscany or the urban palazzi of Renaissance Rome—exerted a strong pull on the nineteenth-century artistic imagination, as concepts of what was acceptable in architectural design broadened to include more and more of the exotic and the faraway. With its connotations of a warm and sunny landscape, the “Italian style” —so the architectural pattern books dubbed it—was touted as being peculiarly suited to the South. The broad overhanging eaves were regarded as being readymade for the southern climate, as were the expansive verandas developed in Americanized versions of the Italian villa. Needless to say, such verandas also responded nicely to the long-standing southern custom of porch-sitting. No doubt another factor in the appeal of the Italianate was the freedom of arrangement its fluid volumes allowed. Little wonder, then, that the style was more prevalent in antebellum Alabama than 1s generally realized, or than nostalgic notions about the Greek Revival would care to admit.

Italianate 93 Italian-inspired architecture first made its way, via the British Isles, into East Coast domestic designs during the late 1830s. Modified according to American taste, the style was eventually disseminated far and wide through books like A. J. Downing’s The Architeture of Country Houses and Samuel Sloan’s The Model Architect, both of

which appeared in the early 1850s. Sloan made an especially strong impact on the South, catering from his Philadelphia office to an elite southern clientele that included planters, cotton brokers, and professional men. In fact, Sloan can probably claim credit for first introducing an Italian flavor into Alabama domestic architecture through his circa 1851 design for the Montgomery residence of Joseph S. Winter. Plans for the Winter house, along with a perspective view, were published in The Model Architect. {90} During the decade that followed, dozens of other buildings in Alabama’s capital city, ranging from cottages and suburban mansions to commercial structures, were either remodeled or erected from the ground up in the Italianate manner. One of these was the so-called White House of the Confederacy* —the residence that in 1861 would briefly become the Confederate executive mansion. [91] Indeed, to a visiting newspaper correspondent that year, it seemed as if Montgomery were a town consisting almost entirely of houses built “in the style of the Italian villa, surrounded by expensive and carefully kept gardens.” Italianate elements could also be adapted to the most constricted of urban settings, as witnessed by the tall, bracketed, closely built houses that began to appear in Mobile during the same period. [92] But the distinctive qualities of the Italianate style continued to be most memorably displayed in the expansive designs conceived for garden-surrounded rural or suburban mansions. Some of these were symmetrical in disposition, presenting an axial facade even though side elevations might be randomly broken out with low wings and bay windows. Others were boldly irregular compositions, frequently dominated by an offset tower—an arrangement deemed particularly appropriate for broken terrain. To the symmetrical class of villas belonged Montgomery’s destroyed Garrett-Hatchett house,* very likely designed either by Samuel Sloan himself or John Stewart, his sometime architectural partner. {93} Stewart has definitely been documented as the architect of another of Alabama’s symmetrical villas, the Robert Jemison house* (1860-62) in Tuscaloosa. [94} Crowned by a glazed observatory and girdled by arched wooden porches, the stuccoed brick mansion not only represented the height of 1860s fashion but also incorporated such novelties as a private gas plant and some of the state's earliest indoor plumbing. Of the same general type are Dean Hall and Homewood (now called Kendall Manor) at Eufaula, as well as two Jacksonville

94 tdigh § 04 High Styles

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Id High Styles High Victorian Gothic (1860s through early 1900s) After the Civil War the forthright and restrained Gothic revivalism of a previous generation became increasingly diluted by that looseness of form and fascination for detail that marked the full blossoming of the Victorian architectural temperament. The writings of John Ruskin incalculably influenced this transformation. His books The Seven Lamps of Architecture and The Stones of Venice pointed

the way toward a sort of pictorial Gothic that borrowed from several traditions—lItalian, French, and German as well as English—to create an idiom that was flexible of line and free in its use of contrasting textures, materials, and colors. Implicit in such an approach, of course, was an almost boundless latitude of design. The predictable result was a mixing of vaguely Gothic forms and features with such outpourings of Victorian technology as metal roof-cresting and fussily decorative wooden entrance porches—nurturing an effect quite different from the relatively sober Gothic Revival of the 1850s. High Victorian Gothic was also more secular in spirit than its forerunner. Perhaps its earliest glimmering in Alabama was the Venetian Gothic loggia of Selma’s Hotel Albert, begun in 1860 by a group of entrepreneurs who flaunted the building as an imitation of the Palace of the Doges. Nevertheless, as in the case of the Romanesque Revival, the style most vividly imprinted itself on the state’s religious architecture. The picturesquely massed facade of the Eufaula First Presbyterian Church (1869) {116], overtopped by a saddleroofed belltower that once sprouted ornate metal cresting, foretold the even more flamboyant High Victorian Gothic churches of the 1880s and 1890s: Birmingham's First Presbyterian Church and St. Paul’s Cathedral for example [117, 118}; and in Anniston, the Parker Memorial Baptist Church.[{119} Between 1882 and 1885 Grace Episcopal Church was also built in Anniston, according to plans devised by Richard M. Upjohn. [120] While tending heavily toward that freedom of composition universally characteristic of the High Victorian Gothic mode, Upjohn’s scheme for Grace Church was still controlled by that liturgical restraint that the same architect had exercised a decade earlier in his design for St. Paul’s Church, Selma (1871-75). Wood, brick, and sometimes stone provided the materials through which small-town congregations like the Presbyterians of Union Springs and the Methodists of Livingston followed their city brethren in raising churches that donned this end-of-the-century Gothic apparel. [121} The momentum maintained even after 1900 by the High Victorian Gothic style is attested by the impressively towered

High Victorian Gothic IIs iG Prt Prodyeran Chard. Laas (i ee ee ee

1869. The architect is unknown, but in | oo. Le "." *— © ae

character the church recalls some of the east- | ~ 2 ek ee

ern work of Frederick C. Withers and E. T. [iii ee Pe ee Potter, Indeed, the latter is credited vithat 2 least two Alabama buildings. The poly- _. . = .* PO ey ae chromatic slate roof and metal cresting, _See,r,r—“—OCOS Oe

which placed the First Presbyterian Church i ss . oR «= squarely in the mainstramofiypidih i | ar oe ee Victorian Gothic design, unfortunately no PS elm lc ee OCC

longer exist. (Courtesy First Presbyterian | a

Church {Earl Roberts photocopy}. } ‘ 2 £2 2-2 ge Ue eae

{122} :

First Baptist Church of Selma, completed in 1904 and originally capped by a jaunty array of spirelets worthy of some Disney fantasy. Perhaps Alabama’s most thoroughly committed secular application of the style came about as a result of the 1880s expansion of the state university complex at Tuscaloosa. In patterned brick, slate, and terra cotta, with an added sprinkling of metal decorative components, the five-building cluster dominated by Clark Hall represented an enthusiastic if provincial response to John Ruskin’s call for architectural

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Beaux Arts | Craftsman 145 ¢ In public and large institutional buildings a fondness for monumental interior spaces, frequently employing an open rotunda or barrel-vaulted arcade, colonnades, and shallow interior domes (sometimes composed of stained glass).

Arts and Crafts Philosophy and the “Craftsman” Style (ca. I900 tO 1920s) The resurgence of neoclassicism in one form or another, along with the slowly waning enthusiasm for the Queen Anne style, were but part of the architectural scene in turn-of-the-century Alabama. Soon after 1900 another strain appeared that was distinct from any of these, although its earliest sources could be found in that same English aesthetic impulse, the so-called Arts and Crafts movement, that had given rise to the Queen Anne. The Arts and Crafts movement was a worldwide phenomenon in some respects, and its influence upon architecture was only one facet of a whole attitude toward arts and design that also encompassed furnishings, interior decor, and landscape. This attitude stressed directness and simplicity, an honest expression of materials and the uniting of practical, everyday craftsmanship with solid and flexible design. Building arrangements should be in harmony with setting and closely tailored to the needs and means of the client. In such self-proclaimed aspirations the movement sounded at times like a restatement of A. J. Downing and other mid-Victorian romantics whose influence upon Alabama architecture we have already seen. Indeed, philosophically there was a certain kinship, although Arts and Crafts architecture at its best shunned affected historicisms. Rather, it strove to break free entirely from overt imitation of the past, at the same time acknowledging itself to be part of an architectural continuum that could respect and put to use the “good and true” elements of any craft tradition—whether European, American, or Japanese. Frank Lloyd Wright owed not a little to Arts and Crafts ideas as, in the Chicago suburbs of the 1890s, he worked toward the development of the long, low “prairie” house that would bring him international notice in the early 1900s. More explicitly in the Arts and Crafts vein was the work of Wright’s California contemporaries, Bernard Maybeck and the brothers Charles Sumner and Henry Mather Greene, who were evolving a residence type that would be popularized across the country as the “California bungalow.” The Ladies’ Homes Journal, House Beautiful, and—for the professional—the Architectural Record all exposed Alabamians to the new order: to Arts and Crafts philosophy in general and to the distinctive

140 High Styles work of creative American architects in the Arts and Crafts vein. Perhaps the most influential publication of all, however, was The Craftsman magazine, started in 1901 by Gustav Stickley—not an architect, but a leading proponent of Arts and Crafts ideology. Through The Craftsman, Stickley hoped to spread the movement’s views about building design and furniture making far and wide. He succeeded to such an extent that today the name of his magazine has become virtually synonymous with a whole genre of building that flourished mainly between 1900 and 1920. One can still crace the influence of this “Craftsman” style throughout Alabama, with Birmingham having an especially large concentration of such buildings. The city’s mushroom growth as the steelproducing “Pittsburgh of the South” during the early 1900s attracted numbers of architects who enthusiastically took up the Craftsman banner. And today, dozens of houses are yet to be seen in older Birmingham suburbs—the South Highlands, Forest Park, Graymont, Mountain Terrace, West End, Norwood, East Lake—which owe their . seminal design concept to Arts and Crafts ideas as refracted through Stickley’s magazine. The Arts and Crafts philosophy espoused by The Craftsman clearly encouraged enormous flexibility in approaching a specific design problem. But almost always, even if a building was two or three stories high and the site itself restricted, there was an emphatic horizontality, as if to anchor the structure to the land. Deep porches enshadowed by wide eaves glided casually into open pergolas or rockrimmed terraces. Wooden structural members were accentuated. And sometimes half-timbered gables gave more conservative specimens a slightly snobbish, mock-Tudor air. On every hand there was a relish about displaying the innate qualities of building materials, whether wood, fieldstone (which abounded about hilly Birmingham), tile work, or dark-stained shingles. Interior layouts were as fluid and open as the outside treatment of such buildings would suggest. Fussy Queen Anne spoolwork and bric-a-brac were replaced by clean, uncluttered living areas with smoothly beamed walls and ceilings, built-in bookcases, and brick or stone-faced fireplace openings—all bold, rectilinear, and straightforward. Yet it was not a domestic design but the 1903 Birmingham Country Club, planned by the local firm of Miller and Martin, that may first have heralded the Craftsman style in Alabama. [157] Over the next two decades, dwellings like the G. J. Robertson, Leonard T. Beecher, and Frank Nelson houses in Birmingham, the McQueen house in Tuscaloosa, and The Pines at Greensboro all revealed Craftsman ideals at home in comfortable upper and upper middle-class circumstances. [158, 159, 160} But the movement’s most lasting legacy to Alabama was the ubiq-

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Fpilogue More than half a century’s worth of architectural innovation and experimentation has come and gone in Alabama since 1930. Toward the end of the Depression era, there was the Resettlement Administration’s hopeful experiment in low-cost housing with the rammedearth dwellings built at Mount Olive near Gardendale. [186] A little later, Frank Lloyd Wright introduced his Usonian concept to Alabama via the Rosenbaum house at Florence. [187] Here, as in similar houses that he had already designed, Wright sought to achieve a reasonably priced domicile that would be architecturally distinctive while incorporating all the conveniences of new building technology and new concepts of spatial planning. The 1940s saw the arrival of those stark, linear buildings in chromium, concrete, and glass that owed their allegiance to the Bauhaus movement and to the strivings in the world of architecture toward a pan-cultural, international style. Alabama-born architect Paul Rudolph began his career as a Bauhaus disciple but soon broke away to develop his own parti, characterized by architectural historian Frederick Koeper as “a collision of forms and interlocking spaces.” During the 1960s Rudolph gave to his native state the organic, dramatically unfolding interiors of both the John Wallace house in Athens—designed for a friend of his youth—and the widely acclaimed Tuskegee Institute chapel. [188] By and large, however, the state’s architecture maintained a conservative cast. In their private inclinations, if not always in the public image they wished to project through ambitious new civic centers, sprawling industrial parks, and gleaming office towers, most Alabamians retained an extraordinary affection for traditional forms—for buildings that somehow evoked the past. From time to time this affection reached extravagant proportions. Thus, both a Mississippi River plantation mansion, Houmas House, and Stratford Hall, che Virginia birthplace of Robert E. Lee, inspired costly Alabama imitations during the 1960s and 1970s. Closer at hand, the Gorgas house in Tuscaloosa—evolved from a plain little university refectory building into one of the most photogenic residences in the state—has fired the imagination of countless homebuilders and even the architects of new banks, who have copied with varying degrees of success its twin curving stairs and raised portico. [189] Another famous Alabama house, the Forks of Cypress, provided the design for the new quarters of a Florence bank in 1983, though in detail the building fell disappointingly short of the faithful exterior replica it purported to be. The unfortunate pastiches that have often resulted from wellmeaning efforts to paraphrase the past do not invalidate the desire for architecture to suggest cultural continuity; yes, and regional identity

4 iii

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