Julian Abele: Architect and the Beaux Arts Uncovers the Life and Career of One of the First Beaux Arts Trained African AmerIcan Architects

Julian Abele

Julian Abele: Architect and the Beaux Arts uncovers the life and career of one of the first beaux arts trained African American architects. Overcoming racial segregation at the beginning of the twentieth century, Abele received his architecture degree from the University of Pennsylvania in 1902. Wilson traces Abele’s progress as he went on to become the most formally educated architect in America. Abele later contributed to the architectural history of America by designing over 200 buildings during his career including the Widener Memorial Library (1913) at Harvard University and the Free Library of Philadelphia (1917). Architectural history is a valuable resource for those studying architecture. As such this book is beneficial for academics and students of architecture and architectural historians with a particular interest in minority discussions.

Dreck Spurlock Wilson is a graduate of Iowa State University, USA and the University of Chicago, USA. He was an Associate Professor of Architectural History at Howard University and Lecturer in Landscape Architecture at Morgan State University and is a licensed landscape architect. Dreck is the editor and a contributing author of the Biographical Dictionary of African American Architects, 1865–1945 also published by Taylor & Francis. Minorities in Architecture

The new Minorities in Architecture series by Taylor & Francis brings to light research from across the globe by and about underrepresented architects to present leading perspectives on a diverse range of topics. Against the background of race, ethnicity and gender, and the intersections between them, it provides the reader with the latest scholarship in the field of architecture. Areas covered include history, theory, monographs of architects, evidence-based case studies, materials and details. By making these studies available to the worldwide academic community, the series aims to promote quality architectural research from multiple voices. For a full list of titles, please visit www.routledge.com/architecture/series/ MIA.

Julian Abele Architect and the Beaux Arts Julian Abele Architect and the Beaux Arts

Dreck Spurlock Wilson ROUTLEDGE Routledge Taylor & Francis Group LONDON AND NEW YORK First published 2019 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 52 Va nd erbilt Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2019 Dreck Spurlock Wilson The right of Dreck Spurlock Wilson to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Wilson, Dreck Spurlock, author. Title: Julian Abele : architect and the beaux arts / Dreck Spurlock Wilson. Description: New York : Routledge, 2019. | Series: Minorities in architecture | Includes bibliographical references and index. Identifiers: LCCN 2018029442 | ISBN 9781138496477 (hardback) | ISBN 9781351021661 (ebook) Subjects: LCSH: Abele, Julian F., 1881-1950. | Architects--United States--Biography. | African American architects--Biography. Classification: LCC NA737.A24 W55 2019 | DDC 720.92 [B] --dc23 LC record available at https://lccn.loc.gov/2018029442

ISBN: 978-1-138-49647-7 (hbk) ISBN: 978-1-351-02166-1 (ebk) Typeset in Sabon by Servis Filmsetting Ltd, Stockport, Cheshire This book is dedicated to my parents Eloise Spurlock Wilson and Laurence Paul Wilson. Not a day passes when I do not have both melancholy and happy thoughts about each of you. My love forever and always. Research funded in part by the Chicago-based Graham Foundation for Advanced Studies in the Fine Arts. Contents

Preface ix Acknowledgments xiv

1 Advantages of Family, Color and Place 1

2 Institute for Colored Youth 9

3 Pennsylvania Museum and School of Industrial Art 18

4 University of Pennsylvania School of Architecture 23

5 Pennsylvania Academy of the Fine Arts 34

6 Philadelphia T-Square Club 40

7 North by Northwest 45

8 Out of South Philadephia 49

9 Office of Horace Trumbauer 55

10 Personal Azimuth 98

11 Pennsylvania Museum of Art 108

12 “A Great Towering Church” 122

13 American Institute of Architects 136

14 “In My Father’s House There Are Many Mansions .....” 140 viii Contents 15 Epilogue 143

Appendix A: Jones–Abele–Cook Family Tree 145

Appendix B: Office of Horace Trumbauer Building List 146

Bibliography 192 Index 211 Preface

African American architects have contributed significantly, albeit anony- mously, to the architectural history of America. The shroud of anonymity made denser by racism. Julian Francis Abele (1881–1950) has unavoidably fallen victim of such anonymity. Family, color and place circumscribed Abele’s pursuit to become an architect. Julian was wellborn April 21, 1881, into an Olde Philadelphia family that can trace their presence in Penn’s “grand, religious experiment” back more than two centuries. Patriarch and Julian’s maternal great uncle Absalom Jones, in partnership with the prince of African Methodist Episcopalism Richard Allen in 1787, founded the race’s first mutual aid association the Free African Society. Jones’ selflessness contributed to him being elevated to Episcopal priest in 1794, the first of his race ordained. Julian’s maternal grandfather Robert Jones, a barbershop owner and real estate dealer, founded Lombard Street Presbyterian Church in 1844; the place of worship for well-to-do, light-skinned, free persons of color in Philadelphia. Julian’s father Charles Abele fought for Emancipation, was wounded and received a coveted, patronage job as a clerk at Strictland’s Second Bank of the United States (1818). Julian’s oldest brother “Bun” was amongst the first colored graduates of Hahnemann Medical College in 1883, an institutional leader in the practice of homeopathic medicine. From the 1st floor of the family homestead in south Philadelphia he operated an unusual, bi-racial medical practice. “Bun” paid Julian’s tuition for two insti- tutes, university and academy. Brother “Joe” was a patent-holding engineer with the Philadelphia Electric Co. who “passed” in order to remain professionally employed. Julian’s beige complexion dissuaded him from attempting Joe’s charade. Brother “Sy” was a blacksmith and the first Philadelphia sign-maker to fabricate bronze, hanging building signs several of which hung on his brother’s buildings. “Sy” was a familial touchstone for Julian to the arts and crafts movement and Quaker craftsmanship. In 1893, Julian followed older siblings to the Institute for Colored Youth the first public, preparatory school for the race founded in 1873 by the Arch Street Meeting House Quakers. Principal Fanny Jackson the first colored woman in America to have charge of a preparatory school after addressing x Preface the Congress of Representative Women at the Chicago World’s Fair (1893) returned to the “center of Quakerism” determined that a student properly trained in the “mechnik” arts should represent the race in the “City Beautiful” movement. Jackson’s formidableness landed four-square on Julian. Who could have prophesized that Julian would become a residual of the Chicago World’s Fair? It was unusual for a colored at the turn of the twentieth century to pursue a formal education in architecture. Only Massachusetts Institute of Technology graduate, class of 1892, Robert Taylor had succeeded. “Those behind in the race of life must run faster or forever remain behind.”1 Julian’s response was to race toward education. His immersion into the “mechnik” arts was provided by the Pennsylvania Museum and School of Industrial Art, a residual of the Philadelphia Centennial Exposition (1876). Julian earned a Certificate of Architectural Drawing on October 9, 1897, the first of his race so honored. Without special consideration Julian registered at Franklin’s University of Pennsylvania, School of Architecture in 1898. The School had been the fifth in America to adopt l’techniques of l’École des Beaux Arts, Paris, which pleased Julian—a rising Francophile. Although prohibited from marching in the graduation processional to LeBrau & Rungé’s Academy of Music because of northern racism de jure on June 18, 1902, Julian became the third Negro in America to earn a baccalaureate degree in Architecture. To perfect his rendering techniques Julian passed the entrance examination to the Pennsylvania Academy of the Fine Arts, the oldest art school in America founded in 1834 by the ridiculously eclectic Rembrandt Peale. In 1903, Julian received a Certificate in Architectural Drawing once again becoming the first of his race to do so. Julian Abele was the most formally educated architect in all of America. Certificates and a degree in Architecture do not an architect make. By kilometers Paul Philippe Cret (1876–1945) maître of the Philadelphia T-Square Club was the most influential force on Abele’s oeuvre. The T-Square Club was the most respected beaux arts drawing club amongst a dozen in America’s big cities. A product of l’École des Beaux Arts in Paris, Cret was appointed Professor of Design at the university in 1903, one year too late to critique Julian. Cret’s arrival at the School of Architecture began his ascendancy into “doubtless the ablest teacher of design America has ever possessed.”2 Julian, sponsored by his apprenticer Louis Caron Hickman (1863–c.1917) a past-president of the Philadelphia T-Square Club, joined during his Third Year at university. Cret’s practical experience designing ephemeral war memorials and intimately scaled, limestone buildings in the public realm were indispensable to Abele because Cret’s eighteenth century French academic experience was not available to Abele within future employer Horace Trumbauer’s draughting room. While race riots mocked Philadelphia’s epigraph as the “City of Brotherly Love”, Horace Trumbauer (1868–1938) a non-designing architect–busi- nessman in 1906 “was widely criticized for hiring Mr. Abele and the bias Preface xi extended right into the office even after many years had passed even though Abele’s complexion like that of a Castilian helped to defuse racial preju- dice.”3 There was no racial magnanimity under-pining Trumbauer’s deci- sion. He pragmatically reasoned that Abele’s beaux arts expertisé would allow him to charge top hat clients exorbitant fees. Hiring Abele abruptly desegregated Trumbauer’s 10-person, center city office. Trumbauer relied on his senior designer to create the “look” of all cut-stone buildings pro- duced by his office. Atypical for architects of the Progressive Era, Abele spent his entire 44-year career from 1906–1950 with the Office of Horace Trumbauer. He deserves design credit for a catalogue raisonné of more than 200 buildings (26 listed on the National Register of Historic Places) com- prised of châteaux, townhouses, apartment buildings, churches, banks, office buildings, hotels, libraries, museums, university buildings and mausoleums. Abele and Trumbauer professionally and personality-wise were counter- points. Trumbauer was librettist Lorenzo Da Ponte to Abele’s Mozart; the point being that rarely does a great artist succeed alone. Trumbauer lacked a normal school certificate while Abele for all practical purposes was over- educated. Trumbauer was bombastic, forceful and cocksure of himself. Abele was soto voce, non-confrontational, content to dwell in the draughting room harboring a dislike for the Klieg-light of recognition. Abele did not believe that publicity was an indispensable ingredient of success. He was wary of too much praise and fearful of blowback from critics either because of his beige skin or incredulity over his beaux arts bona fides. No matter the perfection of buildings he designed; Abele’s modesty never wavered giving Trumbauer comfort that he would never be up-staged by his Negro senior designer. A fictional metric of early twentieth century neighborhoods which pro- duced the race’s greatest artists would rank south Philly No. 1 ahead of Harlem, Bronzeville in Chicago and Shaw in the nation’s capital. South Philly can claim not only Abele, but the race’s greatest Christian portraitist Henry Ossawa Tanner, the race’s greatest contralto Marian Anderson who raised her rich timbre voice in parlors of Olde Philadelphians to raise money for private voice lessons including Julian’s and the race’s greatest sculptor Meta Warrick who had followed Julian to the Pennsylvania Museum and School of Industrial Art and Pennsylvania Academy of the Fine Arts. Abele’s name has been bandied about as architect of the Pennsylvania Museum of Art (1925). However flattering it is a misattribution. Howell Lewis Shay (1884–1975) of the Office of Horace Trumbauer created the museum’s massing or E-shaped foot-print. Why did Trumbauer literally hand to Shay the assignment of a lifetime instead of choosing Abele, his senior designer? The answers are forthcoming in the chapter on the Pennsylvania Museum of Art. Abele’s challenge was to interpret Shay’s facades and create floor plans which spatially expressed the exterior the antithesis of how beaux arts architectés, like Abele, were trained. He succeeded in creating xii Preface common spaces that made plebeians feel like patricians. Abele’s floor plans communicate thru the marble walls to stone facades so effectively it is difficult to “separate the hands”. Abele chose the golden orange hued speckled with silver Mankato (MN) limestone to clad the exterior. He calculated the optical imperfections incorporated by ancient Greeks into their temples into the museum. Abele chose the grayish blue, terracotta tile covering four acres of roof and spec’d a dark blue edge so that as the museum is approached the roofs darken with the foreshortening distance. Pointing to shadows on his pencil and ink rendering of the art museum, Abele (out of character) vain- gloriously commented “the shadows are all mine” staking his claim that he, too, was beaux arts while offering a subtle subtext on the social construct that conspired to keep his contributions in the shadows.4 Beginning in 1925 until 1942, Abele designed 39 buildings for “a new university for the Carolinas” more buildings than Ralph Adams Cram (1863–1942) designed for Princeton, Bertram Grosvenor Goodhue (1869–1924) designed for the University of Chicago (author’s graduate alma mater) or Robert Robinson Taylor (1868–1942) designed for Tuskegee. Abele’s fete was all the more remarkable because he never stepped foot on Duke University’s campus because of racial prohibitions! The most breath- taking building on campus is the Gothic Perpendicular style Duke University Chapel (1927) whose story for the first time will be told from the architect’s perspective. In 1942, on the 36th anniversary of entering the profession and not until Trumbauer had been in his grave four years did Abele begrudgingly apply for membership in the American Institute of Architects his profession’s association. Abele was the third Negro admitted to the AIA in 1942. Begrudgingly because he resented the Philadelphia chapter for organization- ally swallowing-up his beloved Philadelphia T-Square Club. The circumstances that coalesced to spur him to apply for membership and criticality of his endorsers will be explored. Abele did not leave behind any treatises on architecture as had Sullivan or beaux arts trained Carrére. The author, an African American and landscape architect, was confronted with writing a monograph about an architect of the race he never met that is unavoidably and unconsciously filtered by the author’s own oeuvre and professional experiences. Ultimately, the truest reflection of Abele comes from his extant buildings which were significant beyond his race. Yet, his contributions to domestic architecture have seldom been acknowledged. Abele was the last and best of American architects trained in l’beaux arts. If it is accurate that the history of a race is composed of individual stories of its people then history can be illuminated by recognizing the accomplish- ments of an individual, who has helped to make the heart of his people pulsate. It has been my purpose in writing this monograph to introduce readers to Julian Francis Abele. In Appendix B can be found the most comprehensive Preface xiii Building List for the Office of Horace Trumbauer ever compiled with 620 entries. The list is meant to facilitate visiting buildings designed by Abele to marvel at their architectural beauty and contemplate the obstacles he had to overcome to reach a professional plateau from which he could create such beauty.

Notes 1 Lerone Bennett, Ebony, (September 2004): 176, Morehouse College President Benjamin Mays quote. 2 Arthur Weatherhead, History of Collegiate Architecture in the United States, L.A.: 1941, p. 103. 3 James Maher, The Twilight of Splendor, Chronicles of the Age of American Palaces, Little, Brown & Co., 1975, p. 372. 4 Wayne Andrews, Dictionary of American Biography, “Horace Trumbauer”, N.Y.: Scribner’s Sons, 1958, p. 668. Acknowledgments

The genus of Julian Abele, Architect and the Beaux Arts was my master’s thesis “Twelve African American Architects” at the University of Chicago approved nearly five decades ago. The university’s classical liberal arts tradi- tion allowed me the latitude to choose a subject outside my major. I was unbelievably fortunate to have one of America’s most honored historians Dr. John Hope Franklin as my preceptor. Dr. Ralph Lieberman, Professor of Art History at Williams College had the unenviable task of editing my initial rough draft which he accomplished so skillfully that his organization still survives. Josephine Faulkner Webster, Abele family historian, while visiting relatives in Washington, D.C., generously shared with me her photo album which she had diligently assembled and which went back five generations. She patiently and accurately filled-in blanks I had about the Abeles, Joneses and Cooks. Over four decades I conducted research in a dozen libraries and several athenaeums. As a group librarians and archivists and photo historians were knowledgeable and unfailingly helpful. To each of you and your colleagues I extend my heartfelt thanks. I especially would like to express my apprecia- tion to Nancy Compau of the Spokane Public Library; Bruce Laverty of the Philadelphia Athenaeum and Sibyl Moses of the greatest library in the world the Library of Congress. Professor of Art History Dr. David Brownlee at the University of Pennsylvania I relied on to unravel the complicated architectural history of the Pennsylvania Museum of Art. And Professor of Architectural History Dr. Jeffrey Cohen at Brwyn Mawr College broadened my comprehension of Philadelphia’s architectural history. There were institutional specialists who generously gave of their precious time to read chapters about their institution and provide the benefit of their intimate knowledge. They include: historian Bette Ann Lawrence on the Institute of Colored Youth; archivist Cheryl Liebold on the Philadelphia Academy of the Fine Arts; archivist Sara MacDonald on the Pennsylvania Museum and School of Industrial Art; architectural historian, author and neighbor Pamela Scott on Horace Trumbauer; Professor of History at the Acknowledgments xv University of Massachusetts-Boston Dr. Julia Winch on nineteeth and early twentieth century African Americans in Philadelphia and Emeritus Professor of Architectural History at Tulane University (ret.) and author and decades- long collaborator Dr. Ellen Weiss who read the chapter on Horace Trumbauer’s architectural practice. Disappointed that I could not muster the finances to take the Grand Tour to Paris and Versailles; I instead relied on John Lynch in-residence at l’École des Beaux Arts, Paris, to suss out whether Julian Abele attended l’École. Betty Smith, Montgomery County, Pennsylvania historian performed exhaustive research on Trumbauer’s nuclear family and nailed-down his normal school years. Architectural historian Frederick Platt who has prolifically published on Horace Trumbauer in the Main Line suburbs identified unnamed staff in group photographs (other than Abele) and provided difficult to nail-down addresses which helped to fill-in the Office of Horace Trumbauer Building List. Jacqueline Jacovini, curator, University of Pennsylvania introduced me to the university’s collection of European sketches by Abele and translated titles. For a second time, I would like to thank architectural historian Joyce Mendelsohn who was a contributing author to my first book African Amer ican Architects, 1865–1945, A Biographical Dictionary. Our New York City subway ride to the storage facility which housed a trove of never before published photographs of buildings constructed by George Fuller & Co. the general contractor who built more buildings designed by Abele than any other was the most critical find of five decades of research. The only other second-time collaborator from African American Architects is graphic designer and cousin Byron Wade of Cincinnati, Ohio. You graphically untangled branches of three family trees belonging to Jones–Abele–Cook. Julian Abele, Jr. graciously invited me into his home for what turned out to be a half-day long interview. He and his wife shared family reminisces, photographs and ephemera which were important for me to understand his father. He even extended himself by picking me up and returning me to the airport. I hope after reading the monograph you feel your investment of time was worthwhile. Editor Grace Harrison is the person most responsible for moving the manuscript to publication. Editorial Assistant Aoife McGrath although we only communicated electronically made seamless the distance between London and Washington, D.C., I am deeply grateful to both of you. Unto myself I take responsibility for any errors. Dreck Spurlock Wilson, ASLA, NOMA Washington, D.C. [email protected] Taylor & Francis Taylor & Francis Group http://taylorandfrancis.com Abstract

Family, color and place advantaged Julian Francis Abele (1881–1950) in his pursuit to become an architect. Patriarch Absalom Jones founded in 1787, the Free African Society the race’s first mutual aid society. Absalom Jones was the first of his race ordained an Episcopal priest in 1794. Julian Abele’s grandfather, Robert Jones, founded Lombard Street Presbyterian Church in 1844 the place of worship for light-skinned, free men of color many of whom were artisans. Julian Abele’s oldest brother Robert “Bun” Abele was the first colored graduate of Hahnemann Medical College in 1883. Sigma Pi Phi the first, Negro, Greek-letter, fraternity was founded in “Bun’s” parlor in 1911. Brother Joseph Abele was an engineer with the Philadelphia Electric Co. who “passed” for white in order to remain employed. Olde Philadelphians were “light, bright and damn near white.” Skin color thus became a vertical stratification of class the lighter one’s complexion the higher the class. Olde Philadelphians disproportionately made their living as artisans. Julian’s skin color was “beige” which dissuaded him from attempting Joseph’s charade. He was, however, light-skinned enough to make integration easier. Accelerated by the Philadelphia Centennial Exposition (1876) the city become the mecca of industrial arts. The Franklin Institute was a national leader stressing “mecknik” engineering. The Institute’s offerings were higher respected than the U.S. military academies at Annapolis and West Point. The Institute’s offerings attracted the attention of Fanny Jackson at the Institute of Colored Youth who organized the race’s first Industrial Department in 1884 available when Julian enrolled. The Pennsylvania Museum and School of Industrial Art a residual of the Exposition and the University of Pennsylvania excelled at the “mecknik” arts which appealed to Julian. 1 Advantages of Family, Color and Place

Julian Francis Abele (1881–1950) owed his achievement as a superbly trained beaux arts architecté to granite-like ambition. He was, however, fortunate to have been well-born in Philadelphia on April 21, 1881, the ninth child of Adelaide and Charles Abele. Julian’s collateral relatives can trace their presence in Penn’s “grand, religious experiment” back more than two centuries. The presence of Royal African Trading Co. cargo in the province which became the Commonwealth of Pennsylvania pre-dates founder William Penn who came ashore October 24, 1682, from the HMS Welcome onto the peninsula between the Delaware and Schuylkill Rivers. The city’s name derives from ancient Lydia in Asia Minor named in St. John the Divine’s “Apocalypse” which translates “Brotherly Love”. A victim of religious bigotry across the pond, Penn, a Quaker, established Philadelphia as a citadel of religious tolerance. A slaveholder, he encouraged the importation of West African slaves to quench the demand for agricultural labor. It was like any other mercantile pursuit except the commodity was human. For West Africans in the Commonwealth, 1760 was a watershed year because it marked the moral awakening of the Society of Friends who incorporated Emancipation into their ecclesiastical doctrines while proselyt- izing that West Africans were being “redeemed out of superstition, idolatry, and heathenism.”1 By 1790, the first national census counted 3,737 black slaves in Philadelphia sprinkled amongst a population of 28,520. By 1800 the number of slaves shrank to 1,706 while the white population surged to 68,000 as the Pennsylvania Slave Act of 1780 retroactively took hold stran- gling the importation of slaves while maintaining the status quo of the “peculiar institution”. The confluence of free men of color in Philadelphia like ripples from a stone skipped across the Schuylkill started in motion societal waves to assimilate into the majority culture. Mid-eighteenth century Philadelphia was the premiere city of the colonies, its port the busiest on the eastern sea- board. The “Athens of America” was the most advanced in cultural ameni- ties. Its pre-eminence buttressed by educational, mercantile, religious and abolitionist interests which dwarfed its nearest rivals: Boston, New York 2 Advantages of Family, Color and Place and Charleston. Historian Philip Foner wrote about Philadelphia being the “most anti-Negro city of the North and most rigidly segregated metropolis above the Mason-Dixon line.”2 Social historian Theodore Hershberg’s landmark “Philadelphia Social History Project” compiled the most exhaustive profile of antebellum freedmen anywhere in England’s runaway colony including surveying the Jones, Julian’s matriarchal relatives (see Appendix A: Jones–Abele– Cook Family Tree).3 Anti-slavery organizations campaigned incessantly in the “City of Brotherly Love” for contributions, members and sympathizers. It was not hap- penstance the majority of anti- slavery publications printed a masthead with “Philadelphia” embedded in it. Because of the Quakers, South River Dutch and Swedes abolition was rev- Figure 1.1 Absalom Jones erently embraced and did not Source: Delaware Art Museum wane until Lincoln’s briefest, most important speech consecrating the bloodied ground at Gettysburg, Pennsylvania on New Year’s Day 1863. The matrilineal side of Julian’s family traces back to the mid-eighteenth century and Julian’s great uncle Absalom Jones (Figure 1.1), a confidant of Richard Allen the prince of African Methodist Episcopalism. During the “Awful Calamity” cholera epidemic in 1793, the Free African Society organized by Allen and Jones nursed the indigent, bled over 800 and tended pyres for thousands of their brethren. Jones was priested by the Episcopal Diocese of Philadelphia in 1804 the first of his race in America. The void of elected officials was filled by ministers like Jones and Allen. As de facto race leaders they naturally became titular heads of their own families. The Jones were epitome Olde Philadelphia “light, bright and damn near white”. Absalom’s younger brother William’s only child Robert was Julian’s maternal grandfather. Robert Jones was a busy barber with clients from both races. He owned his own shop and served as director of the Philadelphia Building and Loan Association. Robert married Elizabeth Durham in 1834, the only child of Clayton Durham a founding trustee of Mother Bethel African Methodist Episcopal Church. Robert a decade later founded Lombard Street Presbyterian Church the place of worship for light-skin, well-off Olde Advantages of Family, Color and Place 3 Philadelphian’s. Although there is no presumption Robert and Elizabeth’s marriage was arranged there were societal advantages in uniting two Olde Philadelphia families. Robert was the father of 16. His fifth born was Julian’s mother Mary Jones. Julian, however, was born too late to know his maternal or paternal grandparents. Julian’s paternal pedigree traces back two generations to his grandmother Elizabeth Abele. (The name and race of the father of Elizabeth’s children are unknown.) Elizabeth is listed in the 1860 U.S. Census residing in Chester, Pennsylvania, a destination on the Underground Railroad. She was identified as a free black, head of household with one son and three daughters with neither a husband nor property. A decade later she is listed in the census as “white”. An understandable mistake the canvasser made due to her fair complexion. Elizabeth’s only son, Julian’s father, Charles Abele was born free in 1841, in Chester a four-hour horse-back ride south of Philadelphia. He was wounded in the Civil War fighting for the Union qualifying him for a coveted, patronage job as an engraver at the U.S. Customs House designed by William Strictland (1788–1854). Charles married Mary Jones, a milliner, in May 1865, while Sherman’s troops rampaged to the sea. Charles suc- cumbed to pneumonia on May 5, 1893, the same week the Chicago World’s Fair opened which ironically was the catalytic event in Julian becoming an architect. Censuses of 1838, 1847 and 1856 conducted by the Pennsylvania Abolition Society compiled an informative profile of free men of color (fmc). They were poor compared to whites. The value of real property (land and buildings) and personal property (jewelry, furniture, household possessions, store-bought merchandise, etc.) owned by freedmen was $60 per capita or less. The wealth accumulated was skewed: the wealthiest 10 percent having accumulated 70 percent of the total worth of fmc. Eight out of 10 were porters, carters, waiters, seamen, draymen, servants and handymen. The remaining were teachers, seamstresses, preachers, undertakers, barbers, caterers, cobblers and artisans. FMC tended to live in two-parent house- holds with one to four children. For spiritual sustenance they founded churches to sustain them in this life and life in the hereafter. The largest congregations were Presbyterians. The second largest were Episcopalians followed by Methodists, Baptists and Catholics. There was an awakening of Christianity throughout their ranks which led the Biblical descendants of Ham up Jacob’s Ladder. Free men of color were generally apolitical shrinking from controversy fearful their involvement would incite reprisals. FMC exhibited a chilling antipathy toward civil rights. The agreed on means of chasing racial equal- ity was considered to be economic. Freedmen felt it was their responsibility to work hard, strive for moral righteousness and discourage agitation for equal rights. Their supercilious attitudes were unsurprisingly similar to Quakers who were staunch benefactors of the race. 4 Advantages of Family, Color and Place Freedmen energetically organized institutions mirroring whites to make circumstances easier for their brethren. They formed over 100 beneficial societies which offered relief to the poverty-stricken, aid to the feeble- minded and ultimately burial expenses to those who departed as paupers. There were literary societies who met weekly with highfalutin’ names like the Minerva Literary Society and Demosthenian Institute which presented public lectures and hawked broadsides. They organized debating clubs, cycling clubs and library companies. There were 55 charity schools subsi- dized by abolitionists including the Arch Street Quaker supported Institute for Colored Youth where Julian enrolled in 1888. W.E.B. DuBois extolled fmc as “anxious to think for themselves, to talk for themselves, to act for themselves and to support their own substance however scanty.”4 The almost frenetic wave of organizing sowed the seeds of what Howard University sociologist E. Franklin Frazier dubbed the “black bourgeoisie”. Amongst Olde Philadelphians—as they referred to themselves—there were a nameable bourgeoisie: Bustills, Fortens, Bogles, Stills and Jones (the latter Julian’s collateral relatives). University of Pennsylvania Visiting Professor W.E.B. DuBois referred to them as the “Talented Tenth” i.e., the upper 10 percent of the race who were educated beyond normal school, culturally refined and well-to-do. They felt it was up to them to codify the norms of acceptable deportment which would lift up their less fortunate brethren. Conservative in attire and deportment they avoided racial connotations. They rejected the notion of consorting with lower classes whether West African or European. Their behavior proved counterproductive to racial solidarity. The “Talented Tenth” numerically were closer to the “Talented Hundredth”. Yet, they affected the free black community to a far greater extent than their actual numbers. They sought “to further the cause of abolition, and political, social and economic betterment for themselves and for their less fortunate compatriots because as they prospered they acquired the trappings of an upper class.”5 The Jones’ were requisite Olde Philadelphian and so, too, would be the Abeles. The continued existence of free men of color in Philadelphia (as elsewhere) was a precarious balancing act. In one scale pan were whites, who, if they thought about coloreds at all whether slave or free believed them inferior. In the other scale pan were black slaves who were envious or resentful or both. The precarious balancing act was rendered even more unstable by an additional variable—skin color. Seldom discussed in broadsides, but obvious to the eye freedmen ranged from butter yellow to coal black. The lighter one’s complexion the more generationally recent misce- genation. Melanin thus became a vertical stratification of class the lighter the complexion the higher the class. There were, of course, light-skin freedmen who were illiterate or poor or both. But they were a minority within a minority. Demagogues feebly attempted to compartmentalize light-skin freedmen. Mulattoes one generation removed from hybridization were ostensibly half-white; quadroons two generations removed were one- Advantages of Family, Color and Place 5 quarter white (which described Julian’s paternal relatives) and quintroons were three generations removed or one-sixth white (which described Julian’s maternal relatives). These absurd definitions seeped into America’s conscious to quantify the percent of white blood coursing thru West African or Caribbean veins. Prior to Citadel cadets firing on Ft. Sumter the absurd- ity of these classifications failed to deter North Carolina, Georgia and Louisiana with threateningly high numbers of freedmen from enacting laws which granted certain privileges to mulattoes and not quadroons or to quadroons and not quintroons. It was a nonsensical effort to legislate bigotry. Complexions of freedmen indexed another social dichotomy. The mar- riages of Olde Philadelphians were almost always endogamous i.e., between couples of similar complexions. Such couplings were self-perpetuating. Light-skin parents begot lighter-skin children. Fair-skin freedmen resided in different neighborhoods from dark-skin freedmen just as the Irish lived apart from Germans. Light-skin freedmen were frequently found among the race’s artisans. They experienced more sustained contact with the majority culture which they closely resembled. Fair-skin freedmen were more likely to have lived longer in Philadelphia since they were born close to where their white fathers worked or transported into the city to escape cuckold wives. The first formally educated architect of the race was Robert Robinson Taylor an 1892 graduate of the Massachusetts Institute of Technology whose “father was the son of a white man who was at the same time his master.”6 William Sidney Pittman, a 1900 graduate of Philadelphia’s Drexel Institute “whose white father was unknown to him” was the second and the third was Julian Francis Abele, a 1902 graduate of the University of Pennsylvania whose complexion was beige. And what explains Philadelphia educating two of the race’s first three formally educated architects? Possibly the influence of Quakers and/or Philadelphia’s vaunted reputation as a national leader in the “mechniks”. Julian’s older brothers and sisters were expected to earn a preparatory school certificate, marry well and assume their rightful place in Olde Philadelphia society. In chronological order:

Elizabeth Rebecca “Bess” Abele (1865–1943) calligrapher Harry E. Abele (1867–1929) handyman Mary Adelaide “Dot” Abele (1869–1952) milliner Charles Sylvester “Sy” Abele (1872–1941) blacksmith Ernest Abele (1874–c.1929) handyman Robert Jones “Bun” Abele (1875–1929) physician Frederick Finch Abele (1877–1899) cabinetmaker Joseph Bolivar Abele (1879–1962) electrical engineer Julian Francis Abele (1881–1950) architect Harry Abele II (1884–n.d.; died in infancy) Thomas Edgar Abele (1887–c.1925) sign painter 6 Advantages of Family, Color and Place “Bess” was closest to Julian after he rode the Pennsylvania Railroad (Pa. R.R.) from Philadelphia to Spokane, Washington to rescue her from a failed marriage. Returning to her hometown in 1906, she became châtelaine of their blended household. In June 1894, “Dot” married Charles Cook “Bess” ’ brother-in-law. Their marriage not only united two prominent families, but created the unusual circumstance of sisters married to brothers either reflecting the whimsical aim of Cupid’s arrow or the limited number of eligible benedicts and maidens of the “Talented Tenth”. Charles was the third colored graduate of Cornell University in 1890. Mary and Charles and five children lived across the street from Howard University’s Freedmen Hospital in D.C. They con- sequently only saw Julian on holidays. As a 17-year-old “Sy” exhibited carved wood at the industrial crusade Exposition of Colored People held at Herman Schwarzmann’s (1846–1891) Horticultural Hall in May 1899. He prospered to own a blacksmith shop at 221 North 11th Street where his ad in the Bell Telephone Directory read “memorial tablets for churches, hospitals, etc.”, as well as, “illuminated and raised letter signs”. His shop where he slept overnight in an empty casket was in the same industrial district at 5520 Arch Street as the renowned blacksmith Samuel Yellin with whom he collaborated on the “first” hanging bronze signs on buildings. A cousin remembered him as eccentric, hard to get along with and stingy. It was said “that he had the first nickel he ever made.”7 He was well off, but each workday ate lunch at the automat which was walking distance from his shop. When middle age overtook him and his wavy, black hair (like Julian’s) turned gray he hid the gray with globs of black shoe polish so thick his hair went beyond being processed to conked. “Bun” graduated from the Institute for Colored Youth in 1891 six years ahead of Julian. At 16 he advanced his age and applied to Hahnemann Medical College an institutional leader in the practice of homeopathic medicine. On May 2, 1895, he was among the first, three coloreds to earn a medical degree from Hahnemann.8 He maintained an unusual, bi-racial, private practice from his medical office on the 1st floor of the family homestead at 718–21st Street in south Philadelphia. “Bun” relaxed by sitting violin first chair in the Treble Clef string orchestra whose members donned tuxedos and performed Mozart at Olde Philadelphia cotillions. After the death of their father in 1893, “Bun” assumed financial responsibility for his mother and unemployed siblings including Julian. The Philadelphia Boule which evolved into Sigma Pi Phi the first, Negro, Greek-letter, fraternity was founded in “Bun’s” parlor in 1904. Julian shared the most in common with “Joe”. Starting in 1916, he was employed by the Philadelphia Electric Co. for 38 years the last 10 as senior engineer. “Joe” held two electrical patents and one for an electrified board game. He was a dues paying member of the Philadelphia Engineers Club a private organization of professional engineers with their own downtown Advantages of Family, Color and Place 7 clubhouse. There were no known non-white members so his membership is explainable if he was “passing”.9 His schizophrenic existence from being a “voluntary white” at the office to Negro at home did not infect Julian who after entering the Pennsylvania Museum and School of Industrial Art in 1896, threw away his race card. Julian stood 5′-6″ with brown, deep pond eyes (Figure 1.2). His weight rarely fluctuated above 155 pounds due to his habit of walking everywhere—he never learned to drive. His head was shaped like a lightbulb with wavy, black hair thru which a steel-tooth comb Figure 1.2 Julian Abele passed without tangling. His Source: Josephine Webster fingers were delicate like a pianist which aided his sketching. His shoulders were narrow and straight, atypical for someone who would spend a lifetime stooped over a draughting table. His complexion was beige like a Castilian perpetually young-looking. Julian’s homogenized features were equal part Caucasian and Negro. Julian benefitted from an upbringing in a two-parent household in which Sunday morning worship at grandfather’s Lombard Street Central Presbyterian Church was as mandatory as school. His older sibling’s ambi- tions were constructed upon a granite base of education, a column of sibling rivalry and a capital of Olde Philadelphia expectations. There was good- natured, but intense competition while mediocre performance went unac- knowledged. It was a home which appreciated the fine arts and knew the difference between a finale and finial. The dimensions of cultural apprecia- tion become more refined in proportion to one’s education. Julian was fortunate to share a standard of living which was more affluent than most coloreds and comparable, if not superior to, white classmates against whom he would compete. He benefitted generationally from ancestors who had known freedom for over 200 years and fortunate to have been educated in the nation’s capital of the “mechnik” arts.

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Pages are not numbered, but if they had been the museum would be found on page 6. 208 T-Square Club and Yearbook of the Philadelphia Chapter of the American Institute of Architects . Twenty-fifth Annual Exhibit. âMorris Clothier Residenceâ, 1922, p. 252. T-Square Club and Yearbook of the Philadelphia Chapter of the American Institute of Architects . Twenty-sixth Annual Exhibit. âJefferson Medical Schoolâ, 1923, p. 14. T-Square Club and Yearbook of the Philadelphia Chapter of the American Institute of Architects . Twenty-eighth Annual Exhibit. âHarry Ambler Residenceâ, 1925, p. 228. T-Square Club and Yearbook of the Philadelphia Chapter of the American Institute of Architects . Thirtieth Annual Exhibit. âPere Marquette Hotelâ and âBenjamin Franklin Hotelâ, 1927, p. 278. T-Square Club and Yearbook of the Philadelphia Chapter of the American Institute of Architects . Thirty-second Annual Exhibit âDuke Chapelâ and âJefferson Medical Schoolâ, 1929, p. 5. 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U.S. Department of Interior . âPhiladelphia Racquet Clubâ, June 1979. U.S. Department of Interior . âJohn C. Bell Houseâ, November 1980. U.S. Department of Interior . âBenjamin Franklin Hotelâ, March 1982. U.S. Department of Interior . âHigh Gateâ, April 1982. U.S. Department of Interior . âSt. Paulâs Episcopal Churchâ, April 1982. U.S. Department of Interior . âPhiladelphia Stock Exchangeâ, August 1982. U.S. Department of Interior . âKeswick Theatreâ, June 1983. U.S. Department of Interior . âGrey Towersâ, July 1984. U.S. Department of Interior . âPere Marquette Hotelâ, December 1984. U.S. Department of Interior . âEquitable Trust Buildingâ, July 1986. U.S. Department of Interior . âWest Laurel Cemeteryâ, February 1993. U.S. Department of Interior . âColver Historic Districtâ, April 1994. U.S. Department of Interior . âDaniel Zimmerman Mansionâ, January 1995. U.S. Department of Interior . âEl Pomar Estateâ, October 1995. 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Julian Abele: Architect and the Beaux Arts Uncovers the Life and Career of One of the First Beaux Arts Trained African Amer­Ican Architects

Julian Abele: Architect and the Beaux Arts Uncovers the Life and Career of One of the First Beaux Arts Trained African AmerIcan Architects