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STRENGTH and GRACE a Louisiana Native Brought Romanesque Architecture to America

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STRENGTH and GRACE a Louisiana Native Brought Romanesque Architecture to America A GEOGRAPHERS’ VIEW OF THE NEW ORLEANS AREA STRENGTH AND GRACE A Louisiana native brought Romanesque architecture to America The Howard Memorial Library, pictured here in 1900, is New Orleans’ only true H.H. Richardson-designed building. Library of Congress. NOLA.COM Richard Campanella [email protected] uch of New Orleans culture derives from outside infl uences imported by newcomers, THE TIMES PICAYUNE THE whose traditions and tastes gradually syncre- tized locally intoM something distinct. The city has returned the favor, exporting 2016 , 8 its own indigenous innovations, such as Creole cooking, jazz and bounce music. JULY Then there are cases of New Orleanians portation” is the Romanesque architecture , who went off to create great things else- of Henry Hobson Richardson, a man so where, and whose works subsequently found associated with this distinctive style that their way back home as part of a broader colleagues started naming it in his honor A portrait of H.H. Richardson hangs in the FRIDAY national diff usion. within a few years of his death, a rarity in National Portrait Gallery in Washington, D.C. One such example of that cultural “reim- the industry. Photo by Richard Campanella H6 H.H. Richardson was born in 1838 on Priestly Plantation in St. James Parish, now the St. Joseph Plantation House in Vacherie. He grew up in a Julia Row townhouse in New Orleans and briefly attended the University of Louisiana, a predecessor of Tulane. He then set off for Harvard University and spent the Civil War years studying at the École des Beaux-Arts in Paris before returning to establish an archi- tectural practice in New York City. Over the next 20 years, Richardson would develop and refine a style he initially gleaned from the medieval churches and castles seen on his European sojourns. Stout and venerable, the ancient Roman-influenced edifices exuded strength and permanence, with their massive stone walls, broad semicircular arches and vaults, short columns and fortress-like turrets and towers. Yet the structures also retained a romantic quality, appearing graceful and pic- ture-perfect in the landscape. That sense of romance appealed to 19th-century eyes. As the Enlightenment gave way to modernization and industrial- ization, Western artists and philosophers shifted away from their fascination with classical antiquity, which helped inspire the revival of Greek architecture (neoclassicism), something of a “starchitect,” and he moved to stant wish to do so.” Above: and found a new muse in the aesthetics of Boston where commissions awaited him. Richardson did not realize that desire. He The Howard the Middle Ages and Renaissance. Universities, in particular, were in need died of kidney disease at age 47. Yet his work Memorial The shift reflected a new spirit called of architects at this time. College campuses would nonetheless find a way home. Library, romanticism, which embraced beauty were being designed across the nation, and His most direct contribution came post- built in and emotionality and appreciated the pic- administrators sought a distinguished look. humously — and accidentally. While ailing, 1888, is now ture-like qualities of the old ruins in the Richardson’s brand of Romanesque seemed he submitted designs for a library competi- the Taylor landscape — so much so that a “Picturesque to nod to higher education in England, which tion in East Saginaw, Mich. Because of a dif- Library of Movement” began to affect the design of American universities tended to emulate. ference of design philosophy with the client, the Ogden English parks and villages. Harvard University commissioned Rich- though, the job went to another firm. Shortly Museum of Romanticist and Picturesque tastes ardson to design a number of campus build- thereafter, Richardson died, and the partner- Southern steered architects toward a revival of the ings, and because other institutions of higher ship of Shepley, Rutan and Coolidge gained Art. Erika building styles of the Middle Ages, includ- learning often followed Harvard’s lead, “Rich- control of his commissions. Goldring / ing Italian, Gothic and Norman. These would ardson Romanesque” came into demand on The partners promptly reprised their men- archive become known respectively as Italianate, campuses elsewhere. Other architects started tor’s East Saginaw plans for a new project: Gothic Revival and Romanesque Revival replicating the look, and it spread. a building to house a private book collec- architecture. (The term “Romanesque” here Richardson designed scores of train sta- tion slated for a site near Lee Circle. How- did not connote ancient Rome per se but tions, government and commercial buildings, ard Memorial Library, built in 1888 and now TIMES PICAYUNE THE rather the Norman buildings erected after courthouses, residences, lodges, monuments the Taylor Library of the Ogden Museum of the fall of the Roman Empire. Latter-day and, most of all, libraries across the country. Southern Art, is the only Richardson design observers tended to “roman-ticize” these According to biographer Jeffrey Karl erected in the region. Roman-influenced edifices — thus the term.) Ochsner, Richardson and his firm designed Richardson studied in Paris at a time at least 150 projects, of which 85 were built. when romanticism and its architectural In person, Richardson was the sort of man Robyn Schmitt, Realtor manifestations were peaking in Europe who left everyone dazzled. His portrait artist Greater New Orleans Area but still fairly new in the United States. He Hubert von Herkomer described the nation’s Cell: 504-236-1144 returned to a nation transformed by the Civil most famous architect “as solid in his friend- www.robynschmitt.com NOLA.COM 504-267-1195 War, and the victorious North was ready for ship as in his figure. Big-bodied, big-hearted, [email protected] new ideas. large-minded, full-brained, loving as he is ONE RIVER PLACE $2,750,000 English Gothic and French Second Empire pugnacious.” Riverfront Condo #7 C&D with views from every room! Luxury 3,610 sq. ft. 3 Bedroom, styles were all the rage, and Richardson, in Some might say he was pure Louisiana. 3 Bath + 248 Sq. Ft., Balcony overlooking river FRIDAY partnership with his business manager But with so much success in the North, w/ views from French Quarter to Warehouse District. 24/7 Security/Room Service, 3 valet Park Charles D. Gambrill, initially followed suit Richardson could hardly find time to return Spaces, 2 Storage Units, Gym, Sauna, Hot Tub & in his early work in New York. home to New Orleans or St. James Parish. It Pool. Steps to the Streetcar, private access to the Riverwalk & Hilton Riverside. But Richardson increasingly found him- did not help that the region’s tenuous post- , self experimenting with the Norman features war economy promised few opportunities for JULY he saw in Europe, adapting them to his own architects of his stature. SOLD SOLD 8 tastes and the ever-widening array of indus- Recalled writer Mariana Griswold Van , trial materials now available. His efforts culmi- Rensselaer, who knew Richardson person- 2016 nated with a breakthrough design for a church ally, “he never even visited his native town in Boston. Completed in 1874 to great acclaim, again” after returning from France in 1865, 3715 RUE CHARDONNAY H7 Trinity Episcopal Church made Richardson “although I have heard him speak of a con- 3724 RUE CHARDONNAY Highest per sq. ft. Metairie Lakefront for past year. In 1892, New Orleans selected Dallas archi- tect Max A. Orlopp Jr., who specialized in Richardson Romanesque courthouses, to design the Criminal Courts Building and Par- ish Prison, seen here in 1906 from Elk Place. Photo from the Library of Congress had initially considered an Italian Renaissance design for the new Uptown campus. Tilton Memorial Hall, completed in 1902, was originally Tulane University’s Library. Instead, Johnston held a competition in Chris Granger / staff archive which he requested “plain brick, pressed brick and stone” construction and a “unity of design” for the campus. Local architects dominated the submis- sions, and the winner was Harrod and Andry, whose emphatically Romanesque design for the Main Building (now the iconic Gibson Hall) and the Physics and Chemistry buildings (now Hebert Hall and the Richardson Building) got under construction in January 1894. My office is in the Richardson Building, and as I look out my window, I see a veritable campus-scape of Richardson Romanesque amid live oak trees and a grassy quad: seven monumental buildings dating from 1894 to Gargoyles and grotesques typical of medieval 1942, all of gray rusticated stone or pressed architecture appear in some of Richardson brown brick, with broad arches and a heavy Tulane University’s Richardson Memorial Hall was built in Romanesque designs. This one is on Tilton horizontality to them. 1908. Richard Campanella Hall at Tulane. Richard Campanella Among the loveliest is Tilton Hall (1902), whose intricately carved façade features gar- But Richardson’s main contributions to in 1958 for the Pontchartrain Expressway; goyles and reptilian grotesques reminiscent New Orleans came vicariously, as his nation- and the Jewish Orphans and Widows Home of medieval buildings. wide popularity got reimported locally. (1887), now site of the Jewish Community Tilton Hall, originally the library, brings to NOLA.COM Architects influenced by his work began Center on St. Charles and Jefferson avenues. mind Richardson’s particular penchant for designing similar structures for local clients. The city in 1892 selected Dallas archi- library projects. Tilton Library later merged A Romanesque annex was built adjacent tect Max A. Orlopp Jr., who specialized in its book collection with that of its Roman- to Howard Memorial Library in 1891; this Richardson Romanesque courthouses, to esque counterpart on Lee Circle, Howard would become Confederate Memorial Hall, design the Criminal Courts Building and Memorial Library, and today they form the Louisiana’s first museum.
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