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• W130327630 abstract "PHILADELPHIA in the first decades of the nineteenth century still aspired to be the United States' pre-eminent city. Though it was no longer the federal capital - that had ended with the government's move to Washington in 1800 - or its most populous center - by 1820 it had been supplanted by New York City - it certainly remained central to the nation's cultural and commercial development. Reflecting its lingering national ambitions, Philadelphia sought to be, and was frequently acclaimed as, the Athens of America.1 Besides alluding to ideas of Athenian democracy, the sobriquet also referred to the increasingly Greek-influenced style that came to dominate the city's civic architecture in the first decades of the new century, especially as practiced by Benjamin Henry Latrobe and his students, notably Robert Mills and William Strickland. Contributing to this appearance were such structures as Latrobe's Bank of Pennsylvania (1799-1801), his Centre Square pumping station for the city's waterworks (1799-1800), Mills's Washington Hall (1809-16), and what was perhaps the first fully realized Greek Revival structure, Strickland's Second Bank of the United States (1819-24). However, after 1822, when it was completed, Philadelphia's paramount architectural attraction was not Greek but distinctly Roman in its associations. Erected just north of the city at suburban Fair Mount, it was the city's newest water pumping facility (fig. 1), a somewhat anomalous Palladian monument on the eastern bank of the Schuylkill River. Built by authority of the Watering Committee, a municipal agency established by the city's Select and Common Councils, the waterworks at Fairmount became an established and admired monument to civic pride. Both in the service it provided to Philadelphians and in its enhancement of their urban fabric, it demonstrated what could be accomplished when government chose to respond directly to a pressing public need.2Improved during the course of the century with promenades and meandering paths, statuary, fountains, and sheltering gazebos, the mill house and its surrounding park regularly attracted appreciative locals and tourists. The latter especially would frequently record their favorable impressions of the riverside complex. Mrs. Frances Trollope, for example, called there in 1827 when returning to her native England following the collapse of the Bazaar, her unsuccessful Cincinnati commercial enterprise. She had little liking for Philadelphia, but of what she saw at Fairmount she was moved to comment:There is one spot, however, about a mile from the town, which presents a lovely scene. The water-works of Philadelphia have not yet perhaps as wide extended fame as those of Marley, but they are not less deserving it. At a most beautiful point of the Schuylkill River the water has been forced up into a magnificent reservoir, ample and elevated enough to send it through the whole city. The vast yet simple machinery by which this is achieved is open to the public, who resort in such numbers to see it, that several evening stages run from Philadelphia to Fair Mount for their accommodation. But interesting and curious as this machinery is, Fair Mount would not be so attractive had it not something else to offer. It is, in truth, one of the very prettiest spots the eye can look upon. . . . The works themselves are enclosed in a simple but very handsome building of freestone, which has an extended front opening upon a terrace, which overhangs the river.3Further attesting to its popularity, by 1850 the Schuylkill waterworks had also become the nation's most depicted piece of architecture. Considered more an American than just a local monument, its image was widely celebrated and circulated in paintings, in prints, and on a variety of decorative objects including household crockery.4Trollope's comparison of Fairmount to Louis XIVs vast estate at Versailles, with its extensive hydraulic displays, is all the more striking because it was between an imperial French estate, much admired, for example, by Thomas Jefferson, the amenities of which were meant to be seen and enjoyed by a privileged few, and a public institution, the waterworks on the Schuylkill, a public utility whose services were intended to benefit the whole of the local citizenry and whose splendid housing could be seen and visited by all. …" @default.
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• W130327630 date "2010-06-01" @default.
• W130327630 modified "2023-09-23" @default.
• W130327630 title "Palladianism on the Schuylkill: The Work of Frederick Graff at Fairmount" @default.
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