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| An exhibition by the Office of the Curator, Department of the Treasury. September 2002 |
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Judging
a new public building:
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[The Treasury is]
“by no means credible to the nation; the long rows of columns on
Fifteenth street… without any break or projection to relieve monotony,
can never be considered beautiful. The impression produced on the mind
through the medium of the eye, by this long colonnade, will be similar
to that made by a continuous sound of one melodious note in music...” Two years after construction for the Treasury began, the country’s
financial surplus quickly dried up, prompting increased scrutiny from
government officials, bringing work to a halt in 1838. Some of the problems
resulted from miscommunication regarding the location of the Treasury
and the expenses necessary to carry out construction entirely of masonry
rather than using cheaper materials. Mills' competence in engineering
was brought into question due to damaging accusations brought on by both
opponents of the current administration and competing architects alike.
Mills confronted the allegations with a formal rebuttal lending credence
to the durability of its construction with his record of successful buildings
while defending his architectural style by noting similar contemporary
European precedents. On the first charge, Walter contended the site of
the Treasury building which blocks the view between the Capital building
and the White House along Pennsylvania Avenue, which was a significant
feature of L’Enfant plan for Washington. Mills’ rebuttal defends
that the building’s location was beyond his control as President
Jackson specifically chose the site. Mills contests Walter’s second
account regarding the question of the strength of the vaulting system
by asserting success of the construction of his previous building, even
with a demonstration the strength of the vaults by removing the centering
framework from a vault under construction. Walter’s third point
refers to the small size of the windows, offices, and narrow corridors,
stating that only the first and second floors receive adequate natural
light and that the basement rooms were too dark and damp for clerks. He
also contested that the corridors are too narrow for their expanse and
the rooms too small. Walter’s final criticism was one of aesthetics.
He considered the appearance “by no means creditable to the nation;
the long row of columns on Fifteenth street… without any break or
projection to relieve monotony, can never be considered beautiful, [like]
one melodious note in music.” Mills countered Walter’s attack
by noting acclaimed European buildings with a similar unbroken colonnade
such as the Louvre addition and The Bourse in Paris which were in his
opinion “regarded as the most magnificent of modern structures.”
Mills continued, “The effect of a continuous colonnade (Mr. Walter’s
musico-architectural simile notwithstanding) is both grand and imposing;
and its utility justifies its introduction, where the wealth of the community
will admit.” Walter concluded his assessment by recommending that
the Treasury be completely torn down and rebuilt. Furthermore, he recommended
his acquaintance, Alexander Parris, a Boston architect, to replace Mills
as architect for the new Treasury building that Walters considered necessary.
For more information on Thomas U. Walter
and the architecture of the Capitol, click here. |
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