These Neoclassical buildings were ultimately of English derivation, but the pattern of architecture in the United States shifted in 1846 when Richard Morris Hunt became the first American to enroll as an architectural student at the École des Beaux-Arts in Paris. Hunt specialized in mansions for the new commercial aristocracy of America: for example, The Breakers, Newport, R.I., built in 1892-95 in an opulent neo-Renaissance style for Cornelius Vanderbilt II (Figure 98). In 1859-62 Henry Hobson Richardson trained at the École, and on his return to the United States he specialized in a rock-faced Romanesque style probably inspired by the work of Viollet-le-Duc's rationalist follower, Vaudremer. Richardson's most celebrated buildings in this vein are the Allegheny County Court House and Jail, Pittsburgh (1883-88), and the Marshall Field and Company Wholesale Store, Chicago (1885-87; demolished in 1930; Figure 99).
Richardson's pupil Charles Follen McKim, who had been trained at the École in 1867-70, set up a partnership with William Rutherford Mead and Stanford White that was to change the course of American architecture. Following their early domestic masterpieces in the vernacular, or Shingle, style, such as the Low House, Bristol, R.I. (1887; demolished in 1962; Figure 100), McKim, Mead, and White produced a chain of classical buildings that were more consistently monumental than anything seen since the days of the Roman Empire. These include the Boston Public Library (1887-95), the Rhode Island State Capitol (1891-93), Columbia University, New York City (1894-98), and Pennsylvania Station, New York City (1902-11; demolished in 1963); the last is a mighty adaptation of the Baths of Caracalla and a reminder that the Roman baths exercised a powerful influence on the imagination of architects from at least the time of Bramante.
The World's Columbian Exposition at Chicago in 1893, which included buildings by McKim, Mead, and White, commemorated the 400th anniversary of the discovery of the New World and also helped modern Americans rediscover the value of classical planning in civic design. The dazzling spectacle of monumental classical architecture on the fair's Midway caught the fancy of Americans who saw in its great axes, lagoons, sculpture, white buildings, and large plazas an answer to the dreary urban environments of their hometowns. Similar schemes were supported in other cities; some of these were designed by the fair's principal planner, Daniel Burnham, who brought the "great white city" to Cleveland, Washington, D.C., New York City, and San Francisco. The best parts of many American cities are spacious because of the planners of the City-Beautiful movement.
Three of the many architects who continued this classical tradition after World War I were John Russell Pope (Jefferson Memorial, 1934-43, and National Gallery of Art, 1937-41, both in Washington, D.C.), Paul Philippe Cret (Hartford County Building, Connecticut, 1926), and Philip Trammell Shutze (Temple of the Hebrew Benevolent Congregation, Atlanta, Ga., 1931-32). Despite this classical strain, the keynote of 1930s architecture was stylistic pluralism. The Gothic Revival continued, especially in university buildings, whereas domestic architecture in the suburbs could be neo-Tudor or neo-Georgian. With the aid of technology, buildings in the style of Spanish estates were built in Florida, French farmhouses in Philadelphia, Georgian and colonial houses in New England, and pueblos in the Southwest. Georgia revived its antebellum architecture, and Santa Barbara, Calif., which was destroyed by an earthquake in 1925, was quickly rebuilt in the style of a Spanish mission. (D.J.Wa.)
