The contemporary Ames Gate Lodge[[281]] in North Easton, Mass., has a sort of antediluvian power in the bold plasticity of its boulder-built walls—a theme exploited once before in Grace Church in Medford, Mass., of 1867 it will be recalled—as remote from the Romanesque as from the Queen Anne. A similarly absolute originality of a more gracious order can be seen in the Fenway Bridge of 1880-1 in Boston; its tawny seam-faced granite walls happily echo the easy naturalistic curves of the landscaping by his friend F. L. Olmsted (1822-1903),[[282]] of which it is a principal feature.
1881 saw the initiation of a more monumental building for Harvard, Austin Hall,[[283]] then the Law School, which was completed in 1883. Rich Auvergnat polychromy and a great deal of rather Byzantinesque carved ornament somewhat confuse the direct structural expressiveness of the thoroughly articulated masonry walls; as a result Austin Hall provided a multitude of decorative clichés for imitators to abuse. Much more modest and also much more significant was the station at Auburndale, Mass., also of 1881, built for the Boston & Albany Railroad. This was the first and the finest of a series of small suburban stations notable for the simplicity of their design and for the compositional skill with which the open elements, carried on sturdy but gracefully shaped wooden supports, were related to the solid masonry blocks of granite and brownstone beneath sweeping roofs of tile or slate. If Shaw was called on in the nineties to design the interiors of an ocean liner for the White Star Line, Richardson had already provided in 1884 a railway carriage for the Boston & Albany. This was neither Romanesque nor Queen Anne in inspiration, but had domestically scaled interiors lined with small square oaken panels and no carved ornament of any sort.
Stations, libraries, and houses form the bulk of Richardson’s production from 1882 until his death. But two much larger buildings, which he himself judged to be his master works, were also fortunately initiated, one in 1884 and the other in 1885, well before his last illness began, though both had to be finished by his successors Shepley, Rutan & Coolidge after his death. The Allegheny County Buildings[[284]] in Pittsburgh, Penna., consist of a vast quadrangular courthouse dominated by a very tall tower that rises in the centre of the front and a gaol across the street to the rear. Except for the courtyard walls, interesting for the variety and the openness of their ranges of granite arcading, the courthouse offers on the whole only a sort of summary of his talents; the detail, above all, is afflicted with an archaeological dryness that must be due to the increasing dependence of his assistants on published documents of medieval carving. The courthouse provided, however, the model for many large public buildings in the next few years. Among these, the City Hall in Minneapolis, Minn., begun by the local firm of Long & Kees in 1887, is not unworthy of comparison with the original, particularly as regards the tower. That of Toronto in Canada, built by E. J. Lennox in 1890-9, is less interesting but even more monumental; it also signalizes the supersession of English by American influence in Canadian architecture at this point, as does the almost equally Richardsonian Windsor Station in Montreal begun by the American architect Bruce Price in 1888.
The Pittsburgh Jail is a masterpiece of the most personal order, Piranesian in scale, nobly expressive of its gloomy purpose, and as superb an example of granite masonry as exists in the world (Plate [108B]). It epitomizes Richardson’s genius where the courthouse merely summarizes his talents.
Richardson’s highest achievement, however, was in the field of private building not in that of the public monument. By a happy coincidence his ultimate masterpiece rose in Chicago where, at this very moment, technical advances in construction were being made that would soon bring to a climax the whole story of nineteenth-century commercial architecture (see Chapter [14]). Chicago retains Richardson’s last great masonry house, that of 1885-7 for J. J. Glessner, almost as perfect a domestic paradigm of granite construction as the Pittsburgh Jail. To her shame, however, Richardson’s Marshall Field Wholesale Store, built during the same years, was torn down a generation ago to provide a car park.
The Field store occupied an entire block with a dignity and a grandeur no other commercial structure had ever attained before (Plate [116B]). Internally it was of iron-skeleton construction; externally the arcaded masonry walls represented a development from those of the Cheney Building of ten years earlier (Plate [116A]). Segmental arches covered the broad low openings in the massive ground storey, all built of great ashlar blocks of rock-faced red Missouri granite. The next three storeys, built of brownstone, were combined under a single range of broad arches, yet also articulated within these arched openings by stone mullions and transoms. Above this stage the rhythm doubled, with the windows of the next two storeys joined vertically under narrower arches. The scale of the quarry-faced ashlar was graded down as the walls rose, quite as were the window sizes, and the non-supporting spandrels were filled with small square blocks. The full thickness of the bearing masonry walls was revealed at all the openings. Finally there came a trabeated attic of somewhat Schinkel-like character over which appeared almost the only carved detail on the building, a boldly crocketed cornice. That was ‘Early French’, i.e., of twelfth-century Gothic rather than Romanesque or Byzantine inspiration.
The result was a monument as bold and almost as Piranesian in its scale and its forcefulness as the Pittsburgh Jail; but the walls were also as open, as continuously fenestrated, as those of the court of the Pittsburgh Courthouse. The logical and expressive design of commercial buildings with walls of bearing masonry could hardly be carried further. But in the very year that the Field Store was finished Holabird & Roche, in designing the Tacoma Building, also in Chicago, first showed how the exterior of such edifices might express instead a newly developed sort of construction that allowed the internal metal skeleton to carry the external cladding of masonry (see Chapter [14]).
In one last commercial building, much more obscurely located and built of far less sumptuous materials, which was started just before Richardson’s death—it was only commissioned after his last illness had begun—he carried the logic of the design of the Field Store one step farther. It was almost as if he had already sensed, like Holabird & Roche, the implications of the Home Insurance Building in Chicago of 1883-5 by their former employer William Le Baron Jenney, in which the new sort of construction was first used but not at all expressed. On Richardson’s Ames Building in Harrison Avenue in Boston a tall arcade rose almost the full height of the wall beneath a machicolated attic; the depth of the reveals around the sash at the sides of the brick piers was minimized; and above the ground storey the spandrels were of metal panels set almost flush with both piers and sash.
When Richardson died in 1886 the evidence of his great late works indicates that his powers were at their highest. His office, moreover, had never been busier. How Richardson might have developed further it is impossible to say. In the hands of his imitators the Richardsonian mode did not grow in any very creative way during the decade or more that it continued a favourite for churches, public buildings, and even houses built of masonry. Those who had been closest to Richardson when his style was maturing, McKim and White, rarely imitated him; even before his death, in fact, they had already set under way a reaction against the Richardsonian. Their buildings and not his provide the real American analogue to the later work of Shaw in England. Moreover, their leadership succeeded his in many professional circles from coast to coast almost before he was dead.
Leaving aside the modes inherited from the sixties, in any case transmuted almost beyond recognition by the early eighties if not yet entirely superseded, there were at the time of Richardson’s death three main currents in American architecture as against the four or five more or less Shavian modes then popular in England. One was the Richardsonian.[[285]] This was practised with some success by various Boston firms such as Peabody & Stearns and Van Brunt & Howe. It had been carried to Kansas City, Missouri, by Van Brunt, moreover, and it was being developed with some originality by other Middle Westerners such as George D. Mason (1856-1948) in Detroit, D. H. Burnham (1846-1912) and his partner J. W. Root (1850-91), H. I. Cobb (1859-1931) and his partner Frost, and several other firms in Chicago. The very able designer Harvey Ellis (1852-1904),[[286]] working for L. S. Buffington (1848?-1931) in Minneapolis, should also be mentioned. Another current was represented by the development leading towards the Chicago skyscrapers of the nineties, in Richardson’s last years more in the hands of technicians than of architects (see Chapter [14]).