LATROBE, Benjamin Henry

This watercolour by the architect shows the exterior of Baltimore Basilica. This cathedral was the first large-scale Catholic church in the USA. It was raised to the rank of a Minor Basilica in 1937 by Pope Pius XI.

For the church Latrobe prepared two designs in both Gothic and “Roman” styles, preference finally being given to the latter in 1804. Sobriety and logical coherence are the main characteristics of the building, which in spite of its simplicity, radiates a sense of elevated dignity. This is largely due to its Ionic portico and the shallow stone dome, which is reminiscent of the Pantheon and rises above the crossing.

In spite of Latrobe’s new additive approach to the design, the model for the church is clearly Jacques-Germain Soufflot’s Sainte-Genevi�ve in Paris.

The commission to build the White House was awarded to the Irishman James Hoban. His project borrowed heavily from a design for a country house by the English architect James Gibbs. The office of the president of the United States was therefore built in a very traditional, even old-fashioned manner - and, of course, in the style of the country’s former colonial masters.

The White House owes its characteristic portico to Benjamin Latrobe. The photo shows the south side of the building.

Competition for building the office of the president of the United States had been held in 1792. An effort had been made to ensure contributions were received from American architects. Their proposals failed to convince the judges, however, and the commission was eventually awarded to the Irishman James Hoban. His project borrowed heavily from a design for a country house by the English architect James Gibbs. The office of the president of the United States was therefore built in a very traditional, even old-fashioned manner - and, of course, in the style of the country’s former colonial masters.

The White House owes its characteristic portico, shown in the photo, to Benjamin Latrobe.

In the late 18th century, architecture assumed an eminent role in the northern states of the newly independent colony, the United States of America. Architecture was to demonstrate the pride and self-confidence of a young, democratic society. Today the Capitol and White House in Washington are the best-known symbols from this epoch, buildings that are synonymous with government and state power. American Neoclassicism became the flag-bearer for republican ideology; by both absorbing and adapting classical forms, it was able to give tangible form to the pragmatism of the “New World.”

Competition for building a new seat of government in Washington was held in 1792. As a result, the design of the amateur architect was accepted. Thornton proposed a broad, domed building in the classical style. Because Thornton had no knowledge of building technology, the construction was initially supervised by the runner-up in the competition, Stephen Hallet. Hallet (c. 1760-1825) attempted to alter many of Thornton’s plans and was quickly replaced, first by George Hadfield and later by James Hoban, the architect who designed the White House.

The north wing, containing the Senate chamber, was completed first, and Congress convened there in November 1800. The following year Jefferson became the first president to be inaugurated at the Capitol, a tradition that has been observed in all subsequent inaugurations. The remainder of the building was completed by Benjamin Latrobe, whom Jefferson appointed Surveyor of Public Buildings in 1803. Latrobe followed Thornton’s conception of the exterior closely but used his own designs for the interior. Perhaps Latrobe’s best-known additions were the unique Corinthian-style columns, whose capitals depicted tobacco leaves (symbolizing the nation’s wealth) and corn cobs (symbolizing the country’s bounty).

The south wing, containing the chamber of the House of Representatives, was completed in 1807. During the War of 1812 the Capitol was looted and burned by British troops, though rain prevented the building’s complete devastation. Latrobe began reconstruction in 1815 but resigned two years later. By 1827 his successor, the distinguished Boston architect Charles Bulfinch, had joined the two wings and built the first copper-sheathed dome, again adhering to Thornton’s original design.

In the late 18th century, architecture assumed an eminent role in the northern states of the newly independent colony, the United States of America. Architecture was to demonstrate the pride and self-confidence of a young, democratic society. Today the Capitol and White House in Washington are the best-known symbols from this epoch, buildings that are synonymous with government and state power. American Neoclassicism became the flag-bearer for republican ideology; by both absorbing and adapting classical forms, it was able to give tangible form to the pragmatism of the “New World.”

Competition for building a new seat of government in Washington was held in 1792. As a result, the design of the amateur architect was accepted. Thornton proposed a broad, domed building in the classical style. Because Thornton had no knowledge of building technology, the construction was initially supervised by the runner-up in the competition, Stephen Hallet. Hallet (c. 1760-1825) attempted to alter many of Thornton’s plans and was quickly replaced, first by George Hadfield and later by James Hoban, the architect who designed the White House.

The north wing, containing the Senate chamber, was completed first, and Congress convened there in November 1800. The following year Jefferson became the first president to be inaugurated at the Capitol, a tradition that has been observed in all subsequent inaugurations. The remainder of the building was completed by Benjamin Latrobe, whom Jefferson appointed Surveyor of Public Buildings in 1803. Latrobe followed Thornton’s conception of the exterior closely but used his own designs for the interior. Perhaps Latrobe’s best-known additions were the unique Corinthian-style columns, whose capitals depicted tobacco leaves (symbolizing the nation’s wealth) and corn cobs (symbolizing the country’s bounty).

The south wing, containing the chamber of the House of Representatives, was completed in 1807. During the War of 1812 the Capitol was looted and burned by British troops, though rain prevented the building’s complete devastation. Latrobe began reconstruction in 1815 but resigned two years later. By 1827 his successor, the distinguished Boston architect Charles Bulfinch, had joined the two wings and built the first copper-sheathed dome, again adhering to Thornton’s original design.

In the late 18th century, architecture assumed an eminent role in the northern states of the newly independent colony, the United States of America. Architecture was to demonstrate the pride and self-confidence of a young, democratic society. Today the Capitol and White House in Washington are the best-known symbols from this epoch, buildings that are synonymous with government and state power. American Neoclassicism became the flag-bearer for republican ideology; by both absorbing and adapting classical forms, it was able to give tangible form to the pragmatism of the “New World.”

Competition for building a new seat of government in Washington was held in 1792. As a result, the design of the amateur architect was accepted. Thornton proposed a broad, domed building in the classical style. Because Thornton had no knowledge of building technology, the construction was initially supervised by the runner-up in the competition, Stephen Hallet. Hallet (c. 1760-1825) attempted to alter many of Thornton’s plans and was quickly replaced, first by George Hadfield and later by James Hoban, the architect who designed the White House.

The north wing, containing the Senate chamber, was completed first, and Congress convened there in November 1800. The following year Jefferson became the first president to be inaugurated at the Capitol, a tradition that has been observed in all subsequent inaugurations. The remainder of the building was completed by Benjamin Latrobe, whom Jefferson appointed Surveyor of Public Buildings in 1803. Latrobe followed Thornton’s conception of the exterior closely but used his own designs for the interior. Perhaps Latrobe’s best-known additions were the unique Corinthian-style columns, whose capitals depicted tobacco leaves (symbolizing the nation’s wealth) and corn cobs (symbolizing the country’s bounty).

The south wing, containing the chamber of the House of Representatives, was completed in 1807. During the War of 1812 the Capitol was looted and burned by British troops, though rain prevented the building’s complete devastation. Latrobe began reconstruction in 1815 but resigned two years later. By 1827 his successor, the distinguished Boston architect Charles Bulfinch, had joined the two wings and built the first copper-sheathed dome, again adhering to Thornton’s original design.

The Baltimore Basilica (full name: National Shrine of the Assumption of the Blessed Virgin Mary) was the first Roman Catholic cathedral built in the United States, and was among the first major religious buildings constructed in the nation after the adoption of the U.S. Constitution. As a co-cathedral, it is one of the seats of the Roman Catholic Archdiocese of Baltimore in Baltimore, Maryland. It was consecrated in 1821. Additionally it is a parish church (ranked minor basilica) and national shrine. It is considered the masterpiece of Benjamin Henry Latrobe, the “Father of American Architecture”.

For the church Latrobe prepared two designs in both Gothic and “Roman” styles, preference finally being given to the latter in 1804. Sobriety and logical coherence are the main characteristics of the building, which in spite of its simplicity, radiates a sense of elevated dignity. This is largely due to its Ionic portico and the shallow stone dome, which is reminiscent of the Pantheon and rises above the crossing.

In spite of Latrobe’s new additive approach to the design, the model for the church is clearly Jacques-Germain Soufflot’s Sainte-Genevi�ve in Paris.

For the church Latrobe prepared two designs in both Gothic and “Roman” styles, preference finally being given to the latter in 1804. Sobriety and logical coherence are the main characteristics of the building, which in spite of its simplicity, radiates a sense of elevated dignity. This is largely due to its Ionic portico and the shallow stone dome, which is reminiscent of the Pantheon and rises above the crossing.

The photo shows the interior of the church.

The picture shows the interior of the Baltimore Basilica (full name: Basilica of the National Shrine of the Assumption of the Blessed Virgin Mary).

This watercolour by the architect shows the Bank of Pennsylvania, built between 1789 and 1800, and unfortunately destroyed 60 years later.

This building was a quantum leap in American architecture. Its structure was laconic in its simplicity, and composed of a long rectangle whose two ends featured Greek-Ionic temple fa�ade. The interior space was vaulted with a dome after the Pantheon. The beauty of the building lay in the harmonization of its volumes and the subtle design of the fa�ades. Its central hall - the first in America to feature a stone vault - constituted a grandiose setting for the bank’s business.