Great Hall, Library of Congress, Washington, DC (2)

The Great Hall at the Thomas Jefferson Building of the Library of Congress, around 1897. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2018:

The Great Hall at the Library of Congress was previously featured in an earlier blog post, although these photos here show a different angle, facing east toward the entrance to the Main Reading Room. As with the rest of the building, the Great Hall features ornate Beaux-Arts architecture, and it is decorated with symbolic carvings and paintings.

Starting at the bottom of this scene are three arches, which lead to the Main Reading Room. The central arch was designed by sculptor Olin L. Warner, and it features two male figures: one young, representing the search for knowledge, and the other old, representing wisdom and reflection. Above these figures is a tablet inscribed with the names of the people involved in the construction of this building, and the tablet is flanked by a pair of eagles.

On the second floor, the ceiling is supported by pairs of Corinthian columns, connected by more arches. Above each pair of columns in the foreground is a small tablet with the name of a prominent author. From left to right in this scene, they are Cervantes, Hugo, Scott, and Cooper. Further in the distance is another row of columns, and above these are painted figures of women, personifying the different genres of literature. In this scene, from left to right, they are Lyrica, Tragedy, Comedy, and History, and they were all painted by artist George Randolph Barse Jr. Beyond these, at the top of the stairs in the center of the scene, is a mosaic of Minerva, representing learning and wisdom. At 15.5 feet in height, the mosaic is more than double life size, and it was the work of artist Elihu Vedder.

The first photo was taken around 1897, the same year that this building opened. More than 120 years later, hardly anything has changed in this scene, and the Library of Congress remains one of the capital’s great architectural masterpieces, in addition to its role as one of the world’s largest libraries. Most of its collections are only accessible through the Main Reading Room, which requires a Reader Identification Card to enter. However, some of its most important items are on display here in the public parts of the building, including its copy of the Gutenberg Bible, which the library acquired in 1930. It is one of only five complete Gutenberg Bibles in the United States, and one of only 21 worldwide, and it is currently on display here in the Great Hall, just beyond the arch in the lower right corner of the present-day photo.

Main Reading Room, Library of Congress, Washington, DC

The Main Reading Room at the Thomas Jefferson Building of the Library of Congress, around 1904. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2018:

As discussed in an earlier post on the Great Hall of the Thomas Jefferson Building, the Library of Congress is one of the largest libraries in the world, with over 167 million items located in four different buildings in and around Washington, D.C. The original building, which is now named the Thomas Jefferson Building, is here on Capitol Hill, directly opposite the Capitol and adjacent to the Supreme Court Building. The building was completed in 1897, and today it stands as both an important research library and also a significant architectural landmark, with a highly ornate Beaux-Arts design on both the interior and exterior.

The centerpiece of the building is the Main Reading Room, shown here in these two photos. The room is octagonal, with desks arranged in concentric circles and the circulation desk in the center of the room. It is 125 feet in height from the floor to the top of the dome, and the room is surrounded by eight large columns that support the arches beneath the dome.

Above each of these columns is a 10 1/2-foot-tall plaster statue, with each representing a different branch of knowledge. These eight allegorical female figures are Art, Commerce, History, Law, Philosophy, Poetry, Religion, and Science. Just below the tops of the columns is a balustrade that encircles the room, featuring sixteen bronze statues of men who were recognized for their accomplishments in one of these eight fields. They are arranged so that the statues on each side of every column correspond to the representative figure atop the column.

In this particular view, the two allegorical statues are Philosophy on the left, created by sculptor Bela Lyon Pratt; and Art on the right, by Francois M. L. Tonetti-Dozzi. The bronze statues on either side of Philosophy are Plato on the left and Bacon on the right, both by John J. Boyle. On the left side of Art is Michelangelo by Paul Wayland Bartlett, and on the right is Beethoven by Theodore Baur.

The first photo was taken around 1904, less than a decade after this building opened. Since then, the library has significantly expanded, with three additional buildings to house its growing collections, but the Thomas Jefferson Building has remained essentially the same. There have been hardly any changes here in the Main Reading Room in more than a century, and the room remains one of the most impressive interior spaces in Washington.

Today, the Main Reading Room is open only to those who have a Reader Identification Card, which are available for free to researchers over the age of 16. These researchers can only use the materials here in the reading room, though, as only high-ranking government officials are permitted to check out books. Other parts of the building, including the Great Hall, are open to the public, and visitors can also view the Main Reading Room from the gallery where these two photos were taken.

Philadelphia Bourse, Philadelphia, Pennsylvania

The Black Bear Tavern on South Fifth Street, seen looking south from near Market Street, in February 1859. Image courtesy of the Library Company of Philadelphia, Frederick De Bourg Richards Collection.

The scene around 1904. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2019:

The first photo was taken in February 1859, showing the scene looking south on South 5th Street from near Market Street. In the foreground on the left is the Black Bear Inn, a four-story hotel that was built around 1816. The inn itself had been in operation since the 18th century, and it was originally located around the corner on Market Street before moving to this building. It was still in operation when the first photo was taken, and by this point the building had several other commercial tenants as indicated by the signs, including grocer Jeremiah Starr and wine and liquor dealers Schaffer & Montgomery.

Further down the street were several other early 19th century buildings. Among these was a group of rowhouses, visible to the right of the center of the photo with three dormer windows on the roof. The one furthest to the left, at 23 South 5th Street, was at the time the home of noted portrait artist Thomas Sully. Although born in England, Sully spent most of his life in Philadelphia, and he lived in this house for many years. During his long career he painted a number of prominent individuals, and he was responsible for the Seated Liberty coin design. Many years after his death, his work made another appearance on American money when his portrait of Andrew Jackson was incorporated into the design of the $20 bill.

The Black Bear Inn was ultimately demolished soon after the first photo was taken, and it was replaced by the Eastern Market, which opened here in November 1859. This building remained in use as a marketplace throughout the next few decades, but it was ultimately demolished in the early 1890s in order to construct the Philadelphia Bourse, which is shown here in both the second and third photos.

The Bourse was established in 1891 as a commodities exchange. Its founder, George E. Bartol, modeled it after the Bourse in Hamburg, Germany, and it was located in temporary quarters for several years while this building was under construction. The work was completed in 1895 after two years of construction, at a cost of about $2.4 million, equivalent to about $75 million today. It was designed by the noted Philadelphia architectural firm of G. W. & W. D. Hewitt, and it was one of the city’s first steel-frame skyscrapers.

When the building opened on October 1, 1895, its tenants included the Board of Trade, the Trades League, the Lumbermen’s Exchange, the Grocers and Importers Exchange, and the Hardware Merchants and Manufacturers’ Association. The Bourse soon became the commercial center of the city, and by the early 20th century it was also occupied by the Commercial Exchange, the Maritime Exchange, the Paint Manufacturers’ Club, and the Drug Exchange. Other tenants during this period included the Philadelphia offices of the Government Weather Bureau and the Navy’s Hydrographic Office, along with a variety of railroad and steamship agencies and other businesses.

In 1916, on the 25th anniversary of its establishment, the Philadelphia Inquirer published an article on the Bourse, in which it praised the effect that it has had on the city’s commerce, noting:

The Philadelphia Bourse is the only institution of its kind in the United States and in some of its features probably is better known outside of Philadelphia than by the people of this city. It is an application to Philadelphia of the European Bourse idea, a building in which merchants may meet to facilitate the transaction of business and which may house various commercial and business organizations, such as the Bourse du Commerce of Paris and the Bourses of Hamburg and Vienna. . . .

From a venture supported by farsighted and progressive business men in twenty-five years the Philadelphia Bourse has developed into an institution of national reputation. It has played a leading part in the development of the port and commercial life of this city and vicinity and within recent years it had taken an influential position in the commercial matters of the entire country.

The Bourse continued to function as a commodities exchange until the 1960s. Since then, it has been used for retail and commercial office space, and it now includes a food court on the ground floor. The building underwent a major $40 million renovation from 2016-2018, and today it remains well-preserved, with few exterior changes since the second photo was taken more than a century ago.

However, the Bourse is the only surviving building from the second photo. The buildings further in the distance were demolished a few years later to make room for the Lafayette Building, which was completed in 1907 and still stands at the corner of South 5th and Chestnut Streets. The building on the far left side in the foreground is also gone, as are all of the buildings on the opposite side of South 5th Street, which were demolished in the mid-20th century to create the Independence Mall.

Christ Church, Philadelphia, Pennsylvania

Christ Church, seen from North Second Street in Philadelphia, around 1900-1915. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The church in 2019:

The city of Philadelphia was established in 1682 by William Penn, the founder of the Pennsylvania colony. Although Penn and his followers were Quakers, the colony was tolerant of other religions, and they were soon joined by settlers of other faiths, including Episcopalians, who established Christ Church in 1695. A small wooden church was built here on this site a year later, and it remained in use throughout the early 18th century.

However, in 1727, the parish began construction of a much larger church building. It took the next 17 years to build, and it was one of the grandest churches in the colonies at the time, in sharp contrast to the city’s plain, modest Quaker meeting houses. It featured Georgian-style architecture, with a design that was based on the London churches of famed architect Christopher Wren. The church itself was completed in 1744, although it took another ten years before the steeple was built. When finished, the steeple stood 196 feet in height, making it the tallest building in the American colonies at the time. It would continue to hold this record for more than 50 years, until the completion of Park Street Church in Boston in 1810.

During the 18th century, many of Philadelphia’s leading citizens were members of Christ Church. The most notable of these was Benjamin Franklin, who had even organized a lottery to help finance the completion of the steeple. Several other signers of the Declaration of Independence were also members, including Francis Hopkinson, Robert Morris, and Benjamin Rush. Even colonial governor John Penn—grandson of the Quaker William Penn—was a member. Given Philadelphia’s role as the seat of the Continental Congress, and later as the temporary national capital, a number of other founding fathers also attended services here, including George Washington and John Adams.

Throughout most of the American Revolution, the rector of Christ Church was the Reverend William White, who also served as chaplain of both the Continental Congress and later the United States Senate. After the war, Reverend White played an important role in the formal separation of the Episcopal Church from the Church of England. The first General Convention of the Episcopal Church was held here at Christ Church in 1785, and in 1787 White was ordained as the first bishop of the Diocese of Pennsylvania. He subsequently became the first presiding bishop of the Episcopal Church, serving in 1789 and from 1795 until his death in 1836. During this time, he continued to serve as rector of Christ Church, serving in that role for a total of 57 years.

By the time the first photo was taken at the turn of the 20th century, Christ Church was already more than 150 years old. Its interior had been remodeled several times by then, but the exterior remained largely unchanged in its 18th century appearance. Around this time, in 1908, the steeple was damaged in a fire caused by a lightning strike, but this was subsequently repaired.

Since then, there have been few changes to this scene, aside from the trees in the foreground, which partially hide the church in the present-day photo. The angle is a little different between the two photos, though, because the first one was evidently taken from the upper floors of a building across the street, allowing for a wider view than from street level on the narrow street. During this time, Christ Church has remained standing as both an active Episcopalian parish and as a major tourist attraction. It is one of the most important surviving works of Georgian architecture in the country, and in 1970 it was designated as a National Historic Landmark.