Philadelphia Pennsylvania

City Hall, Philadelphia, Pennsylvania

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The northeast corner of Philadelphia City Hall, seen from the corner of Market and Filbert Streets, around 1905. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2019:

Throughout most of the 19th century, Philadelphia’s municipal government was located in the old city hall building, adjacent to Independence Hall at the corner of Chestnut and Fifth Streets. Built in the 1790s, when Philadelphia had a population of barely 30,000 people, this building had become too small for the rapidly-growing city by the mid-19th century. The result was a new city hall, shown here in these two photos. It would be everything that the small, plain Federal-style building was not: it would be massive and architecturally opulent. Upon completion, it also held the title of the tallest habitable building in the world, marking the only time that a building in Philadelphia would hold this distinction.

The site of the current city hall had previously been a park, known as Centre Square. This park had been a part of William Penn’s original design for the city’s street grid, and it proved to be an ideal location for city hall, at the intersection of the north-south oriented Broad Street and the east-west Market Street. The building was designed by John McArthur Jr., a Scottish-born architect who spent most of his life in Philadelphia. His design featured a Second Empire-style exterior, which was particularly popular for government buildings in the United States during the post-Civil War era. Work began in 1871, but it would ultimately take 30 years to finish, at a cost of $25 million, thanks to construction cost overruns and governmental corruption.

City Hall is laid out in the shape of a square, with seven floors surrounding a central courtyard. In the middle of each side of the building is a large, ornate pavilion that rises above and projects outward from the rest of the building, as shown on the rights side of this scene. On the ground floor of each pavilion is an open archway leading into the courtyard. Along with these pavilions, the building also features matching turrets at each of the four corners. However, by far the most distinguishing feature of City Hall is the tower here at the northern side of the building. It rises 548 above the street, and it is topped by a 37-foot statue of William Penn that was designed by sculptor Alexander Milne Calder.

Although the interior was not completed until 1901, portions of the building were in use by the late 1870s. The tower topped out in 1894, surpassing Germany’s Ulm Minster as the tallest habitable building in the world. As such, it became the first non-religious building in recorded history to hold this distinction, and it would also become the last non-commercial building to do so. Its height was eventually surpassed by the Singer Building in 1908, and since then all of the record holders have been modern skyscrapers. Because of this, Philadelphia City Hall has a unique position on the timeline of the world’s tallest buildings, representing a transition from the cathedrals of the 19th century to the skyscrapers of the 20th century.

Despite its record-setting height, the size of City Hall is somewhat deceptive when viewed in photographs. Part of this was intentional on McArthur’s part, as the arrangement of windows gives the appearance, at first glance, that there are only three floors above the ground floor. This illusion affects the apparent scale of the tower as well, and it is hard to tell from a photograph that the statue is actually 37 feet tall, rather than simply being life-sized. As a result, photographs do not fully capture just how massive this building is. However, it is quite the imposing building when seen in-person, and this would have been even more so for the people in the first photo, which was taken when City Hall was still the world’s tallest building.

Unfortunately for architect John McArthur, the many construction delays meant that he did not live to see the completion of his magnum opus; he died in 1890, at the age of 66. These delays also meant that, by the time it was completed, the design of City Hall was hopelessly out of date. By the late 19th century, tastes had shifted away from the highly ornate features of Second Empire architecture, and City Hall was seen as a relic of an earlier era. This criticism started even before the construction was finished, with the Philadelphia Inquirer declaring it to be an “architectural monstrosity” that “always will be until that bizarre French roof is ripped off and a couple of substantial stories added.”

City Hall would continue to face criticism after its completion, both for its design and also for its location in the middle of a major intersection. As early as 1916 there were calls for its demolition. The Inquirer reiterated its criticism of the design, which the newspaper believed “belongs to a thoroughly discredited era of architectural merit.” Furthermore, the building “blocks our two chief streets and hampers developments which are essential to the welfare of the people and to Philadelphia’s progress.” Consequently, the Inquirer argued, “everyone will agree that where it stands now is an obstruction and a nuisance and the only open question relates to the expediency from a practical and business-like viewpoint of its obliteration.”

This proposal ultimately gained little headway, but the building survived several more serious proposals to demolish it, including one in the 1950s. However, this plan failed in part because of the enormous expense of demolishing such a large masonry structure; the demolition costs would have been roughly equal to what it had cost to build City hall a half century earlier.

Despite the long history of criticism of City Hall, it retained the title of tallest building in Philadelphia throughout most of the 20th century, thanks to an informal gentleman’s agreement that no building should rise higher than the statue of William Penn. However, its height was ultimately surpassed by One Liberty Place in 1987, and other skyscrapers soon followed. Because of this, City Hall is now only the 12th-highest in the city.

Today, more than 120 years after its completion, City Hall remains in use by Philadelphia’s municipal government. It is the largest city hall in the country in terms of interior floor space, and it also stands as the world’s tallest freestanding masonry building in the world. Several other masonry structures are taller, including the Washington Monument, but these do not qualify as buildings and so are listed in a separate category. Over the years, the views on City Hall’s architectural design have changed, and the building is now highly-regarded as a masterpiece of Second Empire architecture. As a result, in 1976 it was designated as a National Historic Landmark, which is the highest level of federal recognition for a historic building.

Philadelphia Arcade, Philadelphia, Pennsylvania

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The Arcade Hotel on the north side of Chestnut Street, between Sixth and Seventh Streets in Philadelphia, in January 1858. Image courtesy of the Library Company of Philadelphia, Frederick De Bourg Richards Collection.

The scene in 2019:

In 1819, the Burlington Arcade opened in London, becoming one of the earliest precursors to the modern shopping mall. It soon inspired similar buildings here in the United States, including ones in New York, Providence, and here in Philadelphia. The Philadelphia Arcade, shown here in the first photo, was designed by John Haviland, an architect who was responsible for many important buildings in early 19th century Philadelphia. Work on the building began in 1826, and it was completed a year later, at a cost of $112,000.

In the architectural sense, an arcade is a series of arches, and this building featured four large arches here on the Chestnut Street façade. The Arcade extended the width of the block to Carpenter Street (modern-day Ranstead Street), and on the interior it featured three floors The first two floors each had two parallel hallways, or “avenues,” that were topped by skylights, and these avenues were lined by shops and offices on either side. On the third floor was the Philadelphia Museum, which had been established by prominent artist Charles Willson Peale. In total, the Arcade could house 80 shops and professional offices, and it also had a restaurant in the basement.

The intent was that this section of Chestnut Street would become the commercial center of the city, with the Arcade as an upscale shopping center that would attract high-end tenants and affluent customers. From the beginning, however, the Arcade struggled to fill vacant spaces in the building, and an 1829 report lists just 33 tenants here. In general, the ground floor primarily housed retail shops, selling goods such as books, boots and shoes, clothing, confectioneries, dry goods, lamps, and tobacco. The second floor also featured several stores, but it was primarily office space, with tenants such as lawyers, editors, employment services, an engraver, and a bookkeeping teacher. Overall, these businesses here in this building offered customers a variety of goods and services, but these were hardly the exclusive boutique shops that the Arcade’s founders had envisioned.

The decline of the Arcade continued over the next few decades, especially after the Philadelphia Museum moved to a new location. The building was eventually purchased by Dr. David Jayne, who converted the upper floors into the Arcade Hotel. It opened in 1853, and it provided accommodations for men only, at a rate of 50 cents per night. Guests could also eat here at the hotel, for 25 cents per meal for breakfast or supper, or 50 cents for dinner. The Arcade Hotel had nearly 200 guest rooms, and it also featured a saloon, a reading room, and a smoking room, in addition to the dining room. The saloon was located here at the front of the building, with a balcony that was likely added during the hotel renovations.

The first photo was taken a few years later, showing the Chestnut Street façade of the building. It was still in use as a hotel at this point, with storefronts on the ground floor, but it would only stand here for a few more years. In 1863, it was demolished and replaced by three new commercial buildings. These buildings, in turn, have long since been demolished, and most of this block is now One Independence Mall, a high-rise office building that has a parking garage here on the lower floors.

Fifth and Minor Streets, Philadelphia, Pennsylvania

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Looking north on Fifth Street near the corner of Minor Street in Philadelphia, in February 1859. Image courtesy of the Library Company of Philadelphia, Frederick De Bourg Richards Collection.

The scene in 2019:

The first photo shows a row of commercial buildings along the west side of Fifth Street. Of these, the most significant is Robert Smith’s Brewery in the center of the scene. This brewery underwent many name changes over its long history, but it dated back to the colonial era, when Joseph Potts opened a brewery here around 1774. Potts operated it until 1786, when he sold it to Henry Pepper. By this point Philadelphia had become a leading producer of beer, and this brewery remained in the Pepper family for many years. Robert Smith, a native of England who had learned the trade as an apprentice at the Bass Brewery, joined the firm in 1837, and eventually took over the business in the following decade.

As was the case in most early American breweries, this facility produced ale. Americans began to acquire a taste for lagers by the second half of the 19th century, thanks to an influx of German immigrants with surnames like Busch, Coors, Miller, and Pabst. Here in Philadelphia, though, Robert Smith continued to have success brewing ales. He remained here for nearly 30 years after the first photo was taken, and eventually incorporated the business as the Robert Smith India Pale Ale Brewing Company in 1887. A year later, he moved to a new, larger facility at the corner of 38th Street and Girard Avenue. Smith ran the brewery at the new location until his death in 1893.

Smith’s brewery business was ultimately acquired by the Christian Schmidt Brewing Company, the largest brewery in the city. With the exception of the Prohibition era, Schmidt continued brewing Smith’s popular Tiger Head Ale until the company closed in 1987. In the meantime, the original brewery here on Fifth Street was likely demolished soon after Robert Smith moved to the new brewery, and it was definitely gone by the mid-1950s, when this entire block was demolished to make way for the Independence Mall. As a result, there are no surviving buildings from the first photo, and even Minor Street itself is gone. This site is now the southeastern section of the Independence Mall, and it is located only a few hundred feet to the north of Independence Hall.

426-430 Chestnut Street, Philadelphia, Pennsylvania

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A group of rowhouses on the south side of Chestnut Street, near the corner of Fifth Street in Philadelphia, in May 1859. Image courtesy of the Library Company of Philadelphia, Frederick De Bourg Richards Collection.

The scene in 2019:

The scene in the first photo shows a group of rowhouses on the south side of Chestnut Street, facing west toward the corner of Fifth Street. Based on their architecture, these houses were likely built around the late 18th or early 19th centuries, and they may have originally been single-family homes, although by the time the photo was taken they all had commercial storefronts. Although located just outside of the frame on the far right side, the house at the corner of Fifth Street had once been the home and studio of artist Gilbert Stuart, and it was there in 1796 that George Washington sat for the famous Lansdowne Portrait.

The first photo was taken by Frederick De Bourg Richards, who used his camera to document the historic buildings that were, in many cases, rapidly disappearing and being replaced by modern buildings. Richards did not include any caption aside from the location of the photo, but a few of these buildings appear to have been in rough shape, particularly the one on the left at 426 Chestnut Street, which has a crumbling exterior wall. According to the signs, the ground floor of this building was occupied by L. J. Levy & Co., a dry goods merchant. Just to the right of this building, at 428 Chestnut Street, was the storefront of silversmiths Bailey & Co. This building also features a sign for the daguerreotype studio of Broadbent & Co., which was probably located on one of the upper floors.

Despite the signs advertising for these companies, both 426 and 428 Chestnut Street appear to be vacant, with boarded-up storefronts. It is entirely possible that these were both being prepared for demolition, especially given the poor condition of 426 Chestnut. Either way, all of the buildings in this scene were eventually demolished by 1885, when the Drexel Building was constructed on this site. The Drexel Building was, in turn, demolished as part of the development of the Independence National Historical Park, and today this site of Signers’ Garden. This small park honors the signers of both the Declaration of Independence and the Constitution, and it features a statue of Philadelphia native George Clymer, who signed both of these documents.

Carpenters’ Hall, Philadelphia, Pennsylvania (2)

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Carpenters’ Hall in Philadelphia, around 1900. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2019:

As explained in more detail in the previous post, Carpenters’ Hall is an important historic landmark in Philadelphia, having been the meeting place for the First Continental Congress in 1774. Over the ensuing years, it would be used for a variety of other purposes, including as a hospital during the American Revolution, as the offices of Secretary of War Henry Knox during the early 1790s, and as the temporary home of both the First Bank of the United States and the Second Bank of the United States. By the mid-19th century it had become an auction house, a comparatively undignified use that helped to inspire the restoration and preservation of the building in 1857.

By the time the first photo was taken at the turn of the 20th century, Carpenters’ Hall was more than 125 years old, but it still retained its colonial-era exterior appearance. However, by this point the building, which is situated at the end of a narrow alley in the middle of a city block, was hemmed in by much larger buildings. This would remain the case until the mid-century, when the Independence National Historical Park was created. Among the more controversial aspects of the park’s creation was the large-scale demolition of many historic 19th and early 20th century buildings, in order to create a more park-like setting that highlighted only the Revolutionary-era buildings.

Today, Carpenters’ Hall is now twice as old as it had been when the first photo was taken. However, because of the removal of so many surrounding buildings, its exterior setting now more closely resembles what it would have looked like when the delegates to the First Continental Congress arrived here in 1774. It is still owned by its original occupant, the Carpenters’ Company of the City and County of Philadelphia, and it is open to the public as one of the many preserved 18th century buildings here in Philadelphia.

Carpenters’ Hall, Philadelphia, Pennsylvania

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Carpenters’ Hall, seen looking south from Chestnut Street in Philadelphia, in May 1859. Image courtesy of the Library Company of Philadelphia, Frederick De Bourg Richards Photograph Collection.

The scene in 2019:

One of the many important Revolutionary War-era landmarks in Philadelphia is Carpenters’ Hall, shown here in these two photos. Despite its rather unusual location at the end of a narrow alley in the midst of a city block, this building played an important role as the meeting place of the First Continental Congress, which convened here in September and October 1774. This gathering was attended by many of the future Founding Fathers, and it marked the first time that the various American colonies gathered together in response to grievances against the British government.

As is suggested by its name, Carpenters’ Hall was—and still is—owned by the Carpenters’ Company of the City and County of Philadelphia, a craft guild comprised of the city’s architects and builders. The building was designed by one of its members, the prominent architect Robert Smith, and the construction work began in 1770. It was not completed until 1775, but it was finished enough to allow its use as a meeting space as early as 1773. Then, in 1774, when the delegates arrived here in Philadelphia, they selected the building as their meeting space. John Adams described it in his diary on September 5, the first day that the First Continental Congress was in session:

At Ten, The Delegates all met at the City Tavern, and walked to the Carpenters Hall, where they took a View of the Room, and of the Chamber where is an excellent Library. There is also a long Entry, where Gentlemen may walk, and a convenient Chamber opposite to the Library. The General Cry was, that this was a good Room, and the Question was put, whether We were satisfyed with this Room, and it passed in the Affirmative. A very few were for the Negative and they were chiefly from Pensylvania and New York.

The convening of the First Continental Congress was largely motivated by the Intolerable Acts that the British had passed against Massachusetts, in response to the Boston Tea Party of 1773. Although the other colonies were not directly affected by these measures, which included closing the port of Boston and dissolving the colonial legislature, the Intolerable Acts raised fears in other colonies that their liberties could similarly be revoked by Parliament. A total of 12 colonies sent delegates to the Continental Congress, with only Georgia declining to participate.

The delegates who met here at Carpenters’ Hall included many leaders who would subsequently go on to play active roles in the American Revolution. The most notable of these were George Washington of Virginia and John Adams of Massachusetts, but other prominent delegates included Samuel Adams of Massachusetts, Roger Sherman of Connecticut, John Jay of New York, and Patrick Henry. However, despite the presence of radical figures like Samuel Adams and Patrick Henry, the assembly also included many moderates who opposed separation from Britain, including Isaac Low of New York and Joseph Galloway of Pennsylvania, both of whom ultimately became loyalists during the American Revolution.

At this point, few delegates were prepared to embrace political independence from Great Britain, so the First Continental Congress ultimately took a moderate stance. The delegates approved the Declaration and Resolves, which outlined colonial grievances against Britain, and they also created the Continental Association, an agreement that involved boycotting British goods while also threatening to ban exports to Britain if the Intolerable Acts were not repealed by the following September. In addition, they agreed to reconvene on May 10, 1775, as what would become the Second Continental Congress.

The First Continental Congress adjourned on October 26, 1774. When the delegates to the Second Continental Congress arrived here in Philadelphia just over six months later, they met in the Pennsylvania State House, now known as Independence Hall, rather than the much smaller Carpenters’ Hall. Aside from a different physical location, the Second Continental Congress also faced very different circumstances, as the American Revolution had begun just three weeks earlier with the battles of Lexington and Concord. The outbreak of war made it more difficult for the moderate delegates to continue advocating reconciliation, as shown by the harsh British response to the Olive Branch petition, and it would eventually lead to Congress famously declaring independence in 1776.

In the meantime, Carpenters’ Hall continued to be used by the Carpenters’ Company, but it also served a number of other roles during and after the Revolution. The Continental Army used it as a hospital and as storage for military supplies, and the British similarly used it as a hospital during their occupation of the city. Then, in 1790, when Philadelphia temporarily became the national capital, Secretary of War Henry Knox had his offices here in this building. A year later, the Carpenters’ Company built a second building here on this site, known as New Hall. The group moved their headquarters to this building, and Knox likewise moved his offices there. However, the Carpenters’ Company continued to rent out their original building to various tenants.

From 1791 to 1793, Carpenters’ Hall was occupied by the Bank of North America, and it subsequently became the temporary home of the First Bank of the United States from 1794 until 1797, when its permanent facility was completed about 50 yards to the east of here. The building’s next tenant was the Bank of Pennsylvania, and in 1798 it became the site of a major bank heist when thieves stole over $160,000 from the vaults. However, one of the men died just a few days later from yellow fever, and the other one was later arrested after attempting to deposit some of his stolen loot here at the bank that he had robbed.

During the early 19th century, Carpenters’ Hall served as the Philadelphia Custom House, and then from 1816 to 1821 it was the home of the Second Bank of the United States, which was located here during the construction of its own building on Chestnut Street. Several other organizations used the building in the 1820s, including the Philadelphia College of Pharmacy, the Musical Fund Society, and the Franklin Institute. Then, starting in 1828 it was rented by auctioneer C. J. Wolbert & Co., who used the building as his auction hall.

Carpenters’ Hall would remain in use as an auction house for nearly 30 years, but by the mid-19th century some began to lament the fact that such a historic building was being used for such base commercial purposes. In 1848, historian Benson J. Lossing visited the building, which at the time bore a banner on the façade advertising for Wolbert’s company. Lossing subsequently wrote about how the “very Temple of Freedom” was covered in the “placards of grovelling Mammon.” Continuing the biblical imagery, he challenged the people of Philadelphia, asking “[i]s there not patriotism strong enough in Philadelphia to enter the temple, and ‘cast out all them that buy and sell, and overthrow the tables of the money-changers?’”

The Carpenters’ Company ultimately chose to heed his words, and drove out the money-changers, in the metaphorical sense. In 1856, they voted to not renew Wolbert’s lease, and when he left the organization began restoring the building to its original appearance. It was rededicated on September 5, 1857, on the 83rd anniversary of the opening of the First Continental Congress. Reporting on the event the next day, the Sunday Dispatch praised the restoration of the building, writing about how the Carpenters’ Company,

determined that henceforth the old Hall should go into a respectable and dignified retirement, and that for the food it had already done, it should no more be the scene of traffic. The society have fitted the ancient Hall up in handsome style, and, while doing so, they have adhered as closely as practicable to the original plan of the building, and Carpenters’ Hall is now nearly in the same condition it was in when the historical events occurred which gave it importance. 

The first story, in which the first Continental Congress assembled, has been grained in imitation of oak, and such articles of new furniture as it was necessary to procure, have been made in a style to comport with the ancient relics preserved in the building, and which tradition says were used there by Congress in 1774. . . .

The Carpenters’ Society intend keeping the Hall sacred for the future, and citizens and strangers will be afforded an opportunity of visiting and inspecting this relic of the most interesting period of the city’s history.

The upper part of the building has been handsomely fitted up with a library and meeting room for the members of the society, and with rooms for the residence of the janitor and his family. In the library are several of the original fire buckets which belonged to the hall before the introduction of a hose.

Outside the Hall, in front of the building, a neat grass plot and flower beds have been laid out, and handsome lamps occupy the sides of the main entrance. The inside of the building has also been supplied with elegant and appropriate chandeliers, brackets, &c., which were designed purposely by their manufacturers.

The first photo was taken less than two years later by Frederick De Bourg Richards, as part of an effort to document Philadelphia’s historic buildings. It shows the north side of the building, looking down the narrow alley connecting it to Chestnut Street. The buildings in the foreground hide much of Carpenters’ Hall, and the one on the right also blocks the view of New Hall, which stood just to the northwest of Carpenters’ Hall. These modern buildings provide an interesting contrast to the old colonial-era landmark, in particular the advertisements for California-bound steamships, which indicate just how much the nation had changed since the First Continental Congress convened here less than a century earlier.

Today, more than 160 years after the first photo was taken, much of this scene has changed. At some point New Hall was demolished, as were the commercial buildings in the foreground. Some of these may have been demolished as part of the creation of the Independence National Historical Park, which involved the removal of most 19th century buildings across several city blocks. However, Carpenters’ Hall itself is still standing in the distant center of this scene. It is still owned by the Carpenters’ Company, and it is open to the public with free admission. In the present-day scene, it is joined here by a 1960s reconstruction of New Hall on the right, which now serves as the New Hall Military Museum, and on the left by the Pemberton House, a 1960s reconstruction of a colonial-era mansion.