Old Senate Chamber, US Capitol, Washington, DC

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The Old Senate Chamber at the U. S. Capitol, around 1902, during its time as the courtroom of the Supreme Court. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2018:

The United States Capitol was first used in 1800, the same year that the government moved to Washington D.C. from its temporary location in Philadelphia. Aside from a short interruption in the aftermath of the War of 1812, when the British burned much of Washington, the building has remained in use ever since, although it has undergone significant changes and expansions since then.

In its original form, the Capitol consisted of two wings, connected by a central rotunda that was topped by a low wooden dome. The south wing was occupied by the House of Representatives, which met in the chamber that is now known as Statuary Hall. Here on the north side of the building was the Senate wing, which had a chamber that was somewhat smaller than the House’s, given the smaller number of senators.

As with the House chamber, this Senate chamber was rebuilt after the War of 1812, and the work was completed in 1819. It was designed by architect Benjamin Henry Latrobe, and it is semicircular in shape, reflecting the appearance of an ancient amphitheater. Other classically-inspired features include the marble Ionic columns, which are similar to the Corinthian ones found in the House chamber. The room was built with two visitor galleries, with one along the curved wall behind the senators, and the other above the front of the room, as shown in this scene.

This chamber was the home of the Senate for the next 40 years, from 1819 to 1859. It was the scene of many important events in the years leading up to the Civil War, and for much of this time the Senate was dominated by the Great Triumvirate, consisting of John C. Calhoun of South Carolina, Henry Clay of Kentucky, and Daniel Webster of Massachusetts. Representing the three major regions of the country at the time, these men were three of the most powerful American politicians of the Antebellum period, and they were involved in many debates in this room.

However, perhaps the single most noteworthy incident in this room occurred on May 22, 1856, when abolitionist Senator Charles Sumner of Massachusetts was nearly caned to death at his desk by South Carolina Representative Preston Brooks. The attack was prompted by a speech that Sumner had given here two days before, in which he harshly criticized slavery in general and South Carolina Senator Andrew Butler in particular. Brooks, who was Butler’s cousin, then waited until Sumner was nearly alone here in the chamber, and began bludgeoning him with his cane while pinned Sumner under his desk.

The attack rendered Sumner unconscious, but Brooks continued to beat him until several other congressmen intervened. By this point, he had suffered serious trauma to his head and spinal cord, and it took three years before he had recovered enough to resume his duties in the Senate. In the meantime, the attack helped to further polarize the already divided nation, with southerners praising Brooks while northerners condemned his actions as an attack on free speech itself. Within less than five years, South Carolina would become the first state to secede from the Union, and it would begin the Civil War with its bombardment of Fort Sumter.

Even as the nation was dividing, though, the Capitol itself was growing. Westward expansion had led to the admission of many new states over the years, and the original congressional chambers were becoming crowded. This was particularly evident here in the Senate chamber, with the number of senators increasing by nearly 50 percent between 1819 and 1858, from 44 to 64. As a result, by the early 1850s work had begun on a massive expansion of the Capitol, creating two new, much larger wings beyond the original ones. The new House chamber was completed in 1857, followed by the new Senate chamber in 1859.

Both of these new chambers are still used today, and the old ones have since been repurposed. The former House chamber became the National Statuary Hall, and starting in 1860 the Senate chamber was occupied by the U. S. Supreme Court, which had previously met in the room directly underneath it. It would go on to be used as the courtroom of the Supreme Court for the next 75 years, before its current building opened across the street from the Capitol in 1935.

During this time, the Supreme Court heard a number of important cases here, perhaps the most notable of which was the 1896 Plessy v. Ferguson decision, which ruled that segregation was legal under the “separate but equal” doctrine. This was followed by the Lochner era of the court’s history, from 1897 to 1937, when the court took a politically conservative approach to economic regulations. Using the due process clauses of the Fifth and Fourteenth Amendments, the court struck down many state and federal laws, including those that limited weekly working hours, prohibited child labor, and established minimum wages.

Many prominent Supreme Court justices served on the bench here in this room. When the court first moved here in 1860, the chief justice was Roger B. Taney, who had served in that capacity since 1836. He remained on the court until his death in 1864, making him the second-longest tenured chief justice in history, but he is probably best known as the author of the 1857 Dred Scott decision. Other notable justices who served here included John Marshall Harlan, the sole dissenting vote in the Plessy case; Oliver Wendell Holmes Jr., who coined the phrase “shouting fire in a theatre” in a 1919 court opinion; Charles Evans Hughes, the chief justice who frequently clashed with Franklin D. Roosevelt over the president’s New Deal policies; and former President William Howard Taft, who served as chief justice from 1921 to 1930.

It was during Taft’s time as chief justice that he began lobbying for a separate building for the Supreme Court. This would not only relieve the overcrowding here in its Capitol quarters, but it would also reflect the court’s role as a separate, independent branch of the federal government. After Taft’s retirement and death in 1930, his successor Hughes continued these efforts, and two years later construction began on the present-day Supreme Court building. The site was directly across First Street NE from the Capitol, on the spot where the Old Capitol Prison had previously stood. The building was completed in 1935, and the court subsequently vacated this space here in the old Senate chamber.

The first photo was taken around 1902, and it shows the room’s appearance when it was used by the Supreme Court. At the time, the layout of the room bore little resemblance to its time as the Senate chamber. The senators had taken their desks with them when they moved in 1859, and the vice president’s dais at the front of the room was replaced by a long bench for the justices, as shown in the first photo. Probably the only object left from the Senate in that photo is the gilded wood eagle, located in the center above the chief justice’s chair. It was installed here as early as 1838, and it originally sat atop a wood shield. After the Supreme Court moved into here, the shield was placed above the door on the outside of the chamber, although the eagle remained at its perch the front.

After the Supreme Court left in 1935, this room was used intermittently for meetings, committee hearings, and even by the Senate itself on several different occasions during the mid-20th century, while its current chamber was undergoing renovations. Then, in 1976 the room underwent a major restoration in order to return it to its Senate-era appearance. This included the installation of 64 replica mahogany desks, which are arranged in four semicircular rows, reflecting the arrangement of the room in 1859.

Several original furnishings were returned to the room, including the vice president’s desk at the front, although the table in front of it is a reproduction. The eagle and shield were also reunited as part of this restoration, and they once again hang at the front of the room. Another original object here is the portrait of George Washington, visible directly above the eagle in the present-day photo. It was painted by Rembrandt Peale in 1823, and the Senate purchased it in 1832 and hung it here above the gallery. The painting was removed when the Senate left in 1859, but it was returned here in 1976.

Today, the room remains in its restored appearance, and it is periodically used by the Senate for special events, such as mock swearing-in ceremonies. Photography is not allowed in the Senate chamber, where the senators typically take their oaths of office, so the mock ceremonies here allow the press to take photographs of the occasion. Aside from these types of events, the room is also open for some public tours, although visitor access is limited to just the central aisle, as shown in the present-day photo.

The Apotheosis of Washington, US Capitol, Washington, DC

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The Apotheosis of Washington, seen looking up from the center of the U. S. Capitol rotunda, around 1904. Image courtesy of the Library of Congress, Detroit Publishing Company Collection.

The scene in 2018:

The 288-foot dome on the U. S. Capitol is one of the iconic symbols of both Washington, DC and the federal government. As discussed in an earlier post, though, this was not the original dome on the building. The first was completed in 1826, and it was made of wood that was covered in copper. However, as the Capitol was expanded in the mid-19th century, this low dome became disproportionately small compared to the rest of the building, and a new one was constructed starting in 1855. It took nearly a decade to finish, though, and the incomplete dome featured prominently in Civil War-era photographs of the Capitol, inadvertently serving as a metaphor for the unfinished work of uniting the country.

The structure of the dome was ultimately completed in 1863. It is made of cast iron, and it consists of both an interior and exterior dome. At the top of the lower interior dome is a 65-foot-wide oculus, which is shown here in this scene. Above the oculus, and directly beneath the exterior dome, is a nearly hemispherical canopy where, starting in 1865, artist Constantino Brumidi painted The Apotheosis of Washington, a 4,664-square-foot fresco showing George Washington ascending into heaven. It was painted over the course of 11 months, and it was completed in 1866, marking the formal end of the Capitol’s reconstruction.

The fresco features George Washington seated between the goddess Victoria on his left, and the goddess Liberty on his right. Above these figures, a group of 13 maidens form a circle, representing the 13 original colonies. Directly above Washington, several of them hold a banner that reads “E Pluribus Unum.” Around the outer part of the fresco is a second circle, with figures arranged into six scenes, each of which represents a particular attribute of the country. Starting at the scene beneath Washington and moving clockwise, they are: War, Science, Marine, Commerce, Mechanics, and Agriculture.

It is difficult to see from this angle, but there is actually a balcony with a railing that encircles the oculus, below the fresco. The railing is 152 feet above the floor of the rotunda, and the center of the fresco is another 28 feet further up. There are stairs that reach up to this balcony, although access is extremely limited. From here, another set of stairs climbs above the fresco, up to the top of the exterior dome to the base of the Statue of Freedom.

Today, more than 150 years after the dome was completed, The Apotheosis of Washington continues to adorn the top of the rotunda. The fresco underwent significant cleaning and restoration in 1987-1988, in order to remove years of accumulated grime, and more recently the dome itself was the subject of a major restoration from 2014 to 2016. The project involved repainting the dome, along with repairing structural and water damage, and it was completed about two years before the second photo was taken. As a result, this scene now looks essentially the same as it did when the first photo was taken more than a century ago.

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

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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

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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

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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

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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.