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Designing the Washington Monument

An early pattern past Mills. Washington Monument, Elevation of Front by Robert Mills. Washington Monument Competition. From MS 876: Washington Monument Papers, 1810-1843. MdHS, 1991-49-3.

This Independence Day weekend, Baltimore celebrates the rededication of its most recognizable landmark, the Washington Monument. The Mountain Vernon Place Conservancy is hosting the Monumental Bicentennial Celebration on Saturday, July 4^thursday, a festival to honor the reopening of the nation's kickoff memorial to George Washington. The monument has been closed to visitors since 2010, when it was deemed structurally unsound, and has been undergoing extensive restoration work to repair masonry and cosmetic issues since the fall of 2013.

A similar scene played out 200 years ago when the Washington Monument'south cornerstone was laid on July 4, 1815. Over 25,000 people attended the groundbreaking anniversary which had all of the pomp and circumstance conforming a commemoration of the Revolutionary War general and inaugural president. The local Masons turned out in full regalia. Speeches were given in accolade of Washington's legacy. The crowd sang along to renditions of "Yankee Doodle." A 39-gun salute was fired, a shot for each year of the newly independent country. The nighttime ended with a display of fireworks that illuminated the monument in vibrant color. In his account of the mean solar day, John Horace Pratt described the atmosphere: "Divine providence seemed to smile upon the occasion; the air was delightfully absurd and the firmament serene. The evening silence and tranquility that closed the joyful turbulence of the 24-hour interval, formed a striking dissimilarity, and seemed to brandish that sobriety of pleasure which the solemnity of the occasion demanded."(1)

A time capsule was also cached with the cornerstone. Several glass jars property artifacts, such as coins and newspaper clippings, were placed within the cornerstone to commemorate the events of the day. This and another capsule from the 1915 centennial commemoration were unearthed during the recent restoration procedure. The second sheathing held like items, including one of the earliest known photographs of the Declaration of Independence. The items volition exist on display at the Maryland Historical Society through Dec 31, 2015.

An example of ane of the lottery tickets sold to raise money. Washington Monument ticket, Baltimore Metropolis Life Museum Collection, MdHS.

Work on the monument began long earlier the cornerstone was laid on July 4, 1815 and continued long afterwards. A grouping of patriotic citizens petitioned the Maryland General Assembly in 1809 to build a monument to George Washington. The courthouse on Calvert Street was slated for demolition, and the neighbors feared an unattractive new edifice would be synthetic in its identify. They much preferred a statue of an American hero that would "stimulate the young to emulation, to noble and honorable actions."(2)  The legislature agreed and appointed twenty three notable Maryland men to a Board of Managers which would supervise the monumental chore of raising money to build the structure and blessing designs. John Comegys served as president until his death in 1814 and was replaced past James A. Buchanan, who held the post until 1819. Robert Gilmor, Jr. took over the position after Buchanan resigned and served until the commission dissolved.

Godefroy's triumphal arch, 1810. Baltimore Metropolis Life Museum Collection, CB5471, MdHS. (REFERENCE PHOTO)

The Board of Managers' start task was to enhance money for design and structure. The Maryland legislature immune for a lottery organisation to raise $100,000. The public could purchase tickets to fund the edifice. They would then be entered into a drawing to win diverse cash prizes. A series of 6 lotteries raised more than the desired amount for the projection, only terminal expenditures far exceeded the proposed budget.

French-born architect J. Maximilian Godefroy was initially approached to design the shrine.  Godefroy had recently designed the St. Mary's Seminary Chapel in Baltimore, which suggested his ability to create a fittingly reverent monument. He submitted five different designs, including one that held true to his French heritage. He presented a triumphal curvation, reminiscent of the Parisian 50'Arc de Triomphe, bearing armed services symbols and a statue of George Washington dressed in Greek or Roman garb. His other ideas included a fountain covered by a rotunda, a rotunda with a statute of Washington standing atop the cupola, and a square featuring architectural trophies, or symbolic statues, and a statute of the president. The cartoon of the arch appears to be the just surviving proposal.

Despite the multifariousness of ideas, the Board was apparently dissatisfied with the selection. The members decided to solicit designs from other architects. And then in 1813, a competition was advertised to find the best design that cost less than $100,000 to build. Fearing a lack of American talent, the Board's pattern committee opened the contest to European artists for consideration. The winner would receive $500 for his piece of work and supervise the construction of the monument.

Ramee's arch, 1813. Baltimore City Life Museum Drove, CB5472, MdHS.

The Board received several entries from distinguished architects from both the United states of america and Europe, though possibly not as many as expected or desired. War broke out between America and England which may accept distracted would-be applicants from inbound the contest. Godefroy resubmitted his triumphal arch rendering for further consideration. Some other French architect Joseph-Jacques Ramée entered a strikingly similar blueprint: a triumphal arch featuring a statue of the honoree. Ramée had but recently arrived in the United States but was already a sought afterward architect. He was commissioned to blueprint an estate in New York land in 1813. When the job vicious through, he offered his talents in Philadelphia and Baltimore, where he built fine homes and estates. He later returned to New York to program new buildings for Spousal relationship Higher in Schenectady, for which he is all-time known.

Rogers' submission the contest. Architectural drawings, Museum department, MdHS. (REFERENCE PHOTO)

Nicholas Rogers, a Baltimorean and amateur architect, may take likewise presented a plan. His entry was submitted anonymously just scholars believe the rendering reflects his way. Rogers was not a classically trained architect or builder but an avid dilettante. His chief piece of work was his own Baltimore estate, Druid Hill. His vision paid tribute to both Washington'due south distinguished career and his Masonic association. The alpine, thin obelisk monument prominently featured emblems such as the sunday, moon, and Principal Mason, also as numerical symbols incorporated in the design that would exist apparent to the indoctrinated. Rogers was perhaps inspired to participate because of his own service in the American Revolution and personal acquaintance with Washington.

The drawing Latrobe submitted for the Richmond Monumental Church blueprint contest. Architectural drawings, Gallery Department, MdHS. (REFERENCE Photo)

Benjamin Henry Latrobe, oft referred to every bit the begetter of American compages, may have decided to participate in the competition every bit well. In 1810, the British builder ensured his friend Godefroy that he would not enter a design out of respect for his superior skill. However, an unsigned pyramid concept was received which lath member, Robert Gilmor, Jr., believed to be that of Latrobe. Past 1813, he had fallen on difficult times and needed the prize coin. Some scholars have attributed Rogers' obelisk to Latrobe, merely this design seems to devious too far from his aesthetics. Latrobe seemed to be an first-class candidate for the job. He designed the Baltimore Basilica, which began construction in 1806, and he served every bit Thomas Jefferson's Builder of the Capitol. His entry may take been hastily considered, because the design he presented did non fit the parameters of the competition. His pyramid was much as well big for the allotted infinite and appears to be a redesign of his submission for the Richmond Awe-inspiring Church competition. He likewise submitted these plans for the Washington, D. C. monument to Washington.

South Carolinian architect Robert Mills won the competition in the end. The judges decided his columnar monument all-time captured Washington's legacy. They were too quite pleased that a born and raised American had the talent to design such an important shrine. Mills studied his craft exclusively in the U.s.a. unlike almost all other architects who took a European tour. His education built upon the traditional class of study undertaken by "gentlemen-architects," which primarily relied upon theoretical knowledge, and added such applied cognition equally technology and fire-proofing methods. His other contemporaries were builders who styled themselves every bit architects without the design and style education of the gentlemen-architects. Thomas Jefferson, a gentleman-builder himself, took Mills under his fly and encouraged his American tour. He also studied design under Latrobe, just the teacher'southward loss of several competitions to his onetime student acquired animosity between the architects.

Mills' pattern for the Washington Monument was the almost elaborate. His initial submission was accompanied by a long essay written to the lath explaining the aims of his projection, which may take been more than influential than the designs themselves. In his essay, Mills emphasized his Americanness. He argued that, "For the Honour of our country, my sincere wish is that it may not be said; to foreign genius and to foreign hands we are indebted for a Monument to perpetuate the glory of our dearest chief."(3)

Sketches of dissimilar cavalcade types from Mills' notebook from his original submission. Mills, Robert, "Various Designs," 1813, Vertical File, MdHS.

He provided six different design choices. His conception was vastly dissimilar from the monument equally it stands today. It was much more symbolic in its utilize of trophies and statues, while at the same fourth dimension, the monument was a very literal interpretation of Washington'southward life. Mills envisioned an octagonal construction marked by text and graphical panels detailing the events of the American Revolution and Washington's presidency. He knew his design would surpass the $100,000 budget, but he felt no expense should be spared for such as important relic. He put forth in his essay, "…what cede of wealth, what human effort in skill & labor ought republican America to consider as well bully in rearing a monument to her Washington?"(4) On January 12, 1814, he presented his final entry. The new rendering carried like details merely took on the appearance of a pagoda rather than a Doric column. The pagoda would exist topped with a statue of Washington riding in the Chariot of Victory.

Mills' victory did not come without controversy. When the neighbors of the now-demolished courtroom business firm saw the design, they became worried that the tall belfry would topple onto their houses; then the monument was moved. John Eager Howard, former governor and Revolutionary State of war veteran, offered to rent out a section of his farmland for forty dollars per year, land that would later become the Mountain Vernon neighborhood. At the time, his property, known as Howard's Woods, stood relatively far from the centre of the metropolis, merely was on a colina high above the harbor. From this new site, Washington could watch over the new city from higher up. The courthouse square would eventually get the location of the Godefroy designed Battle Monument, a tribute to those who fought in the Battle of Baltimore against the British.

An interior view of the proposed monument. Washington Monument Papers, MS 876, MdHS.

Mills' peers were as well unimpressed with his proposed pattern and ruthlessly mocked his concept. Godefroy is said to have referred to the pagoda as that of "Bob the Small." Even his former teacher had few kind words. Latrobe remarked to Godefroy in an 1814 letter that, "Mills is a wretched designer. He came to me too late to acquire principles of taste. He is a copyist, and is fit for nothing else." Latrobe, subsequently in the letter, acknowledged some of Mills' talent, mainly his power to appeal to clients, which would be "the ruin of you and me, and therefore we shall go to the wall, while he will strut in the street."(5) Mills' piece of work had been called over Latrobe's for Richmond'southward Awe-inspiring Church, and later Mills would take the honour of designing the Capitol's Washington Monument over his mentor.

Mills was not immune to the criticisms. According to an commodity past Rembrandt Peale, upon the eve of the cornerstone laying ceremony, Mills still did not take a final draft of the monument'south blueprint. He had whittled his choices to iii designs and decided to ask his friend, Peale, a renowned portraitist, to pick the best. Perchance he doubted his own abilities. Peale's artistic sensibilities led him to cull the simplest of the three, which featured a tall column crowned with a statue of Washington that rose from atop an ornamented base. He shared the architect community's distaste for the elaborate pagoda with external stairs that snaked effectually the column to the top of the monument. Peale enlisted theater scene painter Henry Warren to paint a rendering of the building for the Independence 24-hour interval ceremony. Peale's interest may have been conflated by the creative person himself, but certainly suggests that Mills had at to the lowest degree partly reworked his pattern in accordance with public opinion.

Structure of the cavalcade was non completed until 1825. The project was delayed past irregular funding. Even though Mills had profoundly simplified the design, the cost to build profoundly surpassed the original budget. In total, the monument would cost over $200,000 to cock. The lotteries enacted to fund the venture could not raise reliable income, and somewhen the laws on lotteries changed. The State took over the fundraising, and the necessary amount was raised past a combination of public monies, subscriptions, and lottery funds.

Plans for the trophies that would exist placed on each corner of the monument's base. Washington Monument Papers, MS 876, MdHS.

In 1826, the Board of Managers held some other competition to notice a sculptor to carve the statue of Washington, which would grace the top of the column. Italian sculptor Enrico Causici won the honour. He had sculpted several pieces for government buildings in Washington, D. C., and his bid of $nine,000 appears to take been the everyman. Causici chose to depict Washington from a painting by John Trumbull which captured his resignation as Commander-in-Chief of the Continental Ground forces at the Maryland State House. His figure was shaped from local marble, stood 14-feet alpine, and weighed over twenty tons. Hoisting the statue to the summit of the monument proved a significant engineering challenge, but a friend of Mills and sea captain, James D. Woodside, was able to devise of organisation of rigging, and the last piece of the statue was put in place in Nov 1829.

Even after nearly fifteen years of piece of work, the monument was not notwithstanding complete. Mills desperately wanted to add g architectural trophies to the corners of the base, but limited funds prevented this. Every bit tardily as 1842, the Lath of Managers unsuccessfully petitioned the state legislature for the additional coin. The inscription to Washington on the monument was also hotly debated. Board president Gilmor frequently corresponded with former President John Quincy Adams regarding the proper wording, which would adorn the walls in bronze letters. Mills connected to add details over the years, such as the iron fencing around the base.

During this time, some other much simpler monument to Washington was built in Maryland. Citizens of the Washington Canton town of Boonsboro banded together on Independence Twenty-four hours 1827 to begin construction on a dry-laid stone belfry near the summit of Due south Mount. The 30-foot monument was finished in September of that year and bears the honor of being the first completed monument to Washington in the country.

Baltimore may have not gotten the lavish monument Mills had originally conceived, only gained a timeless and iconic symbol. The simpler column blueprint was in the end a more fitting tribute to Washington, a man who eschewed ostentation and boastfulness. (Lara Westwood)

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Sources and Further Reading:

(1) Pratt, John Horace. An Authentic Account of All the Proceedings on the Fourth of July, 1815, with Regard to Laying the Corner Stone of the Washington Monument, Now Erecting in the Metropolis of Baltimore Accompanied past an Engraving of the Monument … and a Biographical Sketch of. Baltimore: John Horace Pratt, 1815.

(2) Miller, J. Jefferson. "The Designs for the Washington Monument in Baltimore." Journal of the Society of Architectural Historians XXIII, no. 1 (1964): nineteen-28.

(3) Hoyt, Jr., William D. "Robert Mills and the Washington Monument in Baltimore." Maryland Historical Magazine 32, no. ane-4 (1939).

(4) Ibid.

(5) Latrobe, Benjamin Henry, Jeffrey A. Cohen, and Charles E. Brownell. The Papers of Benjamin Henry Latrobe. Vol. 1. New Haven: Yale Univ. Printing, 1994.

Alexander, Robert L. "Nicholas Rogers, Gentleman-Architect of Baltimore." Maryland Historical Mag 78, no. two (1983): 85-105.

Alexander, Robert L. The Compages of Maximilian Godefroy. Baltimore: Johns Hopkins Academy Press, 1974.

Bryan, John Morrill. Robert Mills, Architect. Washington, D.C.: American Institute of Architects Printing, 1989.

Gallagher, H. M. Pierce. Robert Mills, Builder of the Washington Monument, 1781-1855. New York: Columbia University Press, 1935.

Mount Vernon Place Salvation.

Peale, Rembrandt. "Reminiscences. Desultory." The Crayon: v.

Rusk, William Sener. "Washington Monument." In Art in Baltimore: Monuments and Memorials …, 101-104. Baltimore: Norman, Remington, 1929.

Scharf, J. Thomas. History of Baltimore City and County. Baltimore: Regional Pub., 1971. 265-267.

Union College. "A plan, a campus, a legacy."

Washington Monument Papers, MS 876, Maryland Historical Society

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Source: https://www.mdhistory.org/designing-the-washington-monument/

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