"God is in the [Downtown] Details" - Architectural Critic Will Morgan

William Morgan, GoLocalProv Architectural Critic

"God is in the [Downtown] Details" - Architectural Critic Will Morgan

Conrad Building. Brick and brownstone, with elaborate flowers and Italian Renaissance niches and pilasters.
Like a rich dessert, Providence architecture offers up an extra course of wonderful details. One can discover a whole other dimension to our city, if only we pause and look up. Given our current fixation–nay, epidemic of non-engagement–with keeping our eyes glued to our phones when we walk, not to mention our inability to stop and smell the roses, we miss a lot.

Here is a random sampling of the visual delight that is all around us. In finding these architectural details, I simply wandered a few blocks in Downtown Providence (and scouted one building out Smith Street). Such unscientific research revealed some treasures, mostly unknown to me, and it suggests an endless scavenger hunt for the visually inclined.

The group's oldest bearer of such serendipity is the Conrad Building, a fun and quirky pile of Victoriana on Westminster Street. If one were to describe this 1885 commercial block by the venerable local firm of Stone, Carpenter & Willson, they'd start with the little tower on the corner that looks like a minaret, or one of those window bays from which cloistered Muslim women watched street life in Mughul India.

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Way up is this roundel, with the bas-relief of a swashbuckling man. Perhaps he is a famous painter, such as Peter Paul Rubens. Or a musician. (Wagner would be appropriate for the period.) More prosaic, he may be the Conrad Building's patron, Jerothmul Barnaby.

Elaborate stone carving also appears on the grand old Lying-In Hospital in Elmhurst. Because it is a little hard to see from such a great distance, this could be cast concrete, in which case it might not be unique to this obstetrical hospital. Either way, it offers an aura of Oxford and Cambridge, with its angels, seraphim, and Tudor roses.

Angels and fecund fruits along the Lying-In Hospital parapet.

 

A Madonna like figure and four seraphs on the main tower at the Lying-In Hospital.

 

 

The 1920s was a boom time for architectural embellishment (the Lying-in Hospital was built in 1922-26). The most obvious example of the proliferation of adornment is the former Loew's Theatre (now Providence Performing Arts Center) on Weybosset Street, whose front is covered in terra cotta. Typical of many of the movie chains of the late 1920s, the exterior of this theatre offers riot of clay decoration in a style called Hispano-Moresque.

Fantastic window of Loew's Theatre on the Pine Street façade.

 

The long, less public, side of the theatre is a brick wall with various medallions plastered on in strategic places. But what one does not expect to find is this eye-level bronze plaque, which curiously declares that a five-feet-wide strip of land is private property. Whose? Why? What odd tale of family squabble or legal wrangling led to the casting of this sign, but not to the welcoming passage of the public's feet.

Another surprisingly rich source of unusual building bling is the Lutheran Church

Another surprisingly rich source of unusual building bling is the Lutheran Church on Hayes Street, completed in 1928. It seems almost as if the builders of Loew's and Gloria Dei church knew the coming Great Depression would mean an end to such craftsmanship and constructional extravagance. In a city built by immigrants from Ireland, Italy, Portugal, Cape Verde, and everywhere else, who knew about a Scandinavian presence? Swedish architect Martin Hedmark gave this bit of Baltic Gothic some rather bizarre and sensual details.

A grille to hide a vent at Gloria Dei is a trio of Romanesque columns that have been transformed into wriggly, surrealistic forms.

A grille to hide a vent at Gloria Dei is a trio of Romanesque columns that have been transformed into wriggly, surrealistic forms.

One expects angels on a church, although that usually Roman Catholic houses of worship in Mediterranean-inspired design rather than on a severe Northern Reformation church. But the winged heralds of Heaven facing the backside of Providence Place Mall may be among the strangest, most mysterious winged messengers this side of the Middle Ages.

The Depression limited the funding that had enlivened so many downtown Providence facades. Certainly, the Depression-era Art Deco style relied more upon architectural details, such as broad surfaces and incised structural elements rather than on sculptural adornment. But there was still a desire for color, as can be seen on a number of 1930s buildings, such as 337 Westminster Street (now the state archives office).

Terra cotta covers much of the building, but it is flatter, less curvaceous than that employed in the decade before.

Fired clay remained the choice for corporate medallions attached to buildings, but the unbridled riot of exuberance was gone. This bottle identifier was used on Coca-Cola bottling plants across the country, just as the buildings' designs came out of corporate headquarters in Atlanta. The plant on Pleasant Valley Parkway was built in 1939, just before the conflagration that would deal another blow to hand-built, hand-decorated, and individually crafted architectural ornament.

 

 

William Morgan has written about architecture and design for a variety of publications, including the New York Times, the Christian Science Monitor, and the Boston Globe.

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