The Jayne Building: Chestnut Street’s Woulda-Coulda-Shoulda

The Jayne Building, 242-244 Chestnut Street, photograph by Frederick DeBourg Richards, ca. 1859. ( Library Company of Philadelphia)

Things looked up in 1850. Eight stories up, to be precise. The future seemed bright for Dr. David Jayne, his new building and booming business on Chestnut Street. Jayne’s patent medicines in handy little bottles had been flying off the shelves ever since he figured out how to make people feel good spending money on tonics and pills. If Jayne’s vermifuge (for intestinal worms) or his sanative pills (for overall health) or his alteratives (to restore normal health) wouldn’t do the trick, there were always his expectorants and ague mixture. And even if you felt just fine, you probably could look a little better. For that, Jayne offered an array of oleaginous hair tonics and dyes.

How did he manage such a level of success? Since 1843, physician and master marketer Jayne had published and distributed free almanacs providing health advice to millions of loyal readers across the United States and around the world. Over time, more than half a billion copies of Jayne’s Medical Almanac and Guide to Health were printed and distributed. And beginning in 1851, nearly every one featured the image of his building on its cover.

The Jayne Building was no ordinary edifice. Only at street level did it seem like others along the lower blocks of Chestnut. But the higher it rose—and it soared to more than 133 feet with its two-story, tin-covered, Gothic tower—the Jayne Building stood taller than any other place of business in the city. Squinting away its Gothic motif, it even looked like a skyscraper. Since Louis Sullivan, who later designed the real thing in Chicago, briefly worked in the architectural offices of Frank Furness across street, there might even have been an influence.

Demolition of the Jayne Building, January 2, 1958. Photograph by George A. Eisenman (The Historic American Building Survey/The Library of Congress)

In 1950, on the building’s 100th birthday, Charles Peterson publicly made this claim. “In the annals of the American skyscraper there was, perhaps, nothing more daring as the design for this building…” Peterson proposed it be allowed to stand (without its tower, which had burned in a dramatic fire in 1872) as one of Chestnut Street’s monuments to American history. He had the Jayne Building documented by the Historic American Building Survey (Peterson had some pull there, having founded the program in the 1930s), and he talked about it and even distributed a two-page mimeographed handout to anyone who was game. Peterson bent Louis Mumford’s ear as he researched a series of articles about Philadelphia for The New Yorker in the Spring of 1956.

“One is tempted to agree with Mr. Peterson’s conclusion,” wrote Mumford, “that this building must have provided Sullivan with his image of the skyscraper as a ‘proud and soaring thing’ whose character would be established by stressing vertical lines, for the Jayne Building looks like a crude model of a Sullivan skyscraper of a generation later.” But “whether this unique and historic structure…should be spared, as a national monument,” Mumford added, “is one of the many difficult questions that confront the directors of that project…”

That  project, of course, was Independence National Historical Park, which favored 18th-century buildings über alles. And within months wrecking crews were busy taking Jayne down.

Over the years, city planner Edmund Bacon had monumental disagreements with Peterson. In this case he agreed completely. Bacon later called the demolition of the Jayne Building ‘‘the worst single act of architectural vandalism that I’ve ever experienced.”

For scars like that, and the regret that followed, there would be no tonics or ointments.

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How Philly Got Flat: Piling it on at the Logan Triangle

1895: Detail of Wingohocking Creek and the projected street grid from the G. W. Bromley Philadelphia Atlas. (Philadelphia GeoHistory Network)

Rolling Hills? Maybe once upon a time. But at the dawn of the 20th century, when the City of Homes meant rowhouses, as far as the eye could see, Philadelphia had to be flator as close to flat as humanly possibleif it was to have any value on the real estate market.

And so, one by one, Nature’s dips, rises and rolls were raised up or shaved down as the city grid marched north. Once flattened, Philly invited horse drawn streetcars on its newly leveled streets, which meant developers and then new residents. Mile by mile, that’s how the city boomed to more than double its population between the Civil War and 1900.

1903: Taking the Wingohocking underground. Sewer Construction at 7th and Courtland Streets. Detail. (

As mid-century became turn-of-the-century,Broad Street forged northward past Ridge Avenue to Monument Cemetery (Temple University, today). It then trundled over the bridge at Cohocksink Creek (soon to become Dauphin Street), over Gunners Run (just south of the would-be Allegheny Avenue) and past Hunting Park, where a race-course-turned-public-park sprawled to the east. Now, little more than a wide lane, Broad Street approached the largest creek so farthe Wingohocking. And as it flowed eastward to join Frankford Creek, the Wingohocking did what creeks do: it meandered a bit to the north, and then a bit to the south, crossing where Courtland Street was supposed to be, no less than four times from Broad to 6th.

What’s to be done when the dips are gullies are actually valleys surrounded by rolling hills? Philly’s flatlanders had a ready-made solution. Run the creeks through giant culverts: massive, man-made, underground masonry aqueducts large enough to allow Mother Nature to carry on unimpeded—out of sight— and possibly out of mind. And even more convenient: these hidden, creek beds could double as the city’s backup sewer system, on an as-needed basis, when the occasional flood strikes. Above, on the level, it’s business as usual.Or that was the idea.

So they channeled the Wingahocking where it meandered. And over it, and over anything that laid lower than the idea grade for Philadelphia, well, that, too, would be covered with a deep layer of fill. Ambitious? To be sure. But doable.

2000: Detail of Map Showing the Distribution of Fill in the Frankford and Germantown Quadrangles (U.S. Department of the Interior / U.S. Geological Survey) Click image for original map (7.2MB PDF).

By the 1880s, historians Scharf and Westcott had seen it happen, again and again. “There have been great changes in the face of [Philadelphia], in its levels and contour, and in the direction and beds of its water-courses… Some streams have disappeared, some have changed their direction, nearly all have been reduced in volume and depth…in the building of a great city.” Scharf and Wescott had seen a lot, but nothing like was about to happen along the Wingohocking. As water historian Adam Levine tells it: “In some watersheds, it took many years to completely obliterate the main stream and its tributaries.” West Philadelphia’s conversion from Mill Creek to sewer “took more than 25 years, and the city’s largest such project, the burying of both branches of Wingohocking Creek, took about 40 years.” Raising the 80-acre Winghocking valley up to city grid grade would require as much as 40 feet of fill.

Aside from urban esthetics and environmental ethics, this massive project had every reason to work—if only the contractors had used rock and soil for fill. But, in one of Philadelphia’s most egregious and purposeful bungles, the fill hauled in by specially-designed streetcars was ash and cinder, an estimated 500,000 cubic yards of it. In time, the consequences would be as dire as the hauling and dumping project had been efficient. “It took decades for the inadequacy of the ash to be revealed,” writes Levine. But when the fill washed away, gas lines ruptured and the neighborhood above found itself in the midst of “an epidemic…of sagging porches, cracking foundations” and worse, much worse.

The saga of Philadelphia’s Logan Triangle had begun.

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Hungry for Authenticity at Second and Walnut

John Krider’s Gun Shop, Southeast corner of Walnut and Second Streets, Photograph by John Moran, ca. 1869. ( Library of Philadelphia).

Back when big fish like Frank Sinatra, Elisabeth Taylor, Joe DiMaggio or John Wayne dined at Bookbinders, Philadelphia was still a W.C. Fields joke, rich in history and starved of self-esteem. The restaurant was more about fine spin than fine cuisine, but there weren’t many choices back then. So, again and again, from the 50s through the 80s, Bookbinders got to call the shots when it came to its many expansions, often at the expense of the very history it claimed to serve up as a side dish.

The first example: the 200-year-old Drinker-Krider building at 2nd and Walnut Streets. Soon after Bookbinders bought it, they demolished it.

Legend has it, John Drinker built this house in 1751, many years after having been born in a log cabin on the same site. (Legend also has it that Drinker witnessed William Penn’s arrival in the 1680s.) In the middle of the 19th century, a gunsmith named John Krider bought the place and operated what became a famous gun shop and taxidermy business there. Hunters and fisherman found everything there,  from Krider’s hand-crafted guns and bamboo rods to his hunting books and dog biscuits. The building at 2nd and Walnut became one of those anecdote-rich, go-to sites for artists, documentarians, and, of course, tourists.

Now, with a new owner in July 1952, this historic building itself was about to fall prey.

2nd Street South: Northeast Corner Walnut, John Drinker House Kreider’s Gun Store. Book #5, Survey of Philadelphia (1930). Photograph by Carollo R. Widdop. (

“Nowhere in the country is there a comparable collection of early buildings, wrote architect Grant Miles Simon in 1953, noting losses from “ruthless destruction…in the name of modern progress.”  These survivors, wrote Simon, “constitute an invaluable part of the documentation of American history. They were lived in by, and were familiar sights to, the many great figures of the Revolutionary and the Federal eras. Their days are few unless a tardy appreciation makes a permanent place for them in the City plan.”

When push came to shove, would Simon stand up for the lowly Drinker-Krider place? We’d like to think he saw it bordering the grand, Beaux-Arts, shrine-studded greensward he proposed eastward from Independence Hall in 1947. We’d like to think he imagined a role for near-shrines and even for non-shrines.

But the Drinker-Krider building was found to be flawed. A report by the Historic American Building Survey (HABS) found “the brick bearing walls…in poor structural condition…the south end of the party wall was extremely weak…the timber framing was badly deteriorated in spots and was in a generally weakened condition.” But instead of strengthening the walls and the framing, the building’s new owners chose to have the building condemned. They allowed HABS in for thorough documentation, then they pulled it down.

Wanting to have history both ways, Bookbinders hired Simon, who in 1956 was freshly appointed to chair the Philadelphia Historical Commission, to design a “meticulous copy” of the Drinker-Krider building, one that would allow them to expand their restaurant. On December 20, 1960, Mayor Richardson Dilworth, Mrs. Bookbinder and another official used a three-handled shovel to break ground for the new wing. With a new presence on this historic corner, across from the new Independence Historical National park, the restaurant would be able to open two new venues: the “Signers’ Dining Room” and the “Hall of Patriots Banquet Room”.

Northeast Corner of 2nd & Walnut Streets, November 29, 1961. Photograph Carollo R. Widdop. (PhillyHistory,org)

As it turned out, the reconstruction wasn’t meticulous. The new brick color lacked the hue and richness of the original; its fresh patina wasn’t anything  like what had been demolished. By comparison, the plaster cove cornice wasn’t as gutsy (HABS documented the orignal) and the shutters seemed soulless. Character and authenticity were gone. The reconstruction introduced a sad whiff of mid-20thcentury uncertainty to the heart of Philadelphia’s historic district.

The past isn’t about great shrines or grand vistas. Real historic cities grow over time, and they grow unpredictably. They can’t be intentionally made, and they certainly can’t be remade. At its fleeting best, Philadelphia is always about its many modest, authentic gems. Each has its own story, texture, character, and distinctiveness. Kind of like a great meal.

So far as authentic history was concerned, Philadelphians would go hungry at 2nd and Walnut. That banquet would have to be found elsewhere.

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John Haviland: Playing Out the Greek Option

Washington Square South with First Presbyterian Church and the Orange Street Friends Meeting in the distance, ca. 1885. Neither one survive. ( Library)

When British-trained architect John Haviland arrived in Philadelphia, some took him for a Benjamin Henry Latrobe doppelganger. But where Latrobe had been ahead of his time, introducing the architecture of ancient Greece at the turn of the century, Haviland, in 1816, was right on time.

For more than half a century, The Antiquities of Athens had been known as a library book filled with illustrations drawn from Grecian ruins by James Stuart and Nicholas Revett. First Latrobe, then Haviland and eventually many others saw value in applying these design ideas, and helped them migrate from printed page to city street. Ancient Greece had been the original Democracy. So why not whet the American appetite for archeological accuracy in everything Grecian, from clothing to buildings. But there was more: in the 1820s, the Greek struggle for independence played out in the Mediterranean, yet another chapter in the millennia-long struggle between Christians and Muslims. And the United States had a stake in the outcome. When Greek independence became a reality in 1832, Americans felt more justified than ever in choosing, and celebrating, the Greek option.

At first, Philadelphians engaged in some serious tiptoeing toward what would eventually become a full-fledged Greek Revival. In 1818, the directors of the Second Bank opened a design competition calling for “a chaste specimen of Greek architecture.” Haviland had a design for just such a building—and had exhibited it at the Pennsylvania Academy of the Fine Arts the year before—but that’s long lost. And not much else of that bank competition survives. As Matthew Baigell, Haviland’s biographer tells us, “some ten tons of documents pertaining to the Bank…were rendered into pulp” in the 1840s. What we do know is that William Strickland won the competition with his close interpretation of the Parthenon in Pennsylvania marble drawn straight from The Antiquities of Athens.

First Presbyterian Church, 7th and South Washington Square, ca. 1930. (

Haviland would have to bide his time with minor projects and his own three-volume book, The Builder’s Assistant (1818-1821), the first American pattern book offering up detailed Greek and Roman orders. When Haviland finally landed his first big commission, the First Presbyterian Church on Washington Square in 1820, his building was drawn, just as Strickland’s and Latrobe’s banks were, straight from the illustration of the Temple on the Ilissus in Antiquities of Athens. There weren’t funds to cast it in marble, so Haviland had the church’s portico constructed in red and white cedar and painted with enough sand in the mix so that it would look like marble. And no matter that it wasn’t any closer to the real thing; the First Presbyterian Church could claim the title as the first Greek Revival church in America.

Ionic temple of the Ilissus. Elevation of the portico from James Stuart’s Antiquities of Athens, 1762. (Smithsonian Institution Libraries.)

As it turned out, the new church style was popular. Two years later, and one block away, Haviland delivered another congregation a building based on the temple of Dionysus at Teos. Saint Andrews Episcopal Church survives today as the Greek Orthodox Cathedral of Saint George. Through the 1830s and beyond, the Greek option would continue to thrive.

But archeological correctness wasn’t always possible, and it wasn’t even always desirable. In 1825, when Haviland designed a building for the Franklin Institute (now the Philadelphia History Museum) he turned again to Stuart and Revett illustration of the Choragic Monument of Thrasyllus. This time, Haviland made the façade his own and, as Baigell observed, and “resolved his composition more successfully than did his Greek predecessor.”

Haviland’s urge to make Greek replicas was strong, but his passion to design turned out to be even more powerful. He preferred the “Greek feeling for restraint and delicacy” wrote Talbot Hamlin, but “realized the dangers of pure copying.” Even at the First Presbyterian Church, Haviland didn’t allow the original to dictate his design. To accommodate site limitations he removed the original staircase. Sometimes, in Haviland’s published designs, he could be “free…almost to the point of eccentricity” fearlessly “combining new, creative forms with Greek detail.” And in the case of his castellated Eastern State Penitentiary, the largest, most important and influential of Haviland’s projects, here was a medieval breakaway, even if, as  Baigell wondered, “the Athenian Propylea lies somewhere in the genesis of the central portion of this design.” The drive to create lit the way: it was only a matter of time before Haviland, as well as others, would leave behind the Greek option.

What was going through Haviland’s creative imagination in the 1820s? For a hint, we turn to his portrait from 1828 by John Neagle. Next to Haviland leans a depiction of his completed penitentiary. In his right hand, a brass compass points to the inventive heart of the project, Haviland’s panopticon plan. The architect’s hand rests comfortably, if not lovingly, on his copy of the book that was the starting point for it all: Stuart’s Athens.

Once Haviland was able to convince his clients that there was more potential in invention than in archeological correctness, his creative juices, and this career, took off. So long as his buildings followed the basic principles of good design, he could dress them up in any style the occasion might require. And when these design doors flew open, Haviland would consider the Greek an option, but only one. After that, he’d choose whatever struck his fancy: Gothic, Egyptian, Japanese.

Haviland had played out the Greek option; now the eclectic possibilities for American architectural styles seemed endless.

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Benjamin Henry Latrobe’s “First Great Structure”

“Center Square Water Works,” Section.(

“Centre Square. Erected in 1800. Taken Down in 1828,” Copy of original by John James Barralet. (

Benjamin Henry Latrobe had abundant talent and even more ambition. He left his native England for America after realizing that there were those “whose talents are superior to mine… I should perhaps never have elbowed through them.” But in America, Latrobe could claim: “I am the only successful Architect and Engineer.” Here he could find opportunities to demonstrate his skills and shape the future of a new nation, as well as his profession.

And so he did, first in Philadelphia in 1798, then in Washington, D.C., Baltimore, New Orleans and beyond. By the time Latrobe died of Yellow Fever in 1820, he left a trail of buildings the likes of which had not been seen or imagined on this side of the Atlantic. He showed what the profession of architecture could do, if given half a chance.

None of it was easy. “I have had to break the ice for my successors, and … destroy the prejudices … [of]  villainous [sic] Quacks in whose hands the public works have hitherto been…” The American custom of hiring builders for design and construction frustrated Latrobe, and made his every step difficult, but within a few years after his arrival, a few standing examples demonstrated his genius. In Philadelphia, Latrobe completed two buildings that would turn heads and change minds.

One was the Pump House at Center Square. Inspired, in part, by the Roman Pantheon, Latrobe adapted the oculus at the dome’s center not for light, but to emit smoke generated by the new engineering feat inside—a steam engine. This stoking, smoking, white-marble Pump House sat smack in the center of Philadelphia’s city plan as a dual symbol: a bold reflection of young America inheriting the past greatness of ancient civilization and a temple to dawn of the industrial age at the start of a new century.

Detail, demolition of “Pennsylvania Bank, 1867″ with the Merchants’ Exchange cupola in the distance.  Albumen print by John Moran, photographer. (The Library Company of Philadelphia)

Latrobe’s second early triumph, his Bank of Pennsylvania, quickly became “one of the most influential buildings in the nation’s history.” Critic Paul Goldberger waxes in a PBS documentary, calling it “a wonder.” Architectural historians from Talbot Hamlin (“an epoch-making work”) to Jeffrey Cohen, (“a game changer”) agree.

Ionic Capital from the Erectheum, Athens. From Antiquities of Athens, Stuart and Revett, 1762 (Google Books)

Where Latrobe’s bank looked like a Greek Temple, the Ionic temple on the Ilyssus near Athens, and was the first building to use archeologically-correct details (published decades before in Stuart and Revett’s landmark book, Antiquities of Athens) the Bank of Pennsylvania was, as Hamlin pointed out “in no sense a copy of any ancient building.”  Here Latrobe developed a plan “simply and functionally from the necessities of the building, with a new kind of simplicity and openness. Like the Pump House, “it was a creation and not a copy.” And with its vaulted interior, “nothing this technically ambitious had ever been built in America.”

For a brief moment, Latrobe made it sound easy. “It was a plaything to me,” he reflected, adding, “so in fact, are all my designs.” They “come of themselves unmasked and in multitudes…”

President Thomas Jefferson, a fan of ancient architecture who owned and treasured his copy of Stuart and Revett, took notice of Latrobe’s display in Philadelphia and brought him to the nation’s Capital. As Goldberger describes it, Jefferson needed Latrobe to “fix [William] Thornton’s mess” at the Capitol, then under construction.

Problem was, Washington needed an architect who was also a politician, which Latrobe decidedly was not. Years later, he commented about his work there: “I have run my race in a sack, and if I have got to the goal, it has only need by tumbling on & over all obstacles & persevering to the end.” But in Philadelphia, at the Bank of Pennsylvania, Latrobe had been given carte blanche.” That building Latrobe considered his masterpiece, or as he more immodestly put it: “my first great structure.”

Nothing important by Latrobe survives in Philadelphia. The Pump House lasted only until 1828. His Bank of Pennsylvania was pulled down in 1867. But Latrobe’s influence and impact lived on.


Related posts at PhillyHistory: Philadelphia as Athens- of America: More Than Skin Deep and Salvaging Parts of the Greek Revival.

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Salvaging Parts of the Greek Revival

First Congregational Unitarian Church, Northeast corner of 10th and Locust Street. Photograph by Frederick DeBourg Richards, April 1, 1859. ( Library Company of Philadelphia.)

By the time architect William Strickland envisioned a set of columns for the portico of his Unitarian Church at 10th and Locust Streets, fortune had turned his way. A set of Doric columns was newly available, salvaged from Benjamin Henry Latrobe’s Pump House at Center Square. That building wasn’t even 30 years old, but the city had fast outgrown it. And now, in the late 1820s, Latrobe was gone and Strickland had come into his own as the city’s most imaginative and talented architect. He put Latrobe’s columns to good use.

Strickland had met Latrobe as a boy—Strickland’s father a, bricklayer and carpenter, had worked on Latrobe’s crews. Latrobe noted the young Strickland’s skills, “the quickness of his eye and the facility of his pencil” and put the 14-year-old to work. But what began as the “joyous and grateful temperament” soon gave way to distraction and quibbling. Strickland’s talent, according to architectural historian Talbot Hamlin, was undeniable, but he soon “appeared to Latrobe as a scatterbrained person, a boy upon whom he wasted much affection…” Now, it seemed, Strickland was “too independent minded, to light-hearted and curious, to endure patiently the regular draftsman’s routine.” This “whirligig temperament” had no place in architecture. Latrobe finally fired Strickland, now 17, and the two parted ways.

United States Mint, Northwest corner of Chestnut and Juniper Sts. Photograph by James E. McClees, 1855. ( Library Company of Philadelphia.)

Now, two decades later, and eight years after Latrobe’s death from yellow fever in New Orleans, Strickland was rising into the role that Latrobe himself had strived for, the architect who would transform red-brick Philadelphia with white marble. And Strickland was doing it by continuing Latrobe’s legacy—his commitment to the Greek Revival in America.

After splitting from Latrobe’s in 1805, Strickland worked as an artist and a draftsman until 1808, when he was landed his first major architectural commission—the Masonic Hall on Chestnut Street. This was an example, Hamlin later wrote, of Strickland “trying to leap out of the bounds of fashion.” And when the place burned in 1819, he imagined it was “no great loss.” Strickland most likely felt that way. After completing the Masonic Hall, he left the profession to travel and then settle in New York, where he eked a living painting and designing scenery for Park Theatre. Ten years later, when Strickland returned to Philadelphia to try his hand at architecture a second time, his appetite for experimentation still dominated. “Hardly a fashion or an impulse arises,” wrote Hamlin, that Strickland didn’t try to give “architectural expression; Gothic, Egyptian, Oriental, Greek, Italianate…” But Strickland’s stunning success in 1818, winning the competition for the Second Bank—outperforming even his former mentor—overshadowed his other “temporary aesthetic enthusiasms.” By the late 1820s, Hamlin wrote, it was in the general frame of the Greek Revival that Strickland found his most congenial and most accomplished expression.” And having found it, he stuck with it.

In 1828 at 10th and Locust Streets, Strickland found the opportunity to further solidify his expression of the Greek Revival while paying homage to his late master. He salvaged Latrobe’s Doric columns that had been unceremoniously pulled down in the Pump House demolition and resurrected them at the First Congressional Unitarian Church. It turned out to be an ephemeral gesture.

Just as Latrobe had every reason to believe his Pump House would stand the test of time, so did Strickland for his church. But it, too, was doomed to an early demolition, remaining up until only 1885. After that, Latrobe’s columns, which had two shots at standing for the ages, presumably became so much landfill.

Strickland’s columns are installed for the third time, April 2013. (Einstein Medical Center.)

In the second half of the 1820s, Strickland’s projects became a showcase for his newly evolved “touch” for the Greek Revival. His Unitarian Church, the United States Naval Asylum and the new United States Mint displayed a confidence in speaking Greek. Hamlin noted Strickland’s maturity at the Mint in his “wide spacing of the colonnade, in the stress of broad horizontals, and in the quiet wall treatment.”

But this building, too, was short lived. The Mint’s demise in 1902, wrote Hamlin a few decades later, “is but one of the many similar tragedies which have characterized the history and growth of Philadelphia as well as that of many other American cities. Architectural excellence has been the last thing considered (if it is considered at all) in judging whether or not economically obsolete buildings should be preserved.”

When the building came down, its columns were given to the Jewish Hospital, now Einstein Medical Center on Broad Street and Tabor Road. Nearly a century passed with the columns in place, framing the hospital entrance. Then, in 2000, they were in the way of road construction. One by one, the six, 24-foot columns, each weighing 28,000 pounds, were lifted by riggers and moved to storage. In the Spring of 2013, Strickland’s columns were returned to North Broad and set upright for a third time.

But who’s counting.

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Populist Modern at Twelfth and Market

Northeast Corner of 12th and Market Streets, September 21, 1949. Detail. (

Just as Howe and Lescaze were getting to work on their PSFS Building in the late 1920s, Harry Sylk was starting up his Sun Ray drug store chain. Before long, the two would play out their similarities and differences—International Style versus Pre Populuxe—on the street. And where these design cousins would never intersect, they would redefine one of Philadelphia’s most dynamic intersections.

Twelfth and Market Streets had been Philly’s hot corner since the 1890s, when the Reading Railroad installed its masonry cliff of a head house in front of a giant train shed. Its interior was spoken for, but people animated the sidewalk. Pictures of 12th and Market from 1911 and 1914 confirm: this intersection was the heart of Center City, and possibly its soul. Problem was, the blank, anonymous corner niche of rusticated head house didn’t add all that much. It cried out for a kiosk – and a domed version, visible in the 1911 picture. The corner demanded little attention, only the decision to walk straight, right or left.

Until PSFS. In the early 1930s, Howe and Lescaze’s monumental curve of granite, steel and glass put the Reading Terminal Headhouse in perspective. So 19th century; so out of date. Could the power of PSFS possibly inspire its opposite corner to move into the 20th century?

It could. And in true 20th century fashion, it took the swagger and shamelessness of American retail to take up the challenge.

In the late 1920s, brothers Harry, Albert and William Sylk started with a “cut rate” store on Ridge Avenue and built a retail empire. The Sun Ray chain eventually grew to more than 150 stores in Pennsylvania, Delaware, New Jersey and Maryland.

The Sylks were promoters as much as retailers. When flying saucers were spotted in Roswell, New Mexico Sun Ray promoted its new Patterson, N.J. store by dropping discs from an airplane and offering free ice cream for anyone who could bring one in. At Easter, Sun Ray gave its customers free chicks. The Sylks didn’t just advertise on radio, they bought two stations: WPEN AM and FM.

Store location remained their first priority. “Wherever there was a Woolworth’s store,” Harry Sylk told the Inquirer, “we tried to open a store right next to them…”

Reading Terminal Head House (detail), Northeast corner 12th and Market Streets, ca. 1950. (The Library Company of Philadelphia)

Signs became Sun Ray’s other first priority. The Sylks likely stood on the sidewalk across from the commanding curve of PSFS, appreciating Howe and Lescaze’s commitment to retail at the street level. This was their same language, only the Sylks spoke it with an earthier accent. Their corner, the Sylks figured, could update the Victorian kiosk with modern lines and materials. They would brag and holler where PSFS purred.

“Sun Ray; Super Kiosk,” proclaimed their first sign as it curved around the corner. Over time, and abiding by the time-tested principle that there’s no redundancy when it comes to promotion, the words “Super Kiosk” were replaced with “Sun Ray Drug Co.” Neon lit it all.

Powerful? Sure, especially at night. And cluttered. And disappointingly unanimated. Why use neon halfway, asked Max Sarnoff, the Sylk’s sign man extraordinaire? While on the West Coast, Sarnoff had seen the light: “…I wanted to put show biz in the sign business.” Back from Hollywood, via Miami Beach, Sarnoff later told the Sign Builder Illustrated how proud he was of his giant, neon mortar and pestles for Sun Ray. But nothing Sarnoff did combined lights and action like his giant Sun Ray sign with neon bands chasing around the corner of 12th and Market.

A bit of Las Vegas in the Quaker City.

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Novelty in 1954: a Vacant Lot in North Philadelphia

Vacant Lot on Arizona Street-West of 26th. May 12, 1954. John McWhorter, photographer.

Between 1890 and 1950, the city had more than doubled in population, from about one million to just over two. But in the second half of the 20th century, Philadelphia’s population dropped by more than 550,000—a loss, on average, of more than 110,000 residents every decade. It was a remarkable reversal that redefined the city in the second half of the 20th century.

From the Civil War to after World War II, construction and employment booms powered Philadelphia’s expansion. Mile after mile of meadow and farmland had been transformed into red brick neighborhoods. They stretched, as far as the eye could see, interspersed only by churches, factories and freight lines.

By 1890, a short hike from the Odd Fellow’s Cemetery, bordering the lower branch of Cohocksink Creek, surveyors extended Penn’s original grid up to North Penn Village. Speculators divided the grid which now extended northward from Center City, into more development-friendly rectangles. Between York and Dauphin were cut smaller streets: Arizona and Gordon. And along the 400 feet, from corner to corner, speculators put up one more block of two-story row houses. By 1895, thirty stood between York and Arizona, 26th and 27th.

Open space just about disappeared as North Philadelphia rose up. Until the middle of the 20th century, anyway. Then, not only did growth come to a screeching halt, it did an about face. In the Spring of 1954, when city photographer John McWhorter photographed a vacant lot on the 2600 block of West Arizona Street, vacant lots were still the exception. Over the next half century, many more of the original thirty houses on that rectangle between York and Arizona, 20th and 27th disappeared. Today, only half remain.

Detail of the 2600 Block of West Arizona Street, ca. 2013. (Google.)

We were reminded in a recent Inquirer story, accompanied by a useful map, that eight North Philadelphia census tracts each dropped by more than 10,000 residents from 1950 to 2010. What remains today at 26th and Arizona was at the heart of this precipitous decline. It’s census tract: 169.01 – Susquehanna to Lehigh, 25th to 31st– lost 10,780 residents, falling from 16,604 to 5,820. This 65% decline, more than double the citywide drop of 26.7%, outpaced even Detroit’s 61% decline in the same time period. Among Philadelphia’s 385 census tracts, 169.01 and five adjacent tracts lost more than 49,000 residents between 1950 and 2010—more than one-eleventh of the city’s total decline in population.

Are there any clues as to how this dramatic demographic shift played out? Any why this particular neighborhood was hit so hard?

Manufacturing, and manufacturing jobs, once thrived along the nearby Glenwood Avenue corridor. The 1910 Philadelphia Atlas shows coal yards, brick yards, lumber yards, planning mills, furniture factories, brass foundries, factories making pipes, pumps, processing tobacco, weaving textiles – plenty of places for employment. But when the Great Depression hit, and unemployment for the general population stood at 24.75%, unemployment among African Americans was as high as double that rate. And in the depth of the Depression, as we know from J. M. Brewer’s color-coded real estate map, 26th and Arizona was an African-American community.

J. M. Brewer’s Map of Philadelphia, 1934. Detail of the 2600 block of West Arizona Street and vicinity with red indicating “Colored” population and “location ratings” indicating “lower or working class” to “decadent.” (Greater Philadelphia GeoHistory Network)

As Amy Hillier tells us, the Brewer map and the subsequent Home Owners’ Loan Corporation (HOLC) maps, “established highly racialized neighborhood standards” and were used by mortgage companies to inform their lending decisions. Red shading on the Brewer map shows 26th and Arizona as “Colored” and the quality of the housing there “lower of working class” to “decadent.”  Two years later, a data sheet accompanying the HOLC map describes the entire area west of Broad to Fairmount Park between Poplar and Cumberland as “solid town, two and three story, brick houses, forty years old or more,” a neighborhood that “originally housed a large part of the city’s more prosperous middle class” but “is now fast approaching obsolescence, with its population almost entirely Negro.” The neighborhood stood out in red, which signified “hazardous.”

By the 1950s, after two decades of disadvantage and disinvestment, conditions in North Philadelphia were about to get even worse with a steep decline of Philadelphia’s manufacturing economy. At its peak in 1953, a hearty 45 percent of the city’s entire labor force worked in industrial jobs. But by the start of the 21st century, this had fallen to an anemic 5 percent.  Once again, North Philly’s neighborhoods would be among the biggest losers.

Before long, vacant lots would become the rule in North Philadelphia, not the exception. For a time, some would say, the terms “vacant lot” and “North Philadelphia” were synonymous.

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Can Philadelphia Have Too Many Eagles?

One of Alexander Milne Calder’s four eagles for City Hall tower at the Tacony Iron and Metal Works, 1893. (

We’re dealing with “a Bird of bad moral Character,” wrote Benjamin Franklin. The bald eagle, agreed William Bartram, was nothing more than “an execrable tyrant” who “supports his assumed dignity and grandeur by rapine and violence, extorting unreasonable tribute and subsidy from all the feathered nations.”

But the bird had been good enough for the ancient Romans who mounted miniatures on their standards as they marched to battle. And, as we saw in our last post, the eagle would suffice for the new Republic. In almost no time, on wings of patriotism and the desire to create a national iconography, the image of the bald eagle lifted from the Great Seal to, larger than life, the hearts and minds of the new Americans.

Charles Willson Peale’s “American Eagle” from his museum at Independence Hall. (

In his museum on Independence Square, artist Charles Willson Peale exhibited portraits of the Founding Fathers and a living, breathing bald eagle that screamed at him in recognition. Peale had great expectations for the nation and, so too, for his eagle, hanging its cage with the sign: “FEED ME DAILY 100 YEARS.” Peale’s eagle lived for a decade in captivity, from 1795 to 1805, and after it died he resurrected it, posed and stuffed.

In the new century, the prolific chisels of Peale’s sculptor friend, William Rush, secured for the bald eagle a permanent place in the American decorative motif. Rush’s carved and gilded eagles appeared in churches Saint John’s Evangelical Lutheran Church (it’s now at the Metropolitan Museum of Art in New York) and on public buildings, including Fairmount Waterworks (this piece is now at the Philadelphia Museum of Art). Carved, cast or painted, eagles were becoming the go-to patriotic icon.

John McArthur Jr.’s La Pierre House, Broad St. north of Sansom, ca. 1869. (

By the mid-century, the place of the eagle was secured not only in the American hearts and minds, but on America’s streets. In 1848, the Philadelphia Gas Works welcomed home soldiers returning from the Mexican-American War in a display at Independence Hall. An eagle with “a halo of stars” hovered above a thirty-foot “Goddess of Peace,” one of the many “figures in fire” of bent gas-pipes lit by 4,000 gas jets.

Eagles appeared on buildings throughout the city: Chestnut Street; 8th Street: and Broad, where John McArthur, Jr. (later the architect of Philadelphia City Hall) mounted a giant eagle six stories above the entrance, above the cornice of his new luxury hotel, LaPierre House.

When the nation celebrated its 100th birthday in 1876, the roof line of Memorial Hall crackled with personifications of Industry and Commerce, Agriculture and Mining, Science and Art. On each of four corner pavilions were perched four eagles, 16 in all, made of galvanized zinc and with huge wing span. Sometime after the Centennial, Memorial Hall’s eagles had no problem taking off, never to be seen or heard of again.

At Philadelphia City Hall, on the other hand, the eagles mounted at the foot of the Founder stayed put. Sculptor Alexander Milne Calder topped City Hall tower with four bronze eagles with 14-foot wingspans.

The Eagles of Memorial Hall, 1876. (

With a second new century came still more eagles. After the Louisiana Purchase exhibition in 1904, John Wanamaker bought and installed in his department store August Gaul’s giant bronze bird. And, as Penny Balkin Bach tells us in Public Art in Philadelphia, when New Yorkers decided to demolish Pennsylvania Station in 1963, Philadelphia’s Market Street Bridge got four of Alexander Weinman’s 22 granite eagles. The rest were distributed to locations around the country. But Americans everywhere knew Weinman’s eagles from his representation on the reverse of his “Walking Liberty” half dollar.

After more than 200 years, could we possibly be growing weary of the eagle, tired of its fierce and serious pose? Not so long as we continue to interpret the bird freshly, which may mean ironically, satirically or humorously, whether in blinking neon or bronze. “The important thing,” as Jacques Lipschitz sculptor of the “Spirit of Enterprise” on Kelly Drive put it, is finding and working with “some kind of freedom in expression.” And wasn’t that one of the freedoms the Founders had in mind?

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Philadelphia Eagle Memories

N.W. Corner of 11the and Market Streets, April 12, 1960. Detail. (

To a wide-eyed boy, the gigantic neon eagle on Market Street just west of 11th seemed fierce—and fun. In fading evening light, oblivious commuters on the sidewalk below went about their business, seemingly unaware as the eagle glowed and flapped. As I sat in the passenger seat of my father’s Ford station wagon idling at the stoplight, I knew one thing: I would forever look forward to seeing the Market Street eagle again.

Eagles were part of our lives in the patriotic mid-century. I had seen plenty of them—cast on aluminum screen doors in my parents’ West Oak Lane rowhouse neighborhood, embroidered on quilts, stitched on flags, printed on labels of the beer cans my father popped open on hot summer days. I had seen how sign makers borrowed wings from eagles to keep horses aloft (Mobilgas) and rendered them in neon at Flying A Service stations. Wings were always spread, but but not nearly so dramatically or dynamically as the Market Street eagle. This glowing creature could out not only catch a PTC bus, it could devour it, as well.

Other cities had their neon eagles. In 1950, the Artkraft-Strauss Sign Corporation of New York filmed the real thing in flight and created a series of giant neon facsimiles for Anheuser-Busch breweries. Before long, Anheuser-Busch mounted one on the Brill Building in Manhattan, two blocks from Times Square. Breweries in Newark, Saint Louis, New Orleans, Houston and Los Angeles soon had their own, which made sense: Anheuser-Busch had adopted the eagle for a logo in the 1870s. But even this was hardly an original idea. The first barrels of Yeungling rolled out of their Eagle Brewery in Pottsville, Pennsylvania back in 1829, and the eagle had been its logo ever since. Brewers weren’t the only ones who saw something special in eagles. Newspaper publishers liked them. So would fire companies, banks, sports teams, musical groups and pencil manufacturers, among others.

Charles Thomson’s design for the Great Seal (National Archives).

The eagle is universally admired as patriotic, independent, precise and powerful. Americans (except Benjamin Franklin) have officially liked the eagle since 1782. Franklin famously preferred the Wild Turkey for the Great Seal of the United States, although he was also partial to the rattlesnake. But the eagle v. turkey v. snake debate was short lived. Charles Thomson’s design (illustrated here) for the Great Seal had little serious opposition and soon, the eagle forever became something for our collective awe, appreciation, adaptation, and imitation—so much as humans might be able.

And they would try. Toward the end of World War One, photographers Arthur Mole and John Thomas arranged 12,500 military officers, nurses and others stationed at Camp Gordon outside Atlanta in a unique patriotic formation—a giant version of the Great Seal, eagle feathers delineated by the strategic placement of contrasting uniforms.

When and where, exactly, did the eagle first fly off the page and onto the streets, military bases, breweries and pencil factories of America? That took only took a few short years after the eagle’s adoption. In the 1790s, when Philadelphia was temporarily the nation’s Capital, Alexander Hamilton got his plan approved for a federal Treasury. And without an architect to help guide the way (Benjamin Henry Latrobe wouldn’t arrive until the Spring of 1796), Samuel Blodgett, Jr. supplied a design. With one eye on the Royal Exchange back in Dublin (now Dublin City Hall) the newly-minted Americans put up their First Bank, also the first of many marble facades designed to project a sense of pride and security for the citizenry.

First Bank of the United States, 3rd Street below Chestnut – detail. ( – Click image for a closeup of Clodius LeGrand’s eagle carving in the bank’s pediment.

What would occupy the First Bank’s triangular pediment, the most symbolic space over the entrance of this most symbolic building? An eagle, of course. Even better, a riff on the Great Seal, with all of its correct attributes: an eagle with a fist full of arrows, a shield with thirteen stars and stripes, an olive branch, and, since the building was intended to support national well being—a lavishly stocked cornucopia.  Clodius LeGrand, a woodcarver and  stonecutter newly-arrived from France is thought to be responsible for the sculpture, which is considered “an elaborate masterpiece.”

Critics raved, calling it “the first finished building of any consequence wherein taste and knowledge has been displayed in this country.” But Latrobe, who meant to upgrade the American taste for such things, remained unimpressed. The white marble’s “bluish and yellowish veins” bothered him, as did the heights of the blocks and their off-level joints. As for detailed carvings and LeGrand’s eagle, Latrobe simply wrote: “the sculpture is not good.” Within a few years, Latrobe had won over Philadelphia, as well as the new District of Columbia, and LeGrand left for Santo Domingo—never to be heard from again.

Thanks to LeGrand, the American eagle had made its way from the new nation’s seals and coins to find a perch, for the first time, on the streets of America.

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