Greek Revival architecture

The Greek Revival was an architectural movement of the late 18th and early 19th centuries, predominantly in Northern Europe and the United States. A product of Hellenism, it may be looked upon as the last phase in the development of Neoclassical architecture. The term was first used by Charles Robert Cockerell in a lecture he gave as Professor of Architecture to the Royal Academy of Arts, London in 1842.[1]

With a newfound access to Greece, or initially the books produced by the few who had actually been able to visit the sites, archaeologist-architects of the period studied the Doric and Ionic orders. In each country it touched, the style was looked on as the expression of local nationalism and civic virtue, and freedom from the lax detail and frivolity that was thought to characterize the architecture of France and Italy, two countries where the style never really took hold. This was especially the case in Britain, Germany and the United States, where the idiom was regarded as being free from ecclesiastical and aristocratic associations.

The taste for all things Greek in furniture and interior design, sometimes called Neo-Grec, was at its peak by the beginning of the 19th century, when the designs of Thomas Hope had influenced a number of decorative styles known variously as Neoclassical, Empire, Russian Empire, and Regency architecture in Britain. Greek Revival architecture took a different course in a number of countries, lasting until the Civil War in America (1860s) and even later in Scotland.

Berlin - 0266 - 16052015 - Brandenburger Tor
Brandenburg Gate in Berlin, Germany.
Hamilton high school
Thomas Hamilton's design for the Royal High School, Edinburgh, completed 1829.
Propyläen - München
Klenze's Propyläen (Gateway) in Munich, 1854–62.
Yorkshire Museum
The Yorkshire Museum designed by architect William Wilkins and officially opened in February 1830

Rediscovery of Greece

Despite the unbounded prestige of ancient Greece among the educated elite of Europe, there was minimal direct knowledge of that civilization before the middle of the 18th century. The monuments of Greek antiquity were known chiefly from Pausanias and other literary sources. Visiting Ottoman Greece was difficult and dangerous business prior to the period of stagnation beginning with the Great Turkish War. Few Grand Tourists called on Athens during the first half of the 18th century, and none made any significant study of the architectural ruins.[2]

It would take until the expedition funded by the Society of Dilettanti of 1751 by James Stuart and Nicholas Revett before serious archaeological inquiry began in earnest. Stuart and Revett's findings, published in 1762 (first volume) as The Antiquities of Athens,[3] along with Julien-David Le Roy's Ruines des plus beaux monuments de la Grèce (1758) were the first accurate surveys of ancient Greek architecture.[4]

Meanwhile, the rediscovery of the three relatively easily accessible Greek temples at Paestum in southern Italy created huge interest throughout Europe, and prints by Piranesi and others were widely circulated. Access to the originals in Greece itself only became easier after the Greek War of Independence ended in 1832; Lord Byron's participation and death during this had brought it additional prominence.


British Museum from NE 2
Façade of the British Museum

Following the travels to Greece of Nicholas Revett, a Suffolk gentleman architect, and the better remembered James Stuart in the early 1750s, intellectual curiosity quickly led to a desire to emulate. Stuart was commissioned after his return from Greece by George Lyttelton to produce the first Greek building in England, the garden temple at Hagley Hall (1758–59).[5] A number of British architects in the second half of the century took up the expressive challenge of the Doric from their aristocratic patrons, including Benjamin Henry Latrobe (notably at Hammerwood Park and Ashdown House) and Sir John Soane, but it was to remain the private enthusiasm of connoisseurs up to the first decade of the 19th century. An early example of Greek Doric architecture (in the facade), married with a more Palladian interior, is the Revett-designed rural church of Ayot St Lawrence in Hertfordshire, commissioned in 1775 by Lord Lionel Lyde of the eponymous manor. The Doric columns of this church, with their "pie-crust crimped" details, are taken from drawings that Revett made of the Temple of Apollo on the Cycladic island of Delos, in the collection of books that he (and Stuart in some cases) produced, largely funded by special subscription by the Society of Dilettanti. See more in Terry Friedman's book "The Georgian Parish Church", Spire Books, 2004.

Seen in its wider social context, Greek Revival architecture sounded a new note of sobriety and restraint in public buildings in Britain around 1800 as an assertion of nationalism attendant on the Act of Union, the Napoleonic Wars, and the clamour for political reform. It was to be William Wilkins's winning design for the public competition for Downing College, Cambridge that announced the Greek style was to be a dominant idiom in architecture, especially for public buildings of this sort. Wilkins and Robert Smirke went on to build some of the most important buildings of the era, including the Theatre Royal, Covent Garden (1808–09), the General Post Office (1824–29) and the British Museum (1823–48), the Wilkins Building of University College London (1826–30) and the National Gallery (1832–38).

Arguably the greatest British exponent of the style was Decimus Burton.

In London twenty three Greek Revival Commissioners' churches were built between 1817 and 1829, the most notable being St.Pancras church by William and Henry William Inwood. In Scotland the style was avidly adopted by William Henry Playfair, Thomas Hamilton and Charles Robert Cockerell, who severally and jointly contributed to the massive expansion of Edinburgh's New Town, including the Calton Hill development and the Moray Estate. Such was the popularity of the Doric in Edinburgh that the city now enjoys a striking visual uniformity, and as such is sometimes whimsically referred to as "the Athens of the North".

Within Regency architecture the style already competed with Gothic Revival and the continuation of the less stringent Palladian and neoclassical styles of Georgian architecture, the other two remaining more common for houses, both in towns and English country houses. If it is tempting to see the Greek Revival as the expression of Regency authoritarianism, then the changing conditions of life in Britain made Doric the loser of the Battle of the Styles, dramatically symbolized by the selection of Barry's Gothic design for the Palace of Westminster in 1836. Nevertheless, Greek continued to be in favour in Scotland well into the 1870s in the singular figure of Alexander Thomson, known as "Greek Thomson".

Germany and France

Walhalla aussen
Leo von Klenze's Walhalla, Regensburg, Bavaria, 1842.

In Germany, Greek Revival architecture is predominantly found in two centres, Berlin and Munich. In both locales, Doric was the court style rather than a popular movement, and was heavily patronised by Frederick William II and Ludwig I as the expression of their desires for their respective seats to become the capital of Germany. The earliest Greek building was the Brandenburg Gate (1788–91) by Carl Gotthard Langhans, who modelled it on the Propylaea. Ten years after the death of Frederick the Great, the Berlin Akademie initiated a competition for a monument to the king that would promote "morality and patriotism."

Friedrich Gilly's unexecuted design for a temple raised above the Leipziger Platz caught the tenor of high idealism that the Germans sought in Greek architecture and was enormously influential on Karl Friedrich Schinkel and Leo von Klenze. Schinkel was in a position to stamp his mark on Berlin after the catastrophe of the French occupation ended in 1813; his work on what is now the Altes Museum, Schauspielhaus, and the Neue Wache transformed that city. Similarly, in Munich von Klenze's Glyptothek and Walhalla were the fulfilment of Gilly's vision of an orderly and moral German world. The purity and seriousness of the style was intended as an assertion of German national values and partly intended as a deliberate riposte to France, where it never really caught on.

Rijf Jacob Oravais Kyrka
Design for Oravais Church, Finland; watercolour by Jacob Rijf, 1792

By comparison, Greek Revival architecture in France was never popular with either the state or the public. What little there is started with Charles de Wailly's crypt in the church of St Leu-St Gilles (1773–80), and Claude Nicolas Ledoux's Barriere des Bonshommes (1785–89). First-hand evidence of Greek architecture was of very little importance to the French, due to the influence of Marc-Antoine Laugier's doctrines that sought to discern the principles of the Greeks instead of their mere practices. It would take until Laboustre's Neo-Grec of the Second Empire for Greek Revival architecture to flower briefly in France.


The style was especially attractive in Russia, if only because they shared the Eastern Orthodox faith with the Greeks. The historic centre of Saint Petersburg was rebuilt by Alexander I of Russia, with many buildings giving the Greek Revival a Russian debut. The Saint Petersburg Bourse on Vasilievsky Island has a temple front with 44 Doric columns. Leo von Klenze's expansion of the palace that is now the Hermitage Museum is another example of the style.


Attica 06-13 Athens 28 Academy of Athens
The main building of the Academy of Athens, one of Theophil Hansen's "Trilogy" in central Athens.

Following the Greek War of Independence, Romantic Nationalist ideology encouraged the use of historically Greek architectural styles in place of Ottoman or pan-European ones. Classical architecture was used for secular public buildings, while Byzantine architecture was preferred for churches. Examples of Greek Revival architecture in Greece include the Old Royal Palace (now the home of the Parliament of Greece), the Academy and University of Athens, the Zappeion, and the National Library of Greece. The most prominent architects in this style were northern Europeans such as Christian and Theophil Hansen and Ernst Ziller and German-trained Greeks such as Stamatios Kleanthis and Panagis Kalkos.

Wien Parlament 03
Austrian Parliament Building exterior

Rest of Europe

The style was generally popular in northern Europe, and not in the south (except for Greece itself), at least during the main period. Examples can be found in Poland, Lithuania, and Finland, where the assembly of Greek buildings in Helsinki city centre is particularly notable. At the cultural edges of Europe, in the Swedish region of western Finland, Greek Revival motifs might be grafted on a purely baroque design, as in the design for Oravais Church by Jacob Rijf, 1792 (illustration, right). A Greek Doric order, rendered in the anomalous form of pilasters, contrasts with the hipped roof and boldly scaled cupola and lantern, of wholly traditional baroque inspiration.

In Austria, one of the best examples of this style is the Parliament Building designed by Theophil Hansen.

North America

Thomas Jefferson owned a copy of the first volume of The Antiquities of Athens.[6] He never practiced in the style, but he played an important role introducing Greek Revival architecture to the United States. In 1803, he appointed Benjamin Henry Latrobe as surveyor of public building in the United States, and Latrobe designed a number of important public buildings in Washington, D.C. and Philadelphia, including work on the United States Capitol and the Bank of Pennsylvania.[7]

Latrobe's design for the Capitol was an imaginative interpretation of the classical orders not constrained by historical precedent, incorporating American motifs such as corncobs and tobacco leaves. This idiosyncratic approach became typical of the American attitude to Greek detailing. His overall plan for the Capitol did not survive, though many of his interiors did. He also did notable work on the Supreme Court interior (1806–07), and his masterpiece was the Basilica of the Assumption of the Virgin Mary, Baltimore (1805–21).

Latrobe claimed, "I am a bigoted Greek in the condemnation of the Roman architecture", but he did not rigidly impose Greek forms. "Our religion," he said, "requires a church wholly different from the temple, our legislative assemblies and our courts of justice, buildings of entirely different principles from their basilicas; and our amusements could not possibly be performed in their theatres or amphitheatres."[8] His circle of junior colleagues became an informal school of Greek revivalists, and his influence shaped the next generation of American architects.

The second phase in American Greek Revival saw the pupils of Latrobe create a monumental national style under the patronage of banker and hellenophile Nicholas Biddle, including such works as the Second Bank of the United States by William Strickland (1824), Biddle's home "Andalusia" by Thomas U. Walter (1835–36), and Girard College, also by Walter (1833–47). New York saw the construction (1833) of the row of Greek temples at Sailors' Snug Harbor on Staten Island. These had varied functions within a home for retired sailors.

At the same time, the popular appetite for the Greek was sustained by architectural pattern books, the most important of which was Asher Benjamin's The Practical House Carpenter (1830). This guide helped create the proliferation of Greek homes seen especially in northern New York State and the Western Reserves of Ohio.

From 1820 to 1850, the Greek Revival style dominated the United States, such as the Benjamin F. Clough House in Waltham, Massachusetts. It could also be found as far west as Springfield, Illinois. Examples of vernacular Greek Revival continued to be built even farther west, such as in Charles City, Iowa.[9]

This style was very popular in the south of the US, where the Palladian colonnade was already popular in façades, and many mansions and houses were built for the merchants and rich plantation owners; Millford Plantation is regarded as one of the finest Greek Revival residential examples in the country.[10]

Other notable American architects to use Greek Revival designs included Latrobe's student Robert Mills, who designed the Monumental Church and the Washington Monument, as well as George Hadfield and Gabriel Manigault.[7]

British colonies

In Canada, Montreal architect John Ostell designed a number of prominent Greek Revival buildings, including the first building on the McGill University campus and Montreal's original Custom House, now part of the Pointe-à-Callière Museum. The Toronto Street Post Office, completed in 1853, is another Canadian example.


Tempio b hittorf
Hittorff's reconstruction of Temple B at Selinus, 1851.

The discovery that the Greeks had painted their temples influenced the later development of the style. The archaeological dig at Aegina and Bassae in 1811–12 by Cockerell, Otto Magnus von Stackelberg, and Karl Haller von Hallerstein had disinterred painted fragments of masonry daubed with impermanent colours. This revelation was a direct contradiction of Winckelmann's notion of the Greek temple as timeless, fixed, and pure in its whiteness.

In 1823, Samuel Angell discovered the coloured metopes of Temple C at Selinunte, Sicily and published them in 1826. The French architect Jacques Ignace Hittorff witnessed the exhibition of Angell's find and endeavoured to excavate Temple B at Selinus. His imaginative reconstructions of this temple were exhibited in Rome and Paris in 1824 and he went on to publish these as Architecture polychrome chez les Grecs (1830) and later in Restitution du Temple d'Empedocle a Selinote (1851). The controversy was to inspire von Klenze's Aegina room at the Munich Glyptothek of 1830, the first of his many speculative reconstructions of Greek colour.

Hittorff lectured in Paris in 1829-1830 that Greek temples had originally been painted ochre yellow, with the moulding and sculptural details in red, blue, green and gold. While this may or may not have been the case with older wooden or plain stone temples, it was definitely not the case with the more luxurious marble temples, where colour was used sparingly to accentuate architectural highlights.

Similarly, Henri Labrouste proposed a reconstruction of the temples at Paestum to the Académie des Beaux-Arts in 1829, decked out in startling colour, inverting the accepted chronology of the three Doric temples, thereby implying that the development of the Greek orders did not increase in formal complexity over time, i.e., the evolution from Doric to Corinthian was not inexorable. Both events were to cause a minor scandal. The emerging understanding that Greek art was subject to changing forces of environment and culture was a direct assault on the architectural rationalism of the day.


  1. ^ J. Turner (ed.), Encyclopedia of American art before 1914, New York, p. 198..
  2. ^ Crook 1972, pp. 1–6
  3. ^ British Museum entry for the Antiquities of Athens
  4. ^ Crook 1972, pp. 13–18.
  5. ^ Though Giles Worsley detects the first Grecian influenced architectural element in the windows of Nuneham Park from 1756, see Giles Worsley, "The First Greek Revival Architecture", The Burlington Magazine, Vol. 127, No. 985 (April 1985), pp. 226-229.
  6. ^ Hamlin 1944, p. 339
  7. ^ a b Federal Writers' Project (1937), Washington, City and Capital: Federal Writers' Project, Works Progress Administration / United States Government Printing Office, p. 126.
  8. ^ The Journal of Latrobe, quoted in Hamlin, Greek Revival d1944), p. 36 (Dover Edition).
  9. ^ Gebhard & Mansheim, Buildings of Iowa, Oxford University Press, New York, 1993 p. 362.
  10. ^ Jenrette, Richard Hampton (2005). Adventures with Old Houses, p. 179. Wyrick & Company.


Primary sources

  • Jacob Spon, Voyage d'Italie, de Dalmatie, de Grèce et du Levant, 1678
  • George Wheler, Journey into Greece, 1682
  • Richard Pococke, A Description of the East and Some Other Countries, 1743-5
  • R. Dalton, Antiquities and Views in Greece and Egypt, 1751
  • Comte de Caylus, Recueil d'antiquités, 1752–67
  • Marc-Antoine Laugier Essai sur l'architecture, 1753
  • J. J. Winkelmann, Gedanken uber die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst, 1755
  • J. D. LeRoy, Les Ruines des plus beaux monuments de la Grèce, 1758
  • James Stuart and Nicholas Revett, The Antiquities of Athens, 1762–1816
  • J. J. Winkelmann, Anmerkungen uber die Baukunst der alten Tempel zu Girgenti in Sicilien, 1762
  • J. J. Winkelmann, Geschichte der Kunst des Alterthums, 1764
  • Thomas Major, The ruins of Paestum, 1768
  • Stephen Riou, The Grecian Orders, 1768
  • R. Chandler et al., Ionian Antiquities, 1768-1881
  • G. B. Piranesi, Differentes Pesto, 1778
  • J. J. Barthelemy, Voyage du jeune Anarcharsis en Grèce dans le milieu du quatrième siecle avant l'ère vulgaire, 1787
  • William Wilkins, The Antiquities of Magna Grecia, 1807
  • Leo von Klenze, Der Tempel des olympischen Jupiter zu Agrigent, 1821
  • S Agnell and T. Evens, Sculptured Metopes Discovered among the ruins of Selinus, 1823
  • Peter Oluf Brøndsted, Voyages et recherches dans le Grèce, 1826–30
  • Otto Magnus Stackelberg, Der Apollotempel zu Bassae in Arcadien, 1826
  • J. I. Hittorff and L. von Zanth, Architecture antique de la sicile, 1827
  • C. R. Cockerell et al., Antiquities of Athens and other places of Greece, Sicily, etc., 1830
  • A. Blouet, Expedition scientifique de Moree, 1831-8
  • F. Kugler, Uber die Polychromie der griechischen Architektur und Skulptur und ihr Grenze, 1835
  • C. R. Cockerell, The Temples of Jupiter Panhellenius at Aegina and of Apollo Epicurius at Bassae, 1860

Architectural Pattern Books

  • Asher Benjamin, The American Builder's Companion, 1806
  • Asher Benjamin, The Builder's Guide, 1839
  • Asher Benjamin, The Practical House Carpenter, 1830
  • Owen Biddle, The Young Carpenter's Assistant, 1805
  • William Brown, The Carpenter's Assistant, 1848
  • Minard Lafever, The Young Builder's General Instructor, 1829
  • Minard Lafever, The Beauties of Modern Architecture, 1833
  • Thomas U. Walter, Two Hundred Designs for Cottages and Villas, 1846.

Secondary sources

  • Crook, Joseph Mordaunt (1972), The Greek Revival: Neo-Classical Attitudes in British Architecture 1760-1870, John Murray, ISBN 0-7195-2724-4
  • Hamlin, Talbot (1944), Greek Revival Architecture in America, Ohio University Press
  • Kennedy, Roger G. (1989), Greek Revival America
  • Wiebenson, Dora (1969), The Sources of Greek Revival Architecture
  • Hoecker, Christopher (1997), "Greek Revival America? Reflections on uses and functions of antique architectural patterns in American architecture between 1760-1860", Hephaistos — New approaches in Classical Archaeology and related fields, 15, pp. 197–241
  • Ruffner, Jr., Clifford H., Study of Greek Revival Architecture in the Seneca and Cayuga Lake Regions
  • Tyler, Norman and Ilene R. Tyler (2014). Greek Revival in America: Tracing its architectural roots to ancient Athens. Ann Arbor. ISBN 9781503149984.

External links

58 Joralemon Street

58 Joralemon Street, in Brooklyn Heights, Brooklyn, New York, United States, is a Greek Revival structure built in 1847 as a private residence, but is now a New York City Subway vent. The property was acquired by the Interborough Rapid Transit Company in 1908, who gutted the interior and converted the structure to "the world’s only Greek Revival subway ventilator". The ventilator also serves as an emergency exit from the eastern end of the New York City Subway's Joralemon Street Tunnel, which carries the IRT Lexington Avenue Line (4 and ​5 trains) between Bowling Green and Borough Hall, where it becomes the IRT Eastern Parkway Line (2, ​3, ​4, and ​5 trains).

Through acquisitions, the property passed through to the New York City Board of Transportation in 1940, and to New York City Transit Authority in 1953, its current owner. As of 2010 it was valued at $2.8 million.

The exterior facade and black Lexan windows are the result of a 1999 agreement with the Landmarks Preservation Commission to help the facility blend into the neighborhood.

Aston Inn

Aston Inn, also known as the Ratner Residence, is a historic inn located at Indianapolis, Marion County, Indiana. It was built in 1852, and is a two-story, Greek Revival style brick dwelling with an early one-story addition. It has a side gable roof and features a two-story gallery on the south elevation. The house was used as a stagecoach stop for a short period in the 1850s.It was added to the National Register of Historic Places in 1985.

Byers Station Historic District

Byers Station Historic District is a national historic district located in Upper Uwchlan Township, Chester County, Pennsylvania. The district includes 26 contributing buildings in the crossroads community of Byers Station. The buildings date to the 19th century and include a number of notable Italianate style buildings. Notable buildings include a variety of residences, a factory, a Masonic lodge (1894), and the former Byers Hotel (c. 1874). The community grew around the Byers Station railroad station, after its opening in 1871, and continued after plumbago (graphite) was discovered in the area in 1875.It was added to the National Register of Historic Places in 2002.

Canton Center Historic District

The Canton Center Historic District encompasses the historic rural town center of Canton, Connecticut. Extending mainly along Connecticut Route 179, near the geographic town center, is a well-preserved example of rural agricultural center in Connecticut, a role served until about 1920. The district includes many examples of Late Victorian and Greek Revival architecture. It was listed on the National Register of Historic Places in 1997.

Captain Goodwin–James Eustis House

The Captain Goodwin–James Eustis House is a historic house located at 1 Elm Street in Wakefield, Massachusetts. Built about 1760 and enlarged around 1830, it is a good local example of Greek Revival architecture, which was owned by a prominent local businessman and civic leader. The house was listed on the National Register of Historic Places on March 2, 1990, where it is listed as the "Captain Goodwin–James Custis House".

Common Street District

The Common Street District is a historic district in Mobile, Alabama. It is composed of seventeen residences from 959 to 1002 Dauphin Street and 7 to 19 Common Street, primarily featuring examples of Greek Revival, Italianate, and Queen Anne style architecture. It was added to the National Register of Historic Places on February 4, 1982. The district was later absorbed into the much larger Old Dauphin Way Historic District.

District of Columbia War Memorial

The District of Columbia War Memorial commemorates the citizens of the District of Columbia who served in World War I.

Greek Theatre (Los Angeles)

Greek Theatre is a 5,870-seat music venue located in Griffith Park, Los Angeles, California. The theatre is owned by the city of Los Angeles and is operated by SMG. Designed by architects Samuel Tilden Norton, Frederick Hastings Wallisand, and the Tacoma firm Heath, Gove, & Bell, the theatre stage is modeled after a Greek temple.

House at 28 Cordis Street

28 Cordis Street is a historic house located in Wakefield, Massachusetts. It is significant as a well-preserved example of the Greek Revival style houses built during the early to mid 19th century.

House at 40 Crescent Street

40 Crescent Street is a historic house in Wakefield, Massachusetts, and is significant as a particularly fine example of a Greek Revival style house.

House at 95 Chestnut Street

95 Chestnut Street is a historic house located in Wakefield, Massachusetts. It is significant as an example of a well-preserved vernacular Greek Revival style house.

I.O.O.F. Hall (Garnavillo, Iowa)

The I.O.O.F. Hall, in Garnavillo, Iowa, also known as Garnavillo Lodge Hall, is a two-story building built in 1860. It served as a clubhouse for International Order of Odd Fellows and then later for Masons.It was listed on the National Register of Historic Places in 1979.In 1979 it was assessed to be historically significant as a "very nice example" of Greek Revival architecture, which is relatively rare in Iowa, and as a "very early" fraternal hall that was well-preserved.

Kempf House Museum

The Kempf House Museum, also known as the Henry Bennett House or the Reuben Kempf House, is a museum located at 312 South Division Street in Ann Arbor, Michigan. It was originally built as a single-family home in 1853. It was listed on the National Register of Historic Places in 1973.

Lower Dauphin Street Historic District

The Lower Dauphin Street Historic District is a historic district in the city of Mobile, Alabama, United States. It was placed on the National Register of Historic Places on 9 February 1979. The district encompasses all of Dauphin Street from Water Street to Jefferson Street. It covers 551 acres (2.23 km2) and contains 736 contributing buildings. The boundaries were increased on 19 February 1982, 30 June 1995, and 14 August 1998. The buildings range in age from the 1820s to the 20th century and include the Federal, Greek Revival, Queen Anne, Italianate, and various other Victorian architectural styles.

Methodist Episcopal Church Parsonage

The Methodist Episcopal Church Parsonage is a single family home located at 332 East Washington Street in Ann Arbor, Michigan. It was listed on the National Register of Historic Places in 1982.

Mobile City Hospital

Mobile City Hospital, also known as Old Mobile General Hospital, is a historic Greek Revival hospital building in Mobile, Alabama, United States. It was built in 1830 by Thomas S. James and served as a hospital for the city of Mobile from 1831 until 1966. It was administered for the city by the Sisters of Charity throughout a large part of its history. Residents of the city were treated here during epidemics of yellow fever and during the American Civil War. It was converted to office space after 1966. It was added to the National Register of Historic Places on February 26, 1970. The building is adjacent to the old U.S. Marine Hospital, which is also on the National Register.

Poweshiek County Courthouse

The Poweshiek County Courthouse in Montezuma, Iowa, United States, was built in 1859. It was individually listed on the National Register of Historic Places in 1981 as a part of the County Courthouses in Iowa Thematic Resource. In 2012 it was listed as a contributing property in the Montezuma Downtown Historic District. The courthouse is the second building the county has used for court functions and county administration.

Prien Building

The Prien Building was a historic building located in downtown Davenport, Iowa, United States. It was listed on the National Register of Historic Places in 1983. Like the Hoffman Building next door, Mueller Lumber Company across the street and the Riepe Drug Store/G. Ott Block on the 400 block of Second Street, it was torn down in the late 20th century.

Washington Firehouse No. 5

Washington Firehouse No. 5, also known as Fire Station No. 5, is a historic fire station in Mobile, Alabama, United States. The two-story brick Greek Revival building was built in 1851 at a cost of $5,500. It was constructed to house the privately run Washington Fire Company. The building features a Doric distyle-in-antis arrangement at the street level supporting an upper story with jib windows opening onto a cantilevered iron balcony. The building was documented by the Historic American Buildings Survey in 1936 and was added to the National Register of Historic Places on December 22, 1983.

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