The Brochure Series of Architectural Illustration, vol. 06, No. 01, January 1900: The Ten Most Beautiful Buildings in the United States

In Short

This work documents the outcome of a voting contest conducted among turn-of-the-century architects and students to determine the ten most beautiful buildings in the United States. Through statistical comparisons with earlier surveys and an expert critical discussion, the text examines how American architectural tastes shifted dramatically at the close of the nineteenth century. It outlines the triumph of classic and Renaissance revivals over mid-century Gothic forms, tracking how growing public wealth transformed civic, educational, and religious institutions into enduring monuments of art.

The Story

The text unfolds as an inquiry into the evolving standards of American architecture, opening with the results of a nation-wide poll taken in late 1899. Readers of a specialized periodical, primarily practicing architects and students, select ten landmarks that represent the peak of national design. The list is led overwhelmingly by the National Capitol in Washington, followed closely by the Boston Public Library and Trinity Church in Boston. These top selections establish immediate patterns: public libraries, government centers, and places of worship dominate the collective ideal of beauty, while commercial office towers and private mansions are almost entirely set aside.

Following the survey results, the narrative shifts to a critical analysis that contrasts these 1899 selections with a similar national poll conducted fourteen years earlier. This comparison reveals a profound realignment in American taste. In 1885, the bold, heavy Romanesque style popularized by Henry Hobson Richardson held absolute sway, accounting for half of the chosen structures. By the turn of the century, however, Richardson’s dominance had receded to a single remaining masterpiece, making way for a grand resurgence of Renaissance and Classic styles. Modern French neoclassicism, classic revival domes, and Italian-inspired facades now claim the majority of public favor.

The progression of the text demonstrates that this shift is not merely a change in decorative fashion, but a maturation of architectural intent. Newer structures like the public libraries of Boston, Washington, and Columbia University reflect a rising demand for unified interior decoration and monumental clarity. The narrative traces how civic pride and educational philanthropy began outstripping private luxury as the main drivers of ambitious design. Even older structures, such as the New York City Hall, gain newfound appreciation under this refined lens, earning high ranks for their balanced scale and classic proportions despite humble materials like the brownstone used on its rear facade.

In its closing movement, the text expands from broad stylistic trends to the concrete histories of the buildings and their creators. Detailed profiles document the long, often troubled journeys of these structures—from political delays and changing structural leads at the National Capitol and Congressional Library, to the self-taught Gothic ambitions behind St. Patrick's Cathedral. The account concludes that great architecture cannot depend on a single individual or passing whim, but thrives when a culture consistently demands clear, forcible expressions of its highest civic ideals.

How It Unfolds

The consensus takes shape A autumn poll of over two hundred architects and design students establishes the ten finest structures in the country. The National Capitol, Boston Public Library, and Boston's Trinity Church capture near-unanimous agreement at the top of the ranking.

The shift from Romanesque to Classic A comparative breakdown against an 1885 survey reveals the swift decline of heavy Romanesque influence. Renaissance, Classic Revival, and French neoclassicism emerge as the dominant styles preferred by the new generation of builders.

Civic ideals surpass commercial luxury The analysis highlights that sixty percent of the preferred structures are libraries and churches, while commercial skyscrapers fail to make the top ten entirely. Public education, civic governance, and religion prove to be the primary inspirations for enduring design.

The history behind the monuments The narrative concludes with individual histories of the winning buildings and their creators, tracing the complex construction timelines, political hurdles, and architectural legacies of figures like Richardson, Renwick, and the firm of McKim, Mead & White.

The People

A. D. F. Hamlin The central critical voice who analyzes the voting data. He seeks to evaluate national taste without bias, arguing that true architectural progress requires eclecticism, unified interior design, and a move away from short-lived individual style trends.

Henry Hobson Richardson The dominant force of mid-nineteenth-century American architecture. Though his Romanesque style once swept the nation's taste, only his masterwork, Trinity Church in Boston, retains its place in the top tier by the turn of the century.

Charles Follen McKim, William Rutherford Mead, and Stanford White The prominent architectural trio whose firm shapes the new classic aesthetic. Their work on the Boston Public Library, Columbia University Library, and Madison Square Garden establishes them as leaders in the late-nineteenth-century Renaissance revival.

James Renwick A self-taught architect who mastered Gothic forms primarily through study and European travel. He spends decades realizing his lifelong dream, St. Patrick's Cathedral in New York City, enduring budget cuts that scaled back his original expansive vision.

In Its Own Voice

"A final and absolute verdict upon the relative merits of works of art is in most cases an impossibility."

Hamlin opens his critical essay by acknowledging the inherent subjectivity of artistic evaluation across different eras.

"Evidently our art has not fallen wholly a prey to commercialism and private luxury."

In analyzing the types of buildings selected, Hamlin highlights the encouraging prevalence of public libraries and civic structures over private wealth.

"No architectural period can be truly great that depends upon one man or set of men for its great works."

Reflecting on the waning influence of Richardson's personal style, Hamlin emphasizes that lasting architecture must spring from a broad, shared artistic movement.

What It's Really About

At its core, the text investigates how a young nation defines its visual and civic identity through the buildings it erects. It questions whether architectural excellence is measured by historical tradition, individual genius, or the ability to adapt classic forms to modern public needs. By examining the shift from the personal, heavy Romanesque revival to the open, dignified lines of the Classic and Renaissance styles, the argument explores how public taste matures. It asserts that true architectural value does not rest in ostentatious expenditure or commercial utility, but in clarity of thought, monumental proportion, and the elevation of public life through art.

Why Read It Today

This work offers a fascinating, primary-source snapshot of American architectural criticism at a pivotal historical threshold. Readers interested in urban history, historic preservation, or spatial design will appreciate its precise statistical method and clear-eyed evaluation of late-nineteenth-century aesthetics. The prose is dignified, direct, and free of unnecessary jargon, making complex design principles accessible to non-specialists.

Because the text consists of professional survey data, critical analysis, and historical summaries, it lacks narrative character dialogue or dramatic plotlines. Instead, its charm lies in watching an expert mind parse the shifting preferences of an entire profession. The brief historical entries for each building provide concise, factual context regarding construction delays, material choices, and architect biographies. It remains a valuable read for anyone curious about how iconic American landmarks—like the Boston Public Library or the National Capitol—were viewed by the very peers who shared their era.