In New Orleans, a gallery is a wide platform projecting from the wall of a building supported by posts or columns. Galleries are typically constructed from cast iron (or wrought iron in older buildings) with ornate balusters, posts, and brackets.
The intricate iron balconies and galleries of the French Quarter are among the renowned icons of New Orleans. [1]
The City of New Orleans provides specific definitions for platforms projecting from the face of the building, differentiating between balconies and galleries. Balconies typically have a projection width of up to 4 feet (1.2 m), lacking supporting posts and a roof structure. In contrast, galleries are platforms extending beyond property lines to cover the full width of the public sidewalk, supported by posts or columns at the street curb. [2] Galleries may or may not include a roof cover. [2]
The city employs the term "gallery" in various contexts. A side gallery refers to a porch on the side of a shotgun house, functioning as an exterior corridor. The term double gallery is applied to a specific house type called double-gallery house, incorporating galleries across the facade of both the first and second floors. These galleries are within the property line and are typically covered by the roof of the main house. The term triple gallery is similar but pertains to three-story buildings. [2] When describing multi-level galleries attached to townhouses, the term double galleries is used for galleries that are attached to the second and third floors of a townhouse with supporting posts on the curb. [3] [4]
New Orleans was founded in early 1718 by the French as La Nouvelle-Orléans under the direction of Louisiana governor Jean-Baptiste Le Moyne de Bienville. [5] During the early French settlement, houses were constructed in the Creole cottage style – simple, one-story structures with timber board walls. Local builders adapted the architecture to the tropical climate by adding wooden galleries with roof covers. These galleries served a dual purpose: providing protection from the elements and embracing the pleasant, airy designs influenced by the French style in the West Indies. Additionally, they functioned as a transition space between private and public areas. [6] [7]
In a 1731 plan, high hip-roof houses in New Orleans were spaced across city blocks, surrounded by gardens, and positioned with their front sides either directly at or near the sidewalk. Some of these houses featured full front galleries. An example of such house style with a raised basement can still be seen at Madame John's Legacy. Although the house was destroyed and rebuilt in 1788, it retained its original design from circa 1730. [8] By the mid-18th century, New Orleans was transformed into a French village with picket-fenced gardens and wooden galleries. [7]
In 1749, Ignace François Broutin drew up the Intendance building plan, featuring a design with two-story galleries. This marked the earliest record of such a design in Louisiana, although the building was never constructed. [8] [9]
In 1763 following Britain's victory in the Seven Years' War, the French colony west of the Mississippi River – along with New Orleans – was ceded to the Spanish Empire as a secret provision of the 1762 Treaty of Fontainebleau. [10] The Spanish considered the Province of Louisiana a buffer zone to protect their Mexican colony and did not invest significantly in transforming local culture in New Orleans, known to the Spanish as La Nueva Orleans. [6] By 1765, almost every building exhibited a front gallery on the first floor, and many two-story buildings showcased two-story galleries. [8]
Major fires in 1788 and 1794 completely destroyed a large number of houses built during the French period. In response, the Spanish administration implemented stricter building codes, prohibiting timber construction and wooden shingles. New buildings were required to be constructed with fire-resistant stucco-covered brick and clay tiles. However, there is no evidence of Spanish architects involved in the reconstruction. During the Spanish period, population in New Orleans increased significantly. To accommodate the growing population, new two and three-story masonry and stucco townhouses were constructed, maintaining the continuity of French colonial architecture. [6] An influx of refugees from the French colony of Saint-Domingue (now Haiti) during the Haitian Revolution, beginning in 1791, brought surveyors and architects to New Orleans, reinforcing French architectural traditions. [11] But certain architectural elements were borrowed from the Spanish, such as arched openings on the ground floor, courtyards at the rear of the buildings, and wrought-iron balconies on building facades. [7] The earliest recorded attempt to extend a balcony to cover the entire sidewalk occurred in December 1789. Don Joseph de Orue y Garbea petitioned the Spanish Cabildo for a permit to build a gallery for his house, and the permit was granted. [8] [12]
On residential streets like Royal Street, shops were established on the ground floor, while living quarters were situated on the upper floors of Creole townhouses. This style echoed Creole cottages, characterized by the absence of hallways, and rooms were used for multiple purposes. The confined living spaces prompted residents to seek relief. These townhouses were constructed with continuous balconies featuring hand-wrought iron railings on both street and courtyard sides, providing not only architectural charm but also facilitating the entry of light and fresh air. [6]
The installation of wrought-iron cantilevered or bracketed balconies presented new demands for blacksmiths during that period, lasting until 1825 when Leeds Iron Foundry introduced cast iron technology with a faster build process to New Orleans. This innovation allowed iron to be molded, enabling the creation of highly decorative patterns and intricate filigree that gained popularity in the 19th century. Subsequently, the combination of wrought iron and cast iron railings in balconies started to emerge. [7]
Meanwhile, the demand for maximizing living space in an urban setting persisted. [6] Some homeowners extended second-floor balconies to cover the entire sidewalk, still without a roof. Early gallery designs were inspired by wrought-iron balcony railings, featuring patterns like the cathedral arch and scrollwork. Cast iron posts were used to support the extended galleries. A surviving example can still be observed at 529–531 Governor Nicholls Street. [13]
Highly ornate multi-story cast-iron galleries appeared in the 1850s. The first multi-story galleries were constructed for the Pontalba Buildings between 1849 and 1851. [7] These galleries, cast in New York, bear the initials AP of Micaela Almonester, Baroness de Pontalba on them. [14] [15] Another notable set of buildings, the LaBranche Buildings on St. Peter Street between Royal Street and Cabildo Alley, was built in 1840. Beginning in 1850, these eleven buildings saw the addition of cast-iron galleries, each with a distinctive pattern. [14] [16] Between 1852 and 1856, the Touro Buildings were constructed with cast-iron-lace double galleries that encircled the entire city block on Canal Street, between Royal Street and Bourbon Street. [7] Subsequently, in 1858, elaborate galleries were added to enhance the aesthetic appeal of the brick townhouse at 900-902 Royal Street. The property was owned by Miltenberger, an agent of Wood and Perot of Philadelphia, a cast-iron manufacturer. This addition served as a showcase for the company's product. [17] [14]
The second half of the 19th century witnessed explosive growth in the construction of houses with iron galleries. A researcher conducted an inspection of 2,244 buildings in the French Quarter, revealing that 51 percent of townhouses and 11 percent of commercial buildings had iron-lace galleries. These galleries were built in various styles inspired by the Pontalba and Touro buildings, with an average construction period ranging from 1853 to 1855. [7] Some particularly ornate galleries were incorporated into the initial construction of buildings, such as the second-floor gallery of 817-821 Toulouse Street, which was added during the construction of the two-story Greek Revival building around 1860. [18] Multi-story galleries were also added during building renovation projects; for instance, the third-floor addition in 1870 to 624 Dumaine Street included ornate galleries for the second and third floors. [19] Additionally, some galleries served as replacements for older iron balconies, as seen in the case of 730 Dumaine Street, where iron galleries replaced the original balconies of the 1832 house. [20]
The popularity of cast-iron galleries in New Orleans waned in the 1860s during the American Civil War when Leeds Iron Foundry redirected its iron production to support the Confederacy. By the 1880s, galleries adorned with cast-iron ornaments had lost their uniqueness as the molded patterns became commonplace in many buildings throughout the city's streets, and they were perceived as outdated. [21] In the late 19th century, the conversions of simpler wrought-iron balcony designs to galleries continued. Examples of this can be observed at 400-406 Dauphine Street and 600-616 St. Peter Street. [22] [23] The latter is notable because the wrought-iron railing, originally crafted by master blacksmith Marcellino Hernandes for the narrower balcony of the late 18th-century building, was extended to the full sidewalk width in the 1880s. When the building was reconstructed in 1964, the railing was moved back to serve a narrower balcony, replicating the original building design. [23] In 2013, the balcony was once again extended, becoming a gallery. Despite these reconstructions, the original railing has endured to the present day. [24] [14]
By the early 20th century, fashion had changed to align with modern architecture. A large number of cast-iron galleries on Canal Street were removed from the buildings to give a modern look. Gallery removals also occurred in other wealthier districts outside of the French Quarter. During the 20th century, the French Quarter area became crowded and was considered a poorer neighborhood. Property owners had little incentive to invest in upgrading their buildings to modern standards. Most of the buildings retained their 19th-century styles. [14] [21] The construction of new ornate galleries in this period became rare. An exception was the replacement of mid-nineteenth-century cast-iron balconies with ornamental cast-iron galleries at 936-942 Royal Street in the late 1930s. [25] In 1937, the city established the Vieux Carré Commission, initiating a preservation movement to prevent the destruction of architectural heritage in the French Quarter, including the preservation of iron galleries. [7] By the late 20th century, ironwork was carefully incorporated into new building construction. A notable example is the Royal Sonesta hotel built between 1968 and 1969. The buildings occupied the entire block on Bourbon Street between Bienville Street and Conti Street. The exterior was built to follow the style of traditional row houses surrounding an internal courtyard. Multi-story decorative galleries that wrapped around the buildings followed the form of those Miltenberger and LaBranche buildings. [26] [14]
Enduring for nearly two centuries, the iron galleries in the French Quarter have withstood a series of events. The Capture of New Orleans, which occurred quickly during the Civil War without much fighting, left the city unscathed. Neglect from property owners in the early 20th century contributed to the buildings remaining unchanged. Finally, the establishment of the Vieux Carré Commission prevented the ironwork from being repurposed as scrap metal to support World War II. These factors have collectively preserved the unique appearance of the French Quarter that we see today. [21] [14] [7]
The French Quarter, also known as the Vieux Carré, is the oldest neighborhood in the city of New Orleans. After New Orleans was founded in 1718 by Jean-Baptiste Le Moyne de Bienville, the city developed around the Vieux Carré, a central square. The district is more commonly called the French Quarter today, or simply "The Quarter", related to changes in the city with American immigration after the 1803 Louisiana Purchase. Most of the extant historic buildings were constructed either in the late 18th century, during the city's period of Spanish rule, or were built during the first half of the 19th century, after U.S. purchase and statehood.
Ironwork is any weapon, artwork, utensil, or architectural feature made of iron, especially one used for decoration. There are two main types of ironwork: wrought iron and cast iron. While the use of iron dates as far back as 4000 BC, it was the Hittites who first knew how to extract it and develop weapons. Use of iron was mainly utilitarian until the Middle Ages; it became widely used for decoration in the period between the 16th and 19th century.
The Louisiana State Museum (LSM), founded in New Orleans in 1906, is a statewide system of National Historic Landmarks and modern structures across Louisiana, housing thousands of artifacts and works of art reflecting Louisiana's legacy of historic events and cultural diversity.
Jackson Square, formerly the Place d'Armes (French) or Plaza de Armas (Spanish), is a historic park in the French Quarter of New Orleans, Louisiana. It was declared a National Historic Landmark in 1960, for its central role in the city's history, and as the site where in 1803 Louisiana was made United States territory pursuant to the Louisiana Purchase. In 2012 the American Planning Association designated Jackson Square as one of the Great Public Spaces in the United States.
James Gallier was a prominent nineteenth-century Irish-born American architect, most famed for his buildings in New Orleans. Gallier Hall, which he designed and once served as New Orleans City Hall, is named after him.
Cast-iron architecture is the use of cast iron in buildings and objects, ranging from bridges and markets to warehouses, balconies and fences. Refinements developed during the Industrial Revolution in the late 18th century made cast iron relatively cheap and suitable for a range of uses, and by the mid-19th century it was common as a structural material, and particularly for elaborately patterned architectural elements such as fences and balconies, until it fell out of fashion after 1900 as a decorative material, and was replaced by modern steel and concrete for structural purposes.
The buildings and architecture of New Orleans reflect its history and multicultural heritage, from Creole cottages to historic mansions on St. Charles Avenue, from the balconies of the French Quarter to an Egyptian Revival U.S. Customs building and a rare example of a Moorish revival church.
The Historic New Orleans Collection (THNOC) is a museum, research center, and publisher dedicated to the study and preservation of the history and culture of New Orleans and the Gulf South region of the United States. It is located in New Orleans' French Quarter. The institution was established in 1966 by General and Mrs. L. Kemper Williams to keep their collection of Louisiana materials intact and available for research and exhibition to the public.
The Hermann–Grima House is a historic house museum in the French Quarter of New Orleans, Louisiana, United States. The meticulously restored home reflects 19th century New Orleans. It is a Federal-style mansion with courtyard garden, built in 1831. It has the only extant horse stable and 1830s open-hearth kitchen in the French Quarter.
Louisiana State Bank Building is a historic commercial building at Royal and Conti Streets in the French Quarter of New Orleans, Louisiana. Built in 1820, it was the last structure designed by nationally prominent architect Benjamin Henry Latrobe, who died from yellow fever in New Orleans before its construction. It has also been known as the Manheim Galleries building, from a long-time tenant. More recently, it has housed "Latrobe's", an event venue. It was declared a National Historic Landmark in 1983.
The Pontalba Buildings form two sides of Jackson Square in the French Quarter of New Orleans, Louisiana. They are matching red-brick, one-block-long, four‑story buildings built between 1849–1851 by the Baroness Micaela Almonester Pontalba. The ground floors house shops and restaurants; and the upper floors are apartments which, reputedly, are the oldest continuously rented such apartments in the United States.
The Brightside Apartments is a historic apartment house at 2 King Street in Worcester, Massachusetts. Built in 1888 to a design by Fuller & Delano, it is one of southern Worcester's finest 19th century apartment blocks. The building was listed on the National Register of Historic Places in 1980, even though it had recently experienced some damage due to a minor fire.
The Louisiana State Museum's 1850 House is an antebellum row house furnished to represent life in mid-nineteenth-century New Orleans. It is located at 523 St. Ann Street on Jackson Square in the French Quarter.
The Rosaly–Batiz House is a historic building located on Villa street in Barrio Primero in Ponce, Puerto Rico, in the city's historic district. The building dates from 1897. It was designed by Manuel V. Domenech, a Puerto Rican architect that was responsible for designing various other now-historic buildings. Domenech built this residence for Ponce mayor Pedro Juan Rosaly. Domenech himself became mayor of Ponce and held numerous other political positions in Puerto Rico. The Batiz Residence is a monument to a great man and his works and a vivid reminder of the aristocracy of the years prior to the Great Depression.
The Delta Psi, Alpha Chapter fraternity house is located at 434 Riverside Drive in the Morningside Heights neighborhood of Manhattan, New York City. It was purpose built in 1898 and continues to serve the Columbia chapter of the Fraternity of Delta Psi, a social and literary fraternity.
An iron railing is a fence made of iron. This may either be wrought iron, which is ductile and durable and may be hammered into elaborate shapes when hot, or the cheaper cast iron, which is of low ductility and quite brittle. Cast iron can also produce complicated shapes, but these are created through the use of moulds of compressed sand rather than hammering, which would be likely to damage the iron.
Park House is a cooperative apartment building at 135 West 58th Street between Sixth and Seventh Avenues in Midtown Manhattan, New York City. It was built in 1911 and is considered to be one of the most elegant Beaux-Arts apartment houses in Manhattan.
North Great George's Street is a street on the Northside of Dublin city first laid out in 1766 which connects Parnell Street with Great Denmark Street. It consists of opposing terraces of 4-storey over basement red-brick Georgian townhouses descending on an increasingly steep gradient from Belvedere House which bookends the street from a perpendicular aspect to the North.
7 West 54th Street is a commercial building in the Midtown Manhattan neighborhood of New York City. It is along 54th Street's northern sidewalk between Fifth Avenue and Sixth Avenue. The four-story building was designed by John H. Duncan in the French Beaux-Arts style and was constructed between 1899 and 1900 as a private residence. It is one of five consecutive townhouses erected along the same city block during the 1890s, the others being 5, 11, and 13 and 15 West 54th Street.
The Old Absinthe House is a historic building on Bourbon Street in the French Quarter of New Orleans, Louisiana.
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