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The Legacy of Federal Architecture
by Bob Brooke

Ancient Roman and Greek architecture heavily influenced Federal period architectural design by reflecting the ideals of democracy and republicanism that were important to the Founding Fathers. This style emphasized symmetry, simplicity, and classical motifs, such as columns and arches, inspired by the works of architects like Andrea Palladio and Robert Adam. The pillars and domes in federal architecture aren't just for beauty but mirror a commitment to democratic ideals.

Federal-style architecture marks a transition from the Colonial era to one of refined classicism following the American Revolution between 1780 and 1830. Between 1785 and 1815, the style became heavily influenced by the works of Andrea Palladio with several innovations on Palladian architecture by Thomas Jefferson. Jefferson's Monticello estate and several federal government buildings, including the White House, are among the most prominent examples of buildings constructed in this new style.

Publications like Antiquities of Athens by James Stuart and Nicholas Revett helped steer American taste toward Greek, rather than Roman, precedents. The combination of the balance and symmetry of Georgian architecture practiced in the Colonies before the Revolution and the Neoclassical motifs epitomized by British architect Robert Adam, resulted in the Federal Style—a style that many historians call Adamesque.

Philadelphia, Boston, and Washington, D.C., became showcases of this new, fresh style, not only for government buildings but also for homes of the wealthy.

Architects such as Charles Bulfinch, designer of the Massachusetts State House, brought Adam-style delicacy to public architecture. William Thornton, architect of the original Capitol Building in Washington, D.C., introduced monumental Neoclassicism into American civic architecture. And Benjamin Latrobe, designer of the Bank of Pennsylvania, the first to use Greek orders in American architecture.

What makes a building 'Federal'? Think symmetry. Everything's balanced. Doors, windows, you name it—there's an order to things, and that's no accident. The materials tend to be brick, and you'll often see fanlights and sidelights around an entrance. Imagine walking into a home and every detail just feels right.

What makes a building federal?. Everything was evenly spaced and balanced. Brick was the main construction material, often painted in muted whites, creams, or earth tones. Small multiple-pane windows were a Federal staple. Fanlights, semi-circular or elliptical with radiating lines above the doors, and sidelights flanked front doors, adding a touch of elegance. Balustrades often topped low-pitched roofs.

Typically, Federal architecture employs plain surfaces with attenuated detail, usually seen in panels, tablets, and friezes. It also had a flatter, smoother façade and rarely used pilasters. It was most influenced by the interpretation of ancient Roman architecture, fashionable after the unearthing of Pompeii and Herculaneum. The bald eagle was a common symbol used in this style, with the ellipse a frequent architectural motif.

Dentil molding, small, repeating rectangles, ran along the cornice line. This detail added a layer of texture and depth to the exterior. Some older federal buildings had decorative swags or garlands. These were usually in the form of carved stone or wooden appliqués.

The classicizing manner of constructions and town planning undertaken by the federal government was expressed in early federal projects of lighthouses, harbor buildings, universities, and hospitals. It can be seen in the urban layout of L'Enfant’s Plan of Washington and in the Commissioners' Plan of 1811 in New York, as well as in New England meeting houses.

The United States’ first architects, Charles Bulfinch and Minard Lafever, were highly influenced by the design books of Robert and James Adam.

While the exteriors of buildings showcased classical elegance, the interiors were elegant and restrained, favoring balance and proportion. Decorative elements were inspired by Greek ornament, including moldings, columns, and classical motifs. Walls were often painted, papered, or paneled with wood. Chinese wallpaper, French scenic prints, and Dutch tiles were prized imports among the wealthy.

Homes of the wealthy had fireplace walls with wooden paneling or wainscoting, as well as symmetrical room layouts with oval rooms and domed ceilings. Mirrors, clocks, and pianos gained prominence as central decorative features.

Latrobe began designing homes for adventuresome Philadelphians who were ready to build what must have experimental architecture to the more traditional public. The functions of houses changed, and public buildings became the focal points of more activities. Bankers and lawyers went to work outside their homes that were more convenient than the old, dockside counting houses. Changes in the use of space within the home was the result. The office of a lawyer, doctor, or merchant would have previously been a small room on the first floor of the house, with access to the street.

The tall secretaries containing the double ledgers moved out of the house and the rooms they left were turned into what homeowners referred to as “morning parlors.” These complemented the existing parlors, which were then reserved for more formal occasions, enabling families to gather there in the evening for reading.

People furnished these morning parlors with ladies’ writing desks, worktables for sewing, bookcases, multi-purpose drop-leaf tables, and sets of upholstered chairs. These parlors were also fitted with a carpet instead of the more serviceable painted floor cloth.

Dining also changed. Previously, people dined in halls or bedchambers in the 18th century. But during the Federal Period, the custom of serving long, formal dinners demanded large rooms set aside specifically for dining with extension tables, lots of chairs, sideboards.

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