Part 3

Having released the State from responsibility for its State House, the Legislature next sought to realize from this property a sum of money to be used in building the new capitol at Harrisburg. In an act, approved March 11, 1816, the Legislature provided for the sale of the square and its buildings. This act required the Governor to appoint three commissioners (none from Philadelphia) to lay out a street, or streets, through the square “in such manner as in their opinion will most conduce to the value of the property.” The square was to be divided into lots suitable for building; the total amount to be realized was not to be less than $150,000.

One section of the act, however, saved the State House. This provided that the City of Philadelphia should have the privilege of purchasing the building and square for the sum of $70,000. The City Councils promptly passed an ordinance to purchase the property and took title on March 23, 1818. This was a financial and spiritual investment unequaled in the history of American cities.

Although the City of Philadelphia had saved the State House and its sister buildings from possible destruction, it was evident that many local officials did not consider the ensemble worthy of complete preservation. As early as 7 years prior to purchasing this property from the State, municipal authorities presented the Legislature with petitions requesting that the Commissioners of the City and County of Philadelphia be permitted “to pull down the east and west wings of the state-house ... and to erect in their place, suitable buildings for the deposit of the records of said City and county....” On March 24, 1812, this authority was granted by the State Government. The old wings and the committee room were demolished, to be replaced by “modern” office buildings designed by the architect, Robert Mills. These new offices consisted of two row buildings attached to the east and west ends of the State House. Often called “State House row,” they were occupied by various officials of the city, county, and federal governments.

Other changes to the State House followed as a result of the City’s desire to adapt it for current needs. The Assembly Room, in which the Declaration of Independence had been adopted, was converted into a court room. This was “modernized” by the removal of its paneling and the substitution of plaster and paint. Furthermore, the Chestnut Street doorway was replaced by a more ornate one, which was wholly out of keeping with the simple dignity of the structure.

The first occupant after the State government moved to Lancaster was Charles Willson Peale, who, in 1802, received permission to use the upper floor of the State House (including the tower rooms) and the Assembly Room on the first floor, for his museum which had occupied Philosophical Hall since 1794. By the terms of the agreement, Peale was responsible for the maintenance of both the building and the State House Yard.

In order to make the building more suitable for his museum, Peale removed the alterations made in 1778-79 to accommodate the Assembly, and rebuilt the long room to appear as it did during the Colonial period. The museum, which occupied the second floor of the State House until 1828, included not only an extensive collection of natural history items but also a unique portrait gallery of the great men of this Nation, painted largely by Charles Willson Peale and his son, Rembrandt. Peale also took most seriously his charge to care for the State House Yard, or Garden, as Independence Square was then known. He planted trees, added new gates and benches, and improved the walls and lawns. It was most fortunate that a man of Peale’s caliber was responsible for the property’s care during this dark period.

PLAN OF THE STATE HOUSE. Second Floor {East Wing} Common Council Select Council Watering Committee Grand Jury Room Guardians of the Poor White Witness Room Black Witness Room Prothonotary office for the District of the City & County MUSEUM Mammoth Room Lecture Room Quadruped Room Stairs to the Marine Room Long Room Clerk of the U. S. Court Marshalls Office County Commissioners Auditors Office {West Wing} Circuit Court Controller of Public Schools Law Library Supreme Court First Floor {East Wing} Mayors Office Mayors’ Private Room City Comm^s City Treas^r Clerk of the Mayors Court Recorder of Deeds Register of Wills. Prothonotary of Supr^e Court Court Room Entrance to the Museum &c. Mayors Court. Prothonotary of Com^n Pleas Sheriffs Office Clerk of Orphans Court Clerk of Quarter-Sessions {West Wing} Common Pleas District Court

After Peale’s museum moved from the State House in 1827-28, the second floor was rented to the United States Government for judicial purposes. Alterations were made under the direction of the architect, John Haviland, to adapt the space for its new use. The long room was again obliterated, and the western portion of the upper floor was made into one large room for the use of the United States Circuit and District Courts. The partitions in the eastern portion apparently were retained; the northern room became the jury room for the court and the southern room, the office of its clerk. This occupancy of the State House by Federal courts continued until 1854. Consolidation of the city and districts in that year made more room necessary for city offices, and the Federal courts were forced to move. Their place was taken over by City Councils. The court room on the west was occupied by the Common Council. On the east, the partition between the former offices of the court clerks was removed, and a single room was fitted for the Select Council. These Councils occupied the upper floor until 1895.

_Independence Square_

Until the 1820’s, Independence Square was known variously as “State House Yard” or “State House Garden.” Originally the land bounded by Chestnut, Walnut, Fifth, and Sixth Streets had been set aside by William Penn as “bonus lots.” To each purchaser of a substantial farm or “country lot,” Penn also gave a city lot as a bonus. The pieces in this particular square were given to Welsh Quakers who settled in Radnor Township.

By the time the ground along Chestnut Street was acquired to erect the State House, most of the original owners had already sold their parcels. By deed dated October 15, 1730, the first lot on the square was purchased by William Allen for the use of the Province. Within the next 2 years the entire Chestnut Street frontage, extending halfway back to Walnut Street, had been secured. Construction of the State House began in 1732.

The desire to provide a proper setting for the State House was evident from the beginning. In the year that the building was begun, the Assembly considered leveling the site and enclosing it with a board fence “in order that Walks may be laid out, and Trees planted, to render the same more beautiful and commodious.” As far as is known, however, the landscaping was not carried out until considerably later.

On February 20, 1736, the Assembly determined on a most important policy. An act vesting the State House and its grounds in trustees provided: “That no part of the said ground lying to the southward of the State House as it is now built be converted into or made use of for erecting any sort of buildings thereon, but that the said ground shall be enclosed and remain a public open green and Walks forever.” This provision has been retained as a guiding principle in the development of the square save for occasional deviations. On August 9, 1739, the Assembly ordered “that Materials be prepared for encompassing the Ground with a Wall in the ensuing Spring....” Two years later a portion of this wall was taken down and rebuilt with a shingle cornice added to carry off rain water.

Purchasing the remainder of the square was delayed nearly four decades. On May 14, 1762, the Assembly directed that the balance of the land be obtained, and by 1769 the necessary lots had been acquired. In 1770, the Assembly enclosed the whole square with a brick wall 7 feet high, pierced at the center of the Walnut Street front by a tall arched gateway with solid wooden doors.

At this time the square contained the State House, with its wings and wooden sheds, and a small wooden platform erected in 1768. The latter was constructed at the instigation of the American Philosophical Society for observing the transit of Venus across the sun on June 3, 1769. It is believed that the observatory stood about 40 feet south of the east wing of the State House.

Although landscaping the State House Yard had been long discussed, nothing of consequence appears to have been done in this regard during the Colonial period. At the time of the American Revolution, the square apparently was more or less barren, with no planned landscaping or system of walks. Cannon, which must have been a prominent feature of the yard, were parked within the walls.

With the return of peace, interest was again awakened in improving the grounds. Landscaping was finally begun about 1784 under the direction of Samuel Vaughan, a wealthy Jamaica sugar planter then living in Philadelphia. In addition to the wide central walk of gravel, leading from the tower door to the Walnut Street gate, and the serpentine walks about the perimeter of the square, the most noticeable feature of the yard was the assortment of 100 elm trees presented to the Commonwealth by George Morgan, of Princeton. Shortly after the landscaping was completed, the Reverend Manasseh Cutler visited this square and described it in his journal as a “fine display of rural fancy and elegance.”

The trees are yet small, but most judiciously arranged. The artificial mounds of earth, and depressions, and small groves in the squares have a most delightful effect. The numerous walks are well graveled and rolled hard; they are all in a serpentine direction, which heightens the beauty, and affords constant variety. That painful sameness, commonly to be met with in garden-alleys, and other works of this kind, is happily avoided here, for there are no two parts of the Mall that are alike. Hogarth’s “Line of Beauty” is here completely verified.

The next alteration of the State House Yard following Vaughan’s landscaping was undertaken in 1812. In that year, when the old wing buildings were demolished to be replaced by “modern” office buildings, the high brick walls were removed to allow a “freer circulation of air.” In their place was erected in the following year, a low brick wall, about 3 feet high, with a marble coping surmounted by a railing of plain iron palisades. Access to the square was provided by a large gate on Walnut Street and smaller ones on Fifth and Sixth Streets, about halfway between Chestnut and Walnut.

Other changes affecting the early scene followed in 1876. Along with such necessary improvements as resodding and new drainage, broad steps were constructed in the center of the Walnut Street front and at the corners on Fifth and Sixth Streets. Wide flagstone walks were laid through the grounds in almost every direction from street to street. The later addition of steps on Fifth and Sixth Streets, near Chestnut, substantially established the condition of the square as it is today.

Through the years the square has served varied purposes. It was frequently the scene of mass meetings and public demonstrations. Large gatherings met here frequently in the course of the critical days before and during the early part of the Revolution. The most noteworthy of these occurred on July 8, 1776, when, from the observatory platform—described above—Col. John Nixon read publicly for the first time that document since known as the Declaration of Independence.

_Evolution of a Shrine_

The “State House” did not become “Independence Hall” till the last half of the 19th century. This change in designation, which began about the time of Lafayette’s visit to America, is closely linked with the evolution of the building as a national shrine.

Prior to 1824, there was but little reverence or regard for the State House. The visit of the Marquis de Lafayette to Philadelphia in that year, however, awakened an interest in the building which has persisted to this day.

Elaborate preparations were made for the visit of the celebrated friend of America, much of it centering around the State House, which became the principal point of interest. Across Chestnut Street, in front of the building, was erected a huge arch “constructed of frame work covered with canvas, and painted in perfect imitation of stone.” The old Assembly Room, called for the first time “Hall of Independence,” was completely redecorated. The walls and ceiling were painted stone color, and windows were “hung with scarlet and blue drapery studded with stars.” Portraits of Revolutionary heroes and the Presidents virtually filled the available wall space. Mahogany furniture was “tastefully and appropriately disposed.”

Lafayette was formally received in the “Hall of Independence” by the Mayor and other dignitaries on September 28. On the days following, during his week-long visit, the chamber served as his levee room.

The interest in the State House engendered by Lafayette’s visit was not permitted to die. In 1828, the City Councils obtained plans and estimates to rebuild the wooden steeple which had been removed in 1781. After heated discussions, William Strickland’s design for the new steeple was accepted, a large bell to be cast by John Wilbank was ordered, and Isaiah Lukens was commissioned to construct a clock. Work was completed on the project during the summer of 1828.

Strickland’s steeple was not an exact replica of the original, but it may be considered a restoration since it followed the general design of its predecessor. The principal deviations were the installation of a clock in the steeple and the use of more ornamentation.

Within 2 years after rebuilding the steeple, interest was aroused in the restoration of the Assembly Room, or “Hall of Independence.” On December 9, 1830, the subject of the restoration of this room “to its ancient Form” was considered by the Councils. Shortly afterward, John Haviland, architect, was employed to carry out the restoration. Apparently, Haviland confined his work to replacing the paneling that is said to have been removed but fortunately was preserved in the attic of the building.

The proper use of the room was always a knotty problem. Following the Haviland restoration, the room was rented on occasions for exhibiting paintings and sculpture. Its principal use, however, was as a levee room for distinguished visitors, including Henry Clay, Louis Kossuth, and other famous personages, in addition to many Presidents of the United States from Jackson to Lincoln.

In the 1850’s, and during the critical years of the Civil War, veneration for the State House became even more evident. In 1852, the Councils resolved to celebrate July 4 annually “in the said State House, known as Independence Hall....” This is the first clear-cut use of the term “Independence Hall” to designate the entire building.

Perhaps the best expression of this veneration is in the grandiloquent words of the famed orator Edward Everett, who, on July 4, 1858, said of the State House, or as it has now come to be known, Independence Hall: “Let the rain of heaven distill gently on its roof and the storms of winter beat softly on its door. As each successive generation of those who have benefitted by the great Declaration made within it shall make their pilgrimage to that shrine, may they not think it unseemly to call its walls Salvation and its gates Praise.”

On July 4, 1852, the delegates from 10 of the Thirteen Original States met in Independence Hall to consider a plan to erect in the square one or more monuments to commemorate the Declaration of Independence. For various reasons, their deliberations proved fruitless.

During the years after the restoration of the Assembly Room in 1831, a few paintings and other objects were purchased by, or presented to, the City for exhibition. One of the first acquisitions was the wooden statue of George Washington, by William Rush, which long occupied the east end of the room. It was not until 1854, however, that the City made any real effort to establish a historical collection for Independence Hall. In that year, at the sale of Charles Willson Peale’s gallery, the City purchased more than 100 oil portraits of Colonial, Revolutionary, and early Republican personages.

Following the acquisition of Peale’s portraits, the Assembly Room was refurnished and these paintings hung on the walls. On February 22, 1855, the Mayor opened the room to the public. From that day on, many relics and curios were accepted by the City for display in this chamber.

During the Civil War, the “Hall” (or Assembly Room) served a solemn purpose. From 1861 on, the bodies of many Philadelphia soldiers killed in the war, and, in 1865, the body of President Lincoln lay in state there. Such use of the room was not new, however, for John Quincy Adams, in 1848, Henry Clay, in 1852, and the Arctic explorer, Elisha Kent Kane, in 1857, lay in state in the venerable room.

In 1860, a movement was begun by the children of the public schools of Philadelphia to erect a monument to Washington. When the fund was nearly raised, the Councils provided a space on the pavement directly opposite the Chestnut Street entrance. The statue, executed by J. A. Bailey, was unveiled on July 5, 1869.

Little beyond actual maintenance of the buildings seems to have occurred until 1872 when, with the approach of the Centennial of the Independence of the United States, a committee for the restoration of Independence Hall was named by the Mayor. The committee entered upon its duties with energy. Furniture believed to have been in the Assembly Room in 1776 was gathered from the State Capitol at Harrisburg and from private sources. Portraits of the “founding fathers” were hung in the room. The president’s dais was rebuilt in the east end of the room, and pillars, thought to have supported the ceiling, were erected. The red paint which had been applied to the exterior of the building was removed from the Chestnut Street side. When accumulated layers of paint were removed from the first floor interior walls, the long-hidden beauty of carved ornamentation was again revealed.

During the Centennial restoration project, a large bell (weighing 13,000 pounds) and a new clock were given to the City by Henry Seybert for the steeple of Independence Hall. This clock and bell are still in use.

With the close of the Centennial celebration, Independence Hall experienced a period of quiet, disturbed only by the increasing numbers of visitors. Then toward the close of the 19th century, another restoration cycle began, but its emphasis was quite different from that of any in the past. Except for the replacement of the steeple in 1828, all restoration work heretofore had been concentrated in the east or Assembly Room on the first floor. Finally, in the 1890’s interest extended from the Assembly Room to the remainder of the building. An ordinance of the Common and Select Councils, approved by the Mayor on December 26, 1895, called for the restoration of Independence Square to its appearance during the Revolution. A committee of City officers concerned with public buildings and an advisory committee of leading citizens were named by the Mayor to carry out the work. On March 19, 1896, a resolution of the Councils granted permission to the Philadelphia Chapter of the Daughters of the American Revolution to proceed with the restoration of the old Council chamber on the second floor of Independence Hall.

Between 1896 and 1898, the committees and the Daughters of the American Revolution carried out a most extensive program of restoration. The office buildings designed by Robert Mills were replaced by wings and arcades which were more like those of the 18th century. The first-floor rooms of Independence Hall were restored, and the Daughters of the American Revolution attempted to restore the entire second floor to its Colonial appearance by reconstruction of the long room, the vestibule, and the two side rooms. A dummy clockcase, similar to that of the Colonial period, was rebuilt outside on the west wall, but the planned moving of the clock back to its 18th-century location was not carried out. With the completion of this work, the old State House had been restored to a close approximation of its original design. For the first time in almost a century the building appeared practically as it did during the American Revolution.

During the 19th century, the program of restoration and preservation had been concerned largely with work on Independence Hall, little thought having been given to the entire group of historical structures on the square. In fact, according to an act of the General Assembly approved August 5, 1870, the other buildings on the square were to be demolished. Fortunately, this act was never carried out; it was finally repealed in 1895.