AIC 53rd Annual Meeting

Esteemed American horticulturist and author of The Architecture of Country Houses, A.J. Downing played a pivotal role in the emergence of the American Picturesque movement of the mid-19th century. His ideals are expressed in the minutiae of material usage and finishes as well as in the pattern books that resulted from his influence. Over time, his work has shaped scholars’ understanding of the architectural colors of the period. Despite A.J. Downing’s well-documented influence on the American Picturesque movement, little empirical research has been conducted on the actual use of color in architecture from this period. Most existing studies are unpublished and largely inaccessible, creating a gap in our understanding of how Downing’s theories were applied in practice. Ivy Lodge, a key example of mid-19th-century Italianate architecture in Philadelphia’s Germantown neighborhood, offers a rare opportunity to analyze original finishes that have remained largely intact. By examining the paint layers and comparing them with Downing’s pattern book prescriptions, this study not only challenges prevailing assumptions about his influence but also provides crucial insight into the material culture of the American Picturesque. The findings contribute to the field of architectural conservation by offering new data on historic color practices, helping to refine our understanding of 19th-century American aesthetics and their practical applications. Using cross-sectional and polarizing light microscopy to analyze paint samples, the paper illuminates the chosen color palette. It offers perspective on the actual influence of pattern books and Downing’s specific prescriptions for color during the American Picturesque Movement.

The analysis of Ivy Lodge's paint layers reveals a dominant early finish of white lead-based paint rather than the anticipated earthen tones displayed in Downing’s pattern books. Later layers introduced colors like gray, brown, and green, aligning with the period's broader palette. Differences in stratigraphy among windows and exterior details suggest varying approaches to trim and cornice paint, with some dark gray paints appearing in isolated areas. These findings challenge the assumption that Ivy Lodge's color scheme followed A.J. Downing’s recommendations for the American Picturesque Movement. While Downing advocated for natural tints and rejected white exteriors, Ivy Lodge's white-painted trim more closely aligns with earlier Colonial and Georgian aesthetics, suggesting that the homeowners may have blended Downing’s ideals with prior influences. Furthermore, the later introduction of Picturesque colors in the 1870s, post-Downing era, implies that his influence may have expanded over time rather than being immediately adopted. This study broadens our understanding of mid-19th-century American architectural finishes, questioning the extent of Downing’s impact on contemporary color choices.