The Colonial Architecture of Philadelphia — Inside the Classic

A Taxonomy of Stoops and Ironwork

The authors devote sustained attention to categorizing Philadelphia stoops into four types, each defined by the relationship of steps to the platform. The first type has steps directly in front; the second has a single step between platform and sidewalk; the third places the flight along the front at one side, either straight or curved; the fourth uses double or wing flights flanking the platform. This classification is not merely descriptive—it becomes a framework for comparing specific addresses. For instance, the doorway at the southeast corner of Eighth and Spruce streets is cited as the most notable instance of curved wing flights, its ironwork described as 'rich in effect, yet essentially simple in design.' The authors note recurring motifs: the 'evolute spiral band' appears in multiple balustrades, while the pineapple newel at Number 1107 Walnut Street is singled out as a distinctive emblem of hospitality. The taxonomy extends to materials, distinguishing wrought-iron scrollwork from later cast-iron pieces, and to the functional origin of foot scrapers, which 'became ornamental adjuncts of the doorways of early Colonial homes.'

The Wrought-Iron Vocabulary

Throughout the excerpts, the authors demonstrate a precise vocabulary for describing ironwork. They note 'scroll work,' 'rosettes,' 'diaper pattern of intersecting arcs,' 'evolute spiral band,' and 'Grecian band' as distinct motives. At Number 272 South American Street, the ironwork is 'beautifully hand-wrought in the Florentine manner,' combining 'round ball spindles with flat bent fillets.' The description of the balustrade at Number 207 La Grange Alley mentions an 'evolute spiral band and slender ball spindles beneath.' These observations are not merely aesthetic; they serve to trace patterns of repetition and variation across the city. The authors also note the shift from wrought to cast iron in the nineteenth century, exemplified by 'elaborate square posts combining cast and wrought pieces' at Fourth and Liberty streets. This attention to material and technique reinforces the book's architectural rather than historical orientation.

The Selective Use of Historic Context

While the authors declare their primary interest to be architectural, they acknowledge that 'in most instances worthy of inclusion the two are inseparable.' Historic facts are included only to 'lend true local color and impart human interest,' to indicate 'sources of affluence and culture,' and to describe 'the life and manners of the time which determined its design and arrangement.' This selective approach is evident in the brief mention of muddy streets and the necessity of foot scrapers—a functional detail that explains an ornamental feature. The text does not, however, provide extended narratives about the inhabitants or events associated with the buildings. The focus remains on the physical fabric: the stoop types, the ironwork patterns, the materials. This disciplined restraint distinguishes the book from the earlier works the authors critique, and it gives the surviving excerpts a concentrated, almost technical character.

Readers approaching this text should expect a methodical catalogue of architectural details rather than a narrative history. The authors' taxonomy of stoops and ironwork rewards careful attention to the specific addresses and patterns they cite. The book's value lies in its precise observations of how materials, motifs, and functional needs shaped Philadelphia's colonial architecture—a perspective that remains useful for students and practitioners seeking to understand the built environment on its own terms.