The present Treasury Building was built over a period of 33 years between 1836 and 1869. The east and center wings, designed by Robert Mills, architect of the Washington Monument and the Patent Office Building, comprise the first part of the building constructed between 1836 to 1842. The most architecturally impressive feature of the Mills design is the east colonnade running the length of the building. Each of the 30 columns is 36 feet tall and is carved out of a single piece of granite. The interior design of the east and center wings is classically austere, in keeping with the Greek Revival style.
Later additions were made to the original wings, beginning with the construction of the south wing from 1855 to 1860 and the west wing from 1855- 1864. The preliminary design of the wings was provided by Thomas Ustick Walter, architect of the Capitol dome, but architects Ammi B. Young and Isaiah Rogers refined the plans, designed the interior details, and supervised construction. While the exterior of the building was executed along the lines of the original Mills wings, the interiors of the later wings reflect changes in both building technology and aesthetic tastes. Iron columns and beams reinforced the building's brick vaults; the architectural detailing became much more ornate, following mid-nineteenth century fashion. The final addition to the Treasury Building was the north wing, built from 1867 to 1869. Its architect was Alfred B. Mullett. Similar in construction and decor to the south and west wings, the north wing is unique as the site of the Cash Room -- a two-story marble hall in which the daily financial business of the U.S. Government was transacted. The room opened in 1869 as the site of President Grant's inaugural reception.
The Treasury Building is the oldest departmental building in Washington and has had a great impact on the design of other governmental buildings. At the time of its completion, it was one of the largest office buildings in the world. It served as a barracks for soldiers during the Civil War and as the temporary White House for President Andrew Johnson following the assassination of President Lincoln in 1865. The Treasury Building is unquestionably a monument of continuing architectural and historical significance. In acknowledgment of the building's significance, Treasury was declared a National Historic Landmark in 1972.
Guided tours of the building are available free of charge. The tour features restored spaces such as the 1864 Burglar-Proof Vault and the marble Cash Room. Also on the tour is the restored office of Salmon P. Chase, Secretary of the Treasury during the Civil War and the temporary office used by President Andrew Johnson following Abraham Lincoln's assassination, which has been restored to its 1860s appearance.References:
From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.
The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.
At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.
The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.
The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.
Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).
The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.
At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».
The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.