By Allie Richmond, M.A. ‘26, Art History
In the 19th century, the National Mall was far from the iconic, pristine space we know today. Instead, it was a dynamic patchwork of unfinished projects, discordant architectural styles and modern developments. A hand-colored 1882 drawing published in Harper’s Weekly — now part of the Albert H. Small Washingtoniana Collection — captures the National Mall during a period of transformation, depicting overgrown foliage, half-built monuments and a patchwork of mismatched buildings.
The bird’s-eye view looks north from what is today Independence Avenue, with the Washington Monument, U.S. Department of Agriculture Building, Smithsonian Castle, National Museum (Arts and Industries Building) and the D.C. Armory all visible. The Smithsonian Castle, recognizable by its distinct red sandstone, stands out against the backdrop of Washington’s Neoclassical marble. James Renwick, Jr. designed the Castle in a European Gothic Revival style, reflecting a mid-19th-century initiative to turn the mall into a Victorian park.
To the right of the Smithsonian Castle stands the Arts and Industries Building. Designed by Adolf Cluss in 1879, the Victorian structure was built to house objects and artifacts from the 1876 Philadelphia Exposition, also known as the Centennial Exposition — the first world’s fair hosted by the United States. To celebrate the country’s 100th anniversary, the exposition commemorated American cultural and technological innovations. The United States National Museum opened in 1881, exhibiting the fair’s displays and inspiring the development of other museums and cultural institutions in Washington. The Harper’s Weekly illustration does not depict the building’s polychrome, red-dominant brickwork, possibly because the artist had only seen design plans, which did not always capture the color of final construction materials.
To the left in the mid-ground, a half-constructed Washington Monument — also known as the National Monument —rises in the scene, its unfinished structure serving as a reminder of the long and tumultuous history of its construction. The 1848 laying of the monument’s cornerstone marked the beginning of a project that spanned several decades, with construction halting during the Civil War. The U.S. Army grazed cattle on its grounds in wartime, earning it the nickname “Beef Depot Monument.” The monument’s design diverged from L’Enfant’s original vision of an equestrian statue honoring George Washington, opting instead for an unadorned obelisk. Standing at 555 feet, the project finally reached completion in 1884.
Throughout the century, the National Mall changed to meet the demands of a modernizing Washington, with rail lines and streetcars running through the landscape. The tracks of the Baltimore and Potomac Railroad cut in front of the U.S. Capitol, converging at the Pennsylvania Railroad Depot. Built in 1873 where the National Gallery of Art now stands, the Pennsylvania Railroad Station (also known as the Baltimore and Potomac Railroad Station) exhibited the Gothic features and Victorian motifs echoed in the Smithsonian Castle. The assassination of President James Garfield at the station in 1881 prompted public outcry for its removal, with citizens condemning the depot as a safety hazard and an eyesore. It was officially closed and demolished in 1908.
The disjointed architecture, unfinished monuments and emergence of modern transportation on the National Mall reflect the tensions between L’Enfant’s grand vision and the practical needs of a growing capital. By the end of the 19th century, the Mall remained far from the historic space we recognize today. Its dynamism highlights the city’s long-term physical development and the challenges of creating a lasting national landmark.
Read other posts in this special series:
The National Mall
L’Enfant’s Ambitious Avenue
About the Author
Allie Richmond has a B.A. in art history and history and is currently pursuing a master’s degree in art history with a concentration in museum studies at GW. Interested in art historical research and museum management, she is the digital media editor for the Albert H. Small Center for National Capital Area Studies.
Header image: Theodore R. Davis, “Our National Capital, View from the South,” Harper’s Weekly Publisher, 1882. Albert H. Small Washingtoniana Collection AS 183.