Canadian Historic Sites: Occasional Papers in Archaeology and History No. 24

Second Empire Style in Canadian Architecture

by Christina Cameron and Janet Wright

Montreal City Hall: A Classic Canadian Example

Before examining the historic roots of the Second Empire style, let us look in detail at a formal Canadian example, Montreal City Hall (Fig. 1). As it was originally conceived in 1872 by architect H.M. Perrault, this public building illustrates the basic elements of Second Empire design; namely, mansard roof, pavilion massing, classicizing ornamentation and consciousness of urban setting.

The mansard roof, a double-sloped or broken roof with steep lower slope and flatter shorter upper portion, was introduced in France in the 17th century. Named after Francois Mansart (1598-1666), the architect who introduced it in France, the mansard roof has a complex construction method. Unlike the framework for gable roofs which calls for single unbroken rafters, mansard roofs require two rafters for the different slopes. To increase the complexity still more, the pitch of each slope necessitates a different kind of material to cover it.

The appearance of the French or mansard roof in Canada¹ coincided with a significant factor in mid-19th century taste, namely the increased desire for picturesque effect. In the case of Montreal City Hall, the mansard roof and mansarded towers create a lively uneven silhouette. The picturesque effect thus achieved is enhanced by flagpoles, ornate dormer windows and decorative iron cresting along the tops of the various roofs.

In the arrangement of the building's mass into distinct units called 'pavilions," Montreal City Hall adopts another common Second Empire device. Architects used this pavilion system in part to relieve the monotony of long uninterrupted wall surfaces and in part to indicate on the exterior the major internal divisions and functions of the building. In the case of Montreal City Hall, the articulation of the façade into distinct sections is the outward translation of the interior arrangement, as exemplified by the pronounced central pavilion, which indicates the main entrance and hall. The projecting and recessing planes of the wall surface, accentuated by ornate mansarded towers, contribute to the picturesque quality of the design.

In addition to the mansard roof and pavilion massing, the classicizing ornamentation of the wall surface illustrates another characteristic feature of the Second Empire style. Although the decorative details have been borrowed indiscriminately from earlier architectural periods, the most important sources remain the classical styles as filtered through Italy. The use of superimposed columns and pilasters, often combined with pronounced string courses to create a grid-like pattern, maybe said to stem from Italian Renaissance prototypes. On the other hand, the rich sculptural treatment of features like the monumental entrance to Montreal City Hall approaches the robust decoration of the Italian Baroque tradition. This dependence on Italian classical sources explains contemporary references to the style as "Renaissance" or "Italian."

Buildings designed in the Second Empire style often show a distinct consciousness of setting. Montreal City Hall is no exception, perched as it is on a height of land overlooking Place Jacques Cartier in front and the Champs de Mars behind. Simultaneously, it acts as a companion piece for the Court House across the small square to one side. Each outer wall offers a grandiose façade as an appropriate completion for the urban space. In addition to exploiting the potential of the site, Montreal City Hall also afforded exceptional panoramic views from within the building. One 19th century observer, remarking on its attractive setting, wrote that one could "see the main wharfs of the river navigation companies, Saint Helen's Island and the other side of the Saint Lawrence River."²

The City Hall was greeted with lavish praise in L'Opinion publique, January 24, 1878: "Construit à côté du Palais de Justice, sur la colline qui domine la place Jacques-Cartier, ce monument offre le plus riant coup-d'oeil et ne déparerait pas les plus belles villes du continent." A note of criticism, however, was added to this description: "Il est seulement regrettable qui'il ait pour vis-à vis les plus détestables masures qui se puissent voir. Espérons que le gouvernement provincial, à qui appartiennent ces vielles baraques, les remplacera bientôt par de magnifiques bâtisses ... "The "old hovels" which are so disdainfully referred to would have included the Château de Ramezay, one of the finest and few remaining examples of urban building in Montreal from the French regime. Fortunately this advice was never followed but it does serve to characterize the "progressive" spirit of the age which advocated throwing out the old and building something that was newer and bigger and therefore better.