Crafted in 1860, this house bears the unmistakable architectural touch of Samuel Jamison. Originally specializing in masonry and plasterwork, Jamison’s craftsmanship earned him recognition, leading to notable projects like the iconic Factor’s Row buildings in the Central Business District. These buildings, immortalized in Edgar Degas‘ painting “The Cotton Office in New Orleans,” were conceived by architect Lewis Reynolds, with Jamison overseeing construction in 1858.
Building on this success, Jamison ventured into architectural design himself. His portfolio includes standout creations like the Morris Israel House at 1331 First Street and, a few years later, the Joseph Carroll House at 1315 First Street. These distinctive residences serve as enduring monuments to Jamison’s rising stature as a distinguished architect.
As previously mentioned, the Morris Israel House stands as a prime example of Italianate architecture in the city, distinguishing itself from the prevalent Greek Revival style of the era. While many houses blend elements of both styles, this residence embodies the early Italianate aesthetic, which gained traction in New Orleans in the late 1850s. Upon first glance, the delicate features of Italianate design are immediately apparent, marking a departure from the more austere and formal characteristics of Greek Revival architecture.
A key feature that sets Italianate homes apart is their window and door frames. Drawing inspiration from Italian villas, Italianate architecture favors arched doorways and windows. This departure from the rectangular shapes found in Greek Revival homes reflects the influence of Roman architecture, where arches were prominently used. Additionally, Greek Revival homes often feature a distinct door treatment called the Greek Key, characterized by a wider lintel above the frame and vertical elements that flare out as they descend to the floor.
The ornate cast iron decorations adorning the galleries are another defining feature of the transition to Italianate style for this house. Instead of the typical Greek orders with Ionic or Corinthian columns supporting the porches, slender cast iron columns embellished with arched spandrels take their place, often referred to as “iron lace.” While some may interpret the design as floral, I also see a resemblance to such motifs. Moreover, above the upper gallery, the floral theme continues with cast iron palmettes, while along the roofline, the traditional Greek Revival dentils are replaced by larger corbels.
On both sides of the building, semi-octagonal protrusions extend a few feet from the wall. This architectural feature seems to bridge the gap between the solid, boxy forms of Greek Revival architecture and the whimsical towers and turrets characteristic of the emerging Queen Anne Style, which would become more prominent in the 1880s.
The house eventually came into the ownership of Joseph C. Morris and stayed in his family for over fifty years. Currently, according to records from the tax assessor’s office, Tulane University is responsible for maintaining the property, showing a commendable level of care. This house holds a special significance for tour guides like myself, as it never fails to enchant guests. It’s a popular stop on many Garden District tours, captivating visitors with stories that range from its architectural details to even rumors of ghostly encounters.