Macon Magazine

9: Neoclassical Revival Turpin-Grace-Hart-House, 340 College St., 1908 EVEN THOUGH VICTORIAN STYLES PREDOMINATED in America until 1900, new architectural fashions – inspired by the American Centennial Exposition of 1876, the Columbian Exposition of 1893 and by subsequent American passions for antiques and resurrecting the past – eventually became the norm. Colonial Revival began to emerge in the 1880s, and, soon after, the related but distinct Neoclassical Revival came in vogue. Sometimes erroneously called Southern Colonial, Neoclassical Revival often featured pillared porticoes with correct classical proportions as well as other details, and it was in widespread use throughout America. Other typical features as illustrated by the Turpin House include the yellow brick construction, the hip roof, the deep cornice with modillions over the decorative frieze, the fluted- columned portico with terra cotta Corinthian capitals and the leaded glass front doors. George Ralston Turpin, a prominent real estate and insurance broker, replaced an earlier house on this lot in 1908 with this very correct example of the style. He enjoyed it only briefly with his wife and family before his death in 1916. Turpin was the son of George Balthazar Turpin, who was embroiled in lengthy litigation over the estate of a member of Macon's wealthy Ralston family that went to the U.S. Supreme Court on appeal. e case was for many years an oft-cited ruling on the issue of "undue influence" over control of property by a trustee on an infirm person. In this case, one of the properties involved was Ralston Hall, Macon's theater. George B. Turpin prevailed in the suit. Passing out of the Turpin family, first to the Walter Graces, the house subsequently became the residence of Mr. and Mrs. Freeman Hart. ey hosted the organizational meeting of the Middle Georgia Historical Society (now Historic Macon) in the house in 1964. 10: Greek Revival Nisbet-Huguenin-Proudfit House, 1261 Jefferson Terrace, circa 1844, National Register of Historic Places ALTHOUGH GREEK REVIVALISM had distinct English and European precedents, the growth of this style marked the emergence of a true American architecture. With the dissemination of the details through pattern books such as those of Asher Benjamin and Minard Lafever and with the travel of trained builders using its forms, Greek Revival permeated American architecture for many decades. e movement rested upon the view that the Greek temple was the most perfect of all of man's architectural creations. is correct specimen exemplifies the style with its raised, two-story portico with fluted Doric columns supporting a large entablature including a cornice with dentil molding and a decorated frieze. e rectilinear entry door with a pilastered architrave, transom and sidelights on the first floor is nearly replicated above by a smaller opening with a projecting balcony. e wood siding on the front elevation is laid flush so that the house appears from a distance to possess a smooth façade of stuccoed masonry. It is believed that Elias Carter, a Massachusetts architect who designed several buildings in Macon in this period, executed the plans for this house for Briggs Moultrie, but the dwelling was completed by subsequent owner James Nisbet. e inverted laurel crowns in the portico frieze match those seen on a similar house that Carter designed for the Napier family. Edward Huguenin, born in Savannah in 1806, came with his parents to Middle Georgia during its expansion. With his second wife, Julia Fort, he amassed a large fortune from several cotton plantations worked by more than 300 enslaved Africans. Like certain other wealthy Antebellum Maconites, Huguenin preferred substantial town residences to country plantations. Unable to serve in the Confederacy, Huguenin outfitted a rifle company that bore his name. His son, Edward Jr., became a successful farmer and developed Macon's Huguenin Heights neighborhood. JUNE/JULY 2020 | maconmagazine.com 81

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