pleasure to hear your voice. you have an amazing tale of hardship, but it has worked out well in the end, i can tell. for taking thech time to share your story. thank you so much for your service. >> thank you. >> you are watching american history tv all weekend every weekend on c-span3. to join the conversation, like us on facebook at c-span history. twoext on the presidenc dublin architects talk about the jamesborn james hogan, -- hoban. this hour-long session was part of a daylong symposium hosted by the white house historical association and focused on the history of british and irish connections with the white house.

>> good morning, everybody. i am ed. i began my career as a british and irish historian. i read my phd about famine. in undergraduate school, i went expeditioneological to date up a medieval house. i just did into less interesting realms such as george washington and american history and all of that, and the s wonderful opportunity to come back full circle to work with both of these wonderful scholars in ireland a couple of months ago on a mission from the white house historical association to travel to dublin, county kilkenny to explore james influences birthplace his

and origins. there are monuments to hoban in ireland. brian o'connell, a conservation architect in dublin, i will leave it to you to look into your programs to see the full biographies, was kind enough to drive me down to kilkenny as well as looking at very interesting sites such as balchem paul on the outskirts -- hall, which contains the first ever monument to george washington, built in 1778. a lot of people do not realize. kelly isy: -- merlot also an expert on dublin itself and georgian architecture and the palladian architecture and james hoban's origins there. she conducts walking tours in had a as well, which i

wonderful opportunity of joining her and her students to walk throughout north dublin and to explore the history of that. going to speak first about james hoban's origins and ofluences and the context irish architecture in the 18th century. we will then move on to brian, who will talk about will been soming to the united states waington, and the construction of the white house itself. i will moderate a few questions as we have time, so thank you very much. [applause] thank you very much. i am am delighted to be part of this symposium. past year, part of my architectural practice in dublin, i have been involved in studies of the royal exchange. now, city hall. and the new common bank.

imageictured here in an from the lawrence collection, dating around 1900. as tough these studies that i became aware of james hoban's training and practice in dublin and began to map the influences and connections. hoban was born in county kilkenny in 1765. his father was a tenant farmer on the estate of a family. i'm to showing the map of ireland here.

it was builtrlo: to the design of sir edward pierce. it was in the estate workshops at desert court that he trained as a wheelwright until his move to dublin in the 1770's. during his time in dublin, hoban was a student at the dublin society's school. that thein writes founder of the french art schools influenced the dublin society with his idea of providing free education to craftsman. the drying school was established in 1750, when the dublin society took over the school and appointed him master. west was an artist who had studied in paris.

the focus was on figure drawing with ornamental and landscape drying instrument used -- later.ced architectural drying school was founded in 1764. the architect was appointed master. ivory was described as an urbane character i jd herbert, a student in school. beats based on grafton's opposite the provost's house. an elevation of the school a dictionary in 1913. the intention of the school was advertised thus, to teach 20 boys of appropriate and properly qualified the principles of geometry and the elements of architecture and the rules of perspective. pupilses there were 35

in the architectural school each year. not a claimed there was working tradesman or mechanic in the building line in dublin and those in ireland have not received instruction in it. it is worthy of note that from 1749 to 1849, like the french model, tuition at the school was free. this made the school accessible to all peers of society. the practical emphasis made it attractive to craftsman. despite this practical emphasis, turpin wristhe teacng thesis at the school -- ethos elevated it to a more intellectual plane. james gibbs -- sir william chambers, treaties on civil architecture.

they were among the thenal texts provided to students. there were a number of more practical manuals such as british carpenter and british assistant. shall be772, no person admitted as a schor t school for drying is n -- drawing who is not intending to follow in some business where knowledge of architecture is necessary. is was compounded by the idea that students gain practical experience working during their time with the school. the system serve as a reference for potential employers. some notable artists who passed through the school, sir richard marston, robert poole, john cache, james hoban. poole and cashe had a 1780

publication. this was patronized by the dublin society and includes descriptions of the building in addition to detailed drying's here, we see the dti the parliament house. beside trinity college. sorry. clicking. oh, sorry. it's delayed. to gain insights into hoban's formative years, it's important to look at the city where he practiced his craft. some pivotal developments should be documented. the 18thd half of century was a period of major architectural transformation in dublin. newite an emerging

architecture, and the construction of several buildings of significance in the first half of the 18th century, dublin in the 1750's still retained the urban form of a medieval city. in the 1756 map of dublin. formation, sorry. the formation of the commission in 1757 marked a significant turning point in the city's developmen a the start of the phase of enlightened planning. ok. initially, he created a defined root from cable street to dublin castle. they went on to become hugely influential in the development of the city. with the exception of the lord mayor, all the commissioners were making wide and convenient streets, appointed in 1757.

this gave them considerable power in the change. commissioners possessed additional skills. could not have achieved what the commissioner achieved in the late 18th century had this power not been accompanied by the discrimination in taste of these men. indeed. the work of the commissioners they wereest architecturally aware and influenced by european and british urban models. familiar have been with others and also with the s, especially with the involvement of many of them architecturally. refers to the aristocratic -- the last quarter was a

productive time for the commission. this dramatic expansion of the city documented in wilson's 1798 -- sorry. if it appears. there we go. it is reflected in the remarkable population rise from 200,000 in1771 to 1800. it was the start of the stamina hoban in the 1770's that would have arrived in dublin, at time when the city was being therded as cohesive for first time rather than a series of fragmented estates. the commissioners and their contemporaries were well-traveled and well-versed in contemporary urban development in europe and great britain. this thinking would have permeated architectural circles and influenced attitudes to design.

hoban's training in the dublin practice as as carpenter and draftsman would have led him to some influential characters and figures in building circles, most notably thomas ivory, master of the drying school ends -- drawing school and celebrated architect. ok. ofa letter dated the first december, 1792, hoban writes to the commissioners of the district of columbia in hisington, outlining qualifications for the task of designing the presidents house. his connection to a suitable stonemason in ireland. being universe of lee acquainted with men in the building line in ireland, particularly many stonecutters, with whom i have atn concerned in building,

the royal exchange, new banks, and customhouse, all of which were done in the same style as the business to be done here and nearly the same kind of stone. to these men, i would write, if ofmeets the approbation's the commissioners to embark for this city early in theing, until i have such terms as the commissioners may think proper and would recommend to engage them for two years, but the building may be done to a certainty. a guinea per week. i would recommend to encourage or sixx complete -- four complete bricklayers and the smith of ability who will be much wanted here. i would like to credit dr. william seale for the valuable source of this letter from the national archives here in washington, d.c.

what i intend to explore and hoban's brief correspondence is not only the three buildings with which he claims involvement in their place in city expansion, but also the masons or stonecutters with whom he became acquainted during these works. the buildings referenced by hoban were hugely significant in the context of urban development in the late 18th century in dublin. the royal exchange was designed by a young english architect, thomas cooley, following a competition in 1768. was placed second. thomas ivory was first amongst the irish entries and received 30 guineas. cooley's building -- ok.

was constructed between 1769 and 1779. and formed part of the aforementioned route between cable street and dublin castle. drawings from the commission collection are shown here. the royal exchange -- sorry. was the first large-scale neoclassical building in ireland. and its construction marked a significant turning point in dublin's architectural trajectory. it was described by christine casey as the harbinger of dublin's superlative architecturee lath 18th century and the swan song of the old mercantilist city that had long resisted eastern expansion. the customhouse was the work of james gandom. for a newal customhouse was not without controversy. representing the eastern expansion referred to by him.

existing customhouse was situated on the keys near dublin castle and the royal exchange in the heart of the historic city, the yellow highlighted to the left there. the proposed location for the new customhouse on the northeastern keys was of toticular strategic interest those instrumental in the eastern expansion of the city and had private concerns in its development. there was such opposition to this project with brought with it the consolidations of the gandon expansion that was known to carry a cane sword fight. completed between 1781 and 1791, gandon's customhouse is considered to be a masterpiece of european neoclassicism embodying the aspirations of

ireland in the 1780's. the new bank, referred to by hoban in his letter, will be examined in more detail shortly. he does not clarify his exact involvement in these projects. we are left to speculate in this regard. as part of their training, students in the school of architectural drawing were obliged to gain professional experience working with architects. it speculated that hoban may have been an apprentice to thomas irate, master of the school, who is pictured in the 1779 painting. ivory, heg from cork, began life as a carpenter and spent time in the workshop of a gunsmith before training under myers. he established his practice as an architect. inording to the journal

1764, the master of the drawing school had the freedom to take in scholars for his own benefit. given that ivory was master of 1780,hool, a student in hoban was awarded second prize for drawing success. if possible ivory would have engaged him as an apprentice. the new bank hoban alludes to in his letter is the bank rerred to in the 1793 an as the new new bank in as the dublin, located on castle street, opposite the royal exchange, and the entrance to dublin castle. as pictured here in print. as previously mentioned, the commission had been established to open up a route from cable street to the castle. it was within this context that thomas ivory was commissioned to design a bank and private

residence in 1778. the area around castle street had emerged as a banking quarter in the 18th century. the bank was positioned opposite another. in 1788, the two buildings feature in the drawing in the gentleman's magazine and chronicle pictures here. the prominent location of the ,ank strategically placed highlights their significance in 18th century urban context. the bank has been widely celebrated for the skill in whh is cotructed. she describes the building and and and exquisitely made building, the sole instance when it matches up with his spectacular drawing skills. the compositions reference the work of robert and james adams

in london and describes the building as the only building and dublin which looks like it may have been and by one of the items. ivory's building, which was later extended, comprised of three room plan with a central open their whole -- stairwell here. it shows delicate plasterwork in the royal exchange and a stone staircase with wrought-iron balustrade. was designed as a private banking house and residents. it was hiswhat -- principal banking parlor. this delightful room features feelings attributed to them some

audrey -- vincent. it depicts cherubs against a backdrop of a clouded sky. the walls of the former bank parlor are expressed as a blind doors, incorporating windows, and storage resources with very fine joinery details. if hoban was involved in the construction of this project, as he claims in his letter, it's likely he worked on this detailing. use of theingenious overall in the form was driven by the combined plot, it's interesting to reflect on the oval room as a predecessor of hoban's later creation in designs for the president mansion in washington. the fine carving on the facade of the bank is testament to the skill of an acclaimed sculptor and the summation of -- stonemason. as a young stonemason, he spent nine years in rome, where he was

engaged in making copies of sculptur for grand tourists. aboard encountered him on the our.nd t i am shown on the right. he arrived in dublin in 1756. infeatured alongside ivory 1779 in the school. according to the dictionary of irish architects, he was chiefly engaged in building relation activities, a stone, and mason, clerk of works, and speculative developer. he was responsible for the stonework on sheldon whitehouse, and the bluecoat school. his involvement on the newcomen bank and royal exchange would suggest he may be one of the stonecutters that hoban references in his letter.

in addition to this, his protege, edward smith, was the principal stonemason on the customhouse. it was constructed by hugh darley. smith went on to become master of the dublin society school of modeling and sculpture. to complete the circle, they were also involved in the dublin and hobanawing school would have undoubtedly crossed path with them during his stick -- paths with them during his study. is scanned and so is a further explanation of the working of ntemporary allowutters, which may insight into the exact nature of hoban's involvement in the dublin scene. is one of the stonecutters referred to by hoban as the collective catalog of work would suggest, his engagement in speculative tobin work is of interest. he is recorded to have owned and developed lots in parnell square, colin's place, williams

street south, and the north wall. the construction process was a collaborative one. given hoban's claim to the university and in particular stonecutters, he may have acted as a draftsman in the private projects. on reflection, hoban's training at the dublin society drawing theol not only gave him skills to practice as an architect but opened the doors to an influential circle of developers, architects, and craftsmen who helped to consolidate his architectural training before he left for america. perhaps he had this in mind when he established his drawing school interest in in 1790, advertising his training -- drawings will in 1790,ment

advertising his training. thank you very much. [applause] >> good morning, ladies and gentlemen. i will not repeat a lot about what merlo has said. she set a large part of the scene for what we are both talking about. i am prepared -- have prepared a paper which is far too extensive to present to you here. i do not intend to go through it. i intend to speak to that paper. what i would like to do is read from ourtract ambassador -- they had remembered kennedy's visit in 1963, and kennedy made a speech to the irish parliament. he made it in leinster house, which as william has already verified and indeed as ryan has identified also, this is one of

the influences on hoban when hoban came to design it, one of the buildings. merlo has given you the city in which he grew up. there was neoclassicism. we will address that in a moment. he would haveing seen every day, everywhere he went. he was bored in a court. pierce.tributed to it's likely that it was very much derived from him and his thinking. timenk he had died by the it was built. it was transposed. what i want to read is from kennedy's address and what i have here is kennedy's address, the original -- a copy of the original text from what she read -- he read in dublin.

it's in a museum in dublin which are allowed me to bring a copy of it which i would like to present to the association on leaving. it has kennedy's corrections in it itself, but in relation to hoban, i wanted to read this. he says it is also said by some that some features of this stately mansion in leinster served to inspire similar features in the white house in washington. whether this is true or not, i do not know. the white house was designed by hoban, a noted irish architects, and i have no doubt he believed by incorporating several features of the dublin style, he would make it more home like for any president of irish descent. it has been a long wait, but i appreciate his effort. [laughter] it only occurred to me -- of course, there were 11 presidents of irish descent before kennedy. why did he say the first

president of irish descent? it only came through to me this morning in what the ambassador said, the first president of pure irish descent. all the others came through the ulster-unionist presbyterian tradition, intermixed into a races. extent with other as the ambassador has said, all of kennedy's grandparents came from ireland, so he was totally irish in the sense perhapsf the catholic peasantry rather than the presbyterian -- which of the station between -- the decision between the north and south of ireland. my paper has a proposition. that proposition is it goes back to william james. william james make the observation that temperament -- i'm sorry, that a man's philosophy is nothing more than his temperament.

an interesting observation because what james is saying is that each of us are born with a temperament. we simply come with it. it is like a room you get unfurnished. what reason and experience and prejudice does is that allows us to furnish that room. thesis ispal or his that we do so in such a way that fits our temperament. we have a temperament we design our philosophy of life around temperament we have received. we don't actually create our temperament. we create a philosophy to put into it. he says temperament really is at the root of everything. you add one more constituent to that, circumstances. circumstances and temperament come together. then you get outcomes. outcomes become history. something that might have happened, and when they do happen, they can't be un-ha ppened.

you can look at the cause and effect, inversely, you cannot predict the forward. it is out of that that results come. i find it interesting that in a it refers to the building of america's first architectural idea. that is what i think the white house is. one has to look out -- i don't have time to go into that. but if one looks behind washington, what was washington trying to achieve? the states had succeeded in their revolution. they were still disassociated. they were all internally like sovereign. he had to bring them together into a nation. he had to forge a group of independent states into a nation. he would do this in a number of ways and he did it cleverly. one of the things he would use is he would use the architecture

of his time. he would use the idea of ordered places. he would use classical ide he would create a capital which in fact was not the capital of any existing state, but was a new federal capital. that federal capital would be the foundation of the new nation. it would distinguish the states from the nations. this was a very important part of his idea. what architecture was going to be was a language, a syntax, a vocabulary, a methodology by which symbolism and utility could be united. tot i want to do is to come the white hoe se. before turning to how it came about, what i would like to do is briefly look at it by way of analysis. you press something on this? there it is. somebody does it for me. initiallyve here just

, i have a pointer here, what we have here initially is the white house itself as it was actually and remrnal form, was, i will be arguing this was a copartnershibetween washington and hoban. indid not have an architect the concept we understand. hoban was one of the first of the new generation of architects who are -- professional architects. you had gentleman and a menu insists. i gentleman understood architecture, he had been educated in the classics. you never see latin translations. you did not have to. every gentleman could read latin. he had learned the latin texts and learn classical architecture in the process.

washington did have a genuine architectural idea. you can look back now at hoban. washington may have known about creating building stes, but one scholar said he knew nothing about architecture. that was unfair. that was the new dispensation hoban would represent. andthe dispensation hoban ashington represented, it was gentleman and his partner. what the arguing that white house is is the winning out of that idea over the alternative. that is that it is put into the hands of an architect who designed it, who has a patron on the one side and builder on the other, and he sits in the middle and dictates. this is not the reality of the interrelationship between washington and hoban. it was going to be a form of partnership.

each played a role. i will demonstrate there are two temperaments interlocked like hand and glove and this is why thcatholic irish peasant within theminant most iconic or best-known building in the world, which set the fundamental ideal of what -- ideal in american architecture. want to come back to another instance of what was being taught in the dublin school. and what was being taught in all architectural training at the time. these were carpenters and we'll writes being trained. eelwrights beingnged -- trained. a colleague of mine explains in earlieris that in that

relationship of patron and builder, in fact the carpenter was not what the carpenter became in the 19th century. the carpenter was the mind behind it. he was what the mason had been in medieval times. he was the person who determines the interaction of all other trades. he was interconnected with everytng and he was ultimately responsible for the structure of the building. therefore, since everything else related to the structure, he was responsible. because the finishing of the building was to a large extent timber, he was responsible for all of those trades. the only trade would not be involved in was the plasters, who come a lin body independent. they worked hand in glove with what was called a carpenter. to call him a carpenter dismisses him. it is a misnomer in relation to

what hoban was. merlo has ne through the dublin society. to teach carpenters, to bring them up a level, to improve their talent in their ability, do he what washington was going to be looking for. somebody who could deliver his project. he knew what he wanted or he thought he knew. he had to clarify what he actually wanted and he wants to kn how he could get it. he did that in partnership with hoban. to look at here initially is the idea as to what palladian architecture was. i want to show you this diagram here. this is what is called the golden mean. the golden mean is an extraordinary thing.

it is a ratio of one to the square root of two. that may be quite obscure, but if you look at it in terms of a geometric concept, it is not. the same herbert that's merlo had mentioned says that baker said to herbert as a student coming in, show me your compass and i will show you how to design a building. i am old enough to have learned from the compass rather than the computer. a compass will do extraordinary things on the drawing board for you. you see the gray squares, -- the square down here with the blue circle in it. if you take your compass, you puyour compass point here, you put the other side of your compass here and you swing this, you are then bringing the diagonal into the side of a rectangle. you have created a rectangle which in fact has the original side of the square and it has this diagonal is the other side.

the ratio between that side and outside side is one to the square root of two. you don't have to do any calculations. you don't have to -- rational number. but if you work with a compass it is highly rational. the has come important. the other thing in palladianism is there were no standard measures of -- standards of measurement. this was the idea of the module. because there was no such thing as a foot or a millimeter, what you started off with was the diameter of a column and that was called the module. everything was regulated from that. the diameter of the column, everything else would follow. this is our friend palladio here. we have something called palladianism. what palladio and a number of people around his time did, this was the renaissance, they were

rediscovering -- they had rediscovered literature, they had rediscovered this perfect civilization that died when the barbarians destroyed europe. the empire had reached a stage of perfection. of course it had not, but it was a very nice myth it had. they were far enough ahead of the barbarians to be civilized. in fact there was a presumption they were civilized. it was also a very useful -- a useful concept for people to start off. this was a myth. a myth is not a truth. a myth proves a truth. it is not a truth. it is a sensibility which proves the truth. a very useful platform from which to build. there was a myth it was a perfect society. literature,rfect in it would be perfect also in the arts and architecture. architecture was going to be public art, where public utility was brought down to the level -- or brought up to the level of

being a sculpture. it had such a quality to it and the utility to it. there is -- thus architecture does not have no utility. if there is no utility it becomes sculpture. if there is utility and must be planned, it must be adapted to function. , the fourrote a book books on architecture. he derived a series of orders by studying these. they are not actually correct. es dra much -- by palladio, much greater -- much later than the true bs -- vitru vius. there were no drawings, nothing had survived. but text had survived. this text written in the first, second century, at the time of christ, that became the only document they could log onto.

they produce all kinds of illustrations and variants on that. interpretatiofng form. palladio is no different. he takes various other works aneady done and you now have age of printing, printing is new, it is like what computers are to us. it is new technology. he has this great idea of producing a book in order to bring architecture back. rebirth, to-- the bring it back again and in the new dispensation of a civilized society, he is now going to reintroduce architecture. a very clever and ingenious arecre course, but what he does is he works it all out and comes out in its own right for himself. this is a roman temple.

it is measured from rome because they don't have access to greece at this stage. greece is occupied by the turks, they can't get their. they work on the basis of rome. he says the column module itself is the module and that everything is support -- is proportionate to that. he gives an example of how that should be interpreted and that these are im baginar they referable to what the renaissance imagined classical buildings were. you did not have pompeii. those would come later. you did not have access to greece. that would be added later. that's what brings us to the distinction between palladianism , neoclassical. these were evolutions. these were movements. palladianism was palladio interpreted directly.

his buildings are deemed to be palladian. palladianism is brought back by jones. he was a huge genius, but in act happened to coincide with period -- a negative period in the history of britain during vil war. as a result of that, he actually got relatively little airspace. what he did was quite extraordinary. his famous house at greenwich and banqueting hall, these are still classics which can't be improved upon. in fact, what we have is palladianism here. what i want to show you there, that is just one abstract, it is semi-relevant. you are showing the difference between mental heads and the triangular heads. this is going to recur throughout palladianism. this is where they originate. you get this idea of the

ground-floor room. i have not really even got arted. [laughter] i guess -- this always happens to me. i'm going to go very quickly. i'm not going to be able to touch on a quarter. first of all, neo-palladianism is palladianism reborn again. it comes back and it is brought by pierce, the man to whom the house is attributed. he brings it into ireland. showing -- ok. that is the parliament building merlo has already indicated. this is regarded as one of the greatest exercises in the a palladianism in europe. i do not think it has been excelled. pierce died very young.

as the what is known ionic capital here. you will hear jefferson talk about later when he does the university of virginia, he talks about the fact that -- when he asked to do a model of the temple, which in fact, there is a direct copy of the university of virginia. jefferson wants that imported. he decides to accept it should be ionic. corinthian is too difficult to produce. he will accept ionic. then the architect says, i'm not going to use roman ionic. jefferson gets very upset about that. just showing you the kind of person jefferson was, he had this dictation about classical architecture. was going to need a transpose

or, someone who would make it real. this is a separate -- exercise altogether. this is if you take the module, this is hoban's original drawing of the white house. it has that section on the side of it. this is extremely valuable. that allows us to construct -- to reconstruct what the original entry was before in fact it was changed by agreement with washington. i have reconstructed from that section what is probably about an 80% accuracy the missing drawing. what that is showing you is that the column grid, the diameter of the columns around the front of the building, if that is extended through the building, you would see the building fits precisely into that grid. everything within itself.

symmetry does not mean what it means in standard language in architecture. it means coordination of the parts within themselves. the way the big parts are laid it is anlled being -- unusual word, it is a french word. symmetry is the balance of the parts within. this is showing the plan analyzed against palladian geometry. palladio requires everything to be in squares. the golden mean is permitted within all circumstances. if you look at the rooms as you go around, you have a double square here in the big east room. if you come over to the west side you can see the golden mean used here against the square. you can see, in fact, the whole of the geometry divides down into a strict palladian geometry. you can see the way in which the building was constructed. hoban has come from the school and this is what the school has taught him to do. can we go on?

this in fact looks at the allegation -- the elevation of the building. what you did was, you divided the column into a number of parts. --hey all of the if you liket, ratios, palladio has a ratio of nine. it turns out to be eight and 1/6. the reason for that is that the person his book was used in the dublin school was the french equivalent of palladio. he had worked at his order and that in his order he uses half adules and he uses 16 and third. if you analyze it backwards, you can now say hispaniola has been used, not palladio. you also get the column at the top. . whole of the building is divided. what is called the

inter-collimation is another factor. --t is set as another fractions of modules. i have to go on from there. of the building can be divided -- i have done a study of the. windows. we will go on from there. going back to the drawing school , i want to mention one thing. when it comes back to criticism of hoban, he refers to him as a carpenter, more or less as being a peasant and so forth, he also refers to a category of people who we set our uneducated. our uneducated -- are uneducated. i asked the library whether they had a second volume of this. a second volume

and it is a very interesting to volume book produced by this man, who published the first major book on algebra. it deals with teaching philosophyabout -- to the students in the drawing school. it is produced for the purposes of the drawing school in 1778. this would've been a fundamental text hoban would have study. he is studying them as well as appomattox and hydraulics -- mathematics and hydraulics. 's time, bit after hoban but this is the library to what has been there. -- that would have been there. i'm now going to look at the reconstruction of the buig. here you have the roast and courthouse done by hoban --

charleston courthouse done by hoban. very like the entrance, the same language being used. the coincidence is a coincidence of language and syntax. it is a little bit like saying shakespeare uses that word this number of times. how you use it is a different matter. i have taken two buildings that influence them. thehave what is called lying in hospital, the rotunda hospital here. you see the podium here. that allow you -- you see the bands. these are peculiar to irish palladianism. because it was being imported from the consonants -- of the continent.

dublin was the second city of the empire. reconstruction and there is something drastically wrong with it. that is a direct translation of that section taken from the surviving drawings. can we go on to the next one? that is because there is a mistake on the drawing. the pediment is left out. this i believe is within at least 80% correct of what the original drawing what have been that was submitted to george washington. go on from that. keep going. unfortunately i don't have time. i wanted to look into the temperament of these people. what i would have argued is that the temperament of washington, washington is a self-made man, in the definitive work on him -- i don't say that because he has book on washington is

the best single volume to list on washington's military history. i say it largely because in historiography the myth is over. america is content to look back at the reality. there is a very close link between him and churchill. they both have problems with being rejected by their fathers. there are all kinds of interesting connections. washington ultimately makes himself. he re-creates himself. he does not like himself. he disciplines throughout his life. one thing about him, he's going to get what he wants. when you come to somebody like -- who is saying to washington, you don't know what you're talking about, washington says, no. hoban open says if this is what you want, this is what you get. washington says that the commissioners, it was my idea, i

have checked the ill debility of buildability- the of it with mr. hoban. them, they two of know what they are talking about. this would be my argumen [laughter] the temple. is i was going to talk about jefferson. that is the university. i was going to talk about lou about land font and hoban. he was getting married. and got a new york man to do a portrait of him in >>. a portrait of-- him in wax.

hoban finishes it off, here he delivers the second time around, largely because they can't take -- he has gotten on everybody's nerves again and that is the end of it. he dies shortly after. i got a colleague of mine to hoban whichearch on said there was a very strong family connection with his son, the family said he was the spitting image, taking that as much more likely to be what he looked like. type, -- the guerra artist tope, i got an take the description of hoban's character of being a peasant who has learned to live in restricted circumstances he was

brought up in in ireland, he has learned to be independent, to have his own mind and still play inferior.f being the he comes into the world of the cap -- as a catholic, with all of these potential disadvantages, and i asked him to paint for me. to re-create him as a portrait artist, to bring hoban back. and take some cognizance of the wax thing, but not too seriously. he produced this as my sort of hoban this is my view. i'm going back to william james. it about temperament and circumstances. there is a team here. here is one team, here is another team. there is the jefferson-hoban link.

there is very little contact on this access. -- axis. you can find completely different people and animosity between them if you analyze. you find this is being combination that works. againstsional architect a highly enlightened patron. they're going to quite rightly switch the microphone off. [laughter] before leaving that what we have here is that portrait i had, can we just go back to the portrait? the original is here. from the artist, my colleague and myself, we would like to present this to the white house historical association. [applause]

announcer: our nine week series, 1968, america in turmoil, is available as a podcast. you can find it on our website c-span.org/history. this is american history tv only on c-span3. >> 50 years ago on june 5, 1968, senator robert f. kennedy was shot in los angeles after winning the california presidential primary. next on "reel america," robert f. kennedy, 1925 to 1968, 50 minute cbs news special report from the evening of june 6 after the senator died of higunshot wounds. the report covers the life and assassination of the new york democrat and is anchored by walter cronkite.