Boston wasn’t the only place to throw a tea party! Here, on March 2, 1775, Providence residents protesting the Tea Act threw 300 pounds of British East India Company tea into the Providence River. Finding inspiration in Rhode Island’s founder Roger Williams, residents sent their tea into the river and their spirit of protest across the Atlantic Ocean to King George. The Market House changed that day and hasn’t stopped. Following the event, the Market House quartered French soldiers during the Revolutionary War, and by the middle of the 19th century, it served as Providence’s City Hall before overcrowding necessitated a larger space in present day downtown.

A symbol of the long history of business downtown, the Custom House was completed in 1857. Originally built as the first Providence Federal Building, the Custom House was home to the Federal District Court, the Post Office, and U.S. Customs. This Italianate style building is also an entryway to the commercial district of downtown. Walk down Custom Street to Weybosset Street and you will find the heart of the financial neighborhood that fostered 20th-century Providence’s prosperity. Weybosset Street and Westminster Street are home to the architectural remnants of this booming art deco era. Commercial buildings like the Hospital Trust at 15 Westminster Street, embodied the architectural flair of the early 20th century. It was home to the Hospital Trust, the first Trust Company in New England. Over the years it remained a fixture of the banking industry downtown but eventually, was donated to the Rhode Island School of Design (RISD). Today it serves as RISD’s Fleet Library.

Walk to the intersection of Westminster and Weybosset Street and look up at the landmark Turks Head Building. Built in 1913, the building has continuously housed insurance agencies, advertising firms, professional offices and banks, making it a constant in the ever-changing downtown. The Turks Head was originally a wooden figurehead from the prow of a ship, used as a sign for Jacob Whitman’s 18th century shop. The original version is said to have washed away in the Great Gale of 1815. A century later, a new building included the current high relief sculpture of a Turk’s head in the frieze above the third story. The Turk’s Head is just one example of downtown’s enduring pride in its past.

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As you stroll the streets of the East Side, pay attention to the street signs: many of the streets you pass bear witness to some of the significant people and structures that have come and gone, making and remaking the city. Power Street, for example, runs the property line of 17th-century original resident Nicholas Power. Meeting Street, once known as Gaol Lane, was the site of Providence’s early jail. And Transit and Planet Streets commemorate perhaps the first worldwide scientific collaboration: the 1769 observation of the transit of Venus, organized by Joseph Brown, one of the four prominent Brown brothers of Providence, and an early astronomer and architect.

Among these other scientific pursuits, Joseph Brown designed the Market House (1775), which he intended as a magnificent landmark to the wealth of the colonial city at the heart of the bustling waterfront. The ground-level arcades originally provided open stalls for fishmongers, butchers, and produce vendors, while the upper floor housed government functions. A Masonic Hall occupied the third floor, added in 1797. During the 19th century, Market House served as City Hall during a 30-year debate (1845-75) over the construction of a new City Hall. It has housed classrooms for RISD since the 1950s. Market Square, always a site for news, gossip, and shopping, was the site of a colonial tax protest against the British on March 2, 1775 when the people of Providence burned tea. On September 7, 1897, Emma Goldman, a noted anarchist and feminist, was arrested for unlawful “open air speaking” and charged with attracting a crowd in Market Square. Nowadays you are more likely to encounter a RISD student’s art installation.

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The Rhode Island School of Design, most commonly known by its acronym RISD, is an internationally acclaimed leader in art and design education. Established in 1877 by 34 members of the Rhode Island Women’s Centennial Commission, the school embarked on a radical experiment in education: combining the study of art, craft, and design, from sculpture and textiles to furniture making and glass production. The red brick Waterman Building (1893) is a Venetian Renaissance landmark that was built to house art galleries, classrooms, and studios. At the base of the hill is the Metcalf Building (1915), created to look and function as a textile factory to teach students about the practical manufacture of fabrics, as well as their design. RISD offers more than a traditional fine arts school education, with an emphasis on creative thinking, industrial design, and superior craftsmanship. RISD’s campus, which began alongside the Brown University campus on College Hill has since expanded into Providence’s downtown area.

Founded in 1877 (the same year as the school), the RISD Museum boasts one of the country’s finest collections of art from across many cultures, time periods, and media, from ancient Egyptian artifacts and early American decorative arts to French Impressionist paintings and cutting edge film and video. The museum supports the school’s original focus on industrial arts education in many forms from textiles to jewelry design. The museum’s groundbreaking exhibitions, educational outreach, and extensive public programs continue to form the foundation of a thriving creative culture in the city of Providence and beyond.

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Providence’s tightly-knit community of artists and collectors created the Providence Art Club to congregate, create, and display art. It is the second oldest art club in the country after the Salmagundi Club in New York City. The westernmost of the club’s four buildings is the Fleur-de-Lys Studio (1885), built by Sydney Burleigh as workspace for himself and fellow club artists. Designated a National Historic Landmark, the studio is a masterpiece of Arts and Crafts architecture with finely rendered detail. On the street level corner is inscribed the phrase “Fair among the Fairest.” Not everybody appreciated this building; H.P. Lovecraft found it so revolting that he set his horror story “The Call of Cthulhu” (1926) there.

Among the founders of the Providence Art Club was Edward Mitchell Bannister, a celebrated African American landscape painter. Bannister’s work Under The Oaks earned him first prize at the Centennial Exposition in Philadelphia in 1876, although he had to overcome prevalent racist attitudes. Bannister discovered from a newspaper that he had won the prize, and when he arrived at the gallery to claim it, the clerk demanded to know “what it was to [him].” Bannister later wrote: “In an instant, my blood was up: the looks that passed between him and others in the room were unmistakable. I was not an artist to them, simply an inquisitive colored man; controlling myself, I said deliberately, ‘I am interested in the report that Under The Oaks has received; I painted the picture.’ An explosion could not have made a more marked impression. Without hesitation he apologized, and soon everyone in the room was bowing and scraping to me.”

Bannister’s wife, Christiana Bannister, is historically significant in her own right. An entrepreneur and self-proclaimed “hair doctress,” Bannister ran successful hair salons in Boston and downtown Providence which allowed her husband to pursue his art career.

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This extravagantly embellished house is still called the Wedding Cake House in spite of its current desperate search for rehabilitation. The first owner John Kendrick was an inventor whose American Supply Company dominated the global market in loom and reed harnesses, a crucial element of textile mill power looms. The c. 1867 mansion attributed to Broadway architect Perez Mason reflects the euphoric froth of new money. For a while owned by railway and button-fastener tycoon George Prentice, in 1915, the house was purchased by Italian immigrant dressmaker Anna Tirocchi. In the elegant salons of the Wedding Cake House, Anna and her sister Laura fitted Providence’s elite in their couture creations that echoed Paris fashions. At Anna’s death in 1947, everything was wrapped in tissue paper and put away. Some forty years later, RISD Museum curators were stunned as if entering a fashion time capsule when Laura’s son invited them into the house to catalog and preserve the collection.

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