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Alexander Saeltzer
Alexander Saeltzer was a German-American architect active in New York City in the 1850s and 1860s. His work includes the Anshe Chesed Synagogue (now the Angel Orensanz Center), Academy of Music (New York City), Theatre Francais (New York),〔() September 3, 2011 The Lost 1866 Theatre Francais -- 107 West 14th Street Daytonian in Manhattan〕 the Duncan, Sherman & Company building and the South Wing of the Romanesque revival structure at 425 Lafayette Street built between 1853 and 1881 as the Astor Library (which later merged with the Tilden and Lenox collections to become the New York Public Library).〔Israelowitz, Oscar. ("Oscar Israelowitz's Guide to Jewish New York City'' ) New York: Israelowitz Pub., 2004〕〔New York City Landmarks Preservation Commission. ("Anshe Chesed Synagogue Designation Report" ) (February 10, 1987)〕
Saeltzer was born in Eisenbach, Germany. He studied at Berlin Bauakademie〔(Modern Architectural Theory: A Historical Survey, 1673-1968 ) by Harry Francis Mallgrave page 150〕 and was a pupil of Schinkel's in Munich〔(Free Town Libraries, Their Formation, Management, and History ) by Edward Edwards page 315〕 (presumably Karl Friedrich Schinkel). He moved to the U.S. from Berlin.
==Synagogue==
Saeltzer was engaged in February 1849 to design the synagogue at 172 Norfolk Street〔(The Lower East Side Remembered and Revisited: History and Guide ) by Joyce Mendelsohn〕 in an area of New York known as ''kleine Deutschland'' (Little Germany).〔 The synagogue's Gothic Revival style was inspired by the Cologne Cathedral in Cologne, Germany, and Friedrichwerdesche Kirche in Berlin. According to a 1987 report by the New York City Landmarks Preservation Commission, while Gothic architecture is closely associated with Christianity, it had also become popular with synagogues as Jewish congregations had taken over old church buildings and become accustomed to the style, and viewed it as just as appropriate as any other architectural style.
Debuted with celebration, the layout of the Ten Commandments and the use of stained glass in the synagogue later caused some controversy within the congregation.〔(History: The Symbol That Split the Synagogue ) Summer 2008 by Jenna Weissman Joselit Reform Judaism magazine〕
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