You are currently reading part three, and I am elated. Last week, I got on the phone with David Gardner of the Gadsden County Chamber of Commerce, and after we hung up, we felt like we’d known one another for years. As it turned out, Gardner used to work for Visit Florida, and we shared a deep appreciation for American Jewish culture and these histories that reside on the fringes of the twenty-first century.
Perhaps as importantly, Gardner did have some material to share about the Hotel Quincy, including an April 1972 feature about Mrs. Frank W. Lloyd from the Tallahassee Democrat. Her family had owned the hotel from 1928 until 1951 (as I’d found in that 1951 Democrat blurb in Part 1), and she lamented how the development of the Interstate pulled traffic away from Quincy in the 1950’s. The article (which has no visible byline) also confirms it: the hotel was demolished circa 1962.
It also turns out that, yes, my guesstimate of where the lobby once stood in Part 2 was accurate. Here was my photo recreation:
Here is another photo postcard depicting the outside of the Hotel Quincy, published in 1940, two years after Irving mailed that postcard above:
It’s apparent that the new owners, who bought the place in 1951, got rid of the Plantation-style stacked front porch (but not the rocking chairs) and repainted it to make it match the white-washed Modernist architecture that was in vogue down in Miami. It’s odd, since Quincy has always presented itself as quintessentially “Southern,” which tended to define itself against whatever happened below Gainesville.
Zherti Jasa, a former student and future star architect, put it into a helpful perspective.
“I don’t know if there’s a specific reason why people stopped designing the stacked porches like in the hotel,” she said, “but I would think that the facade is what became more prevalent. Simplicity was the name of the game. They were trying to get away from any decorative ornamentation that resembled any European classical or Roman styles and so on and so forth. The architectural styles typically represent a political and cultural movement of that time.”
So, there we have it. I’m hardly done thinking about or seeking new information about the Hotel Quincy, but as I said, I’m elated how much I was able to unlock using those twentieth-century methods of phone, email, and just stopping through. I still think it’s strange how there aren’t more publicly accessible resources about a building that formed such a heart of what was, in its time, a cosmopolitan town.
Thanks again to David and Zherti for their help in putting the mystery of the panhandle to bed. And thanks to you for reading this.