Full text of "American architect and architecture"

ARCHITECTURE INDEX

ARCHITECTURE I

INDEX VOLUMES XLI AND XLII *\

li&i- 1

JANUARY DECEMBER, 1920

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*' ... ' ILLUSTRATIONS 1

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CHURCHES AND CHURCH BUILDINGS.

Lawrence Memorial Chapel, Lawrence College, Appleton, Wis., Childs & Smith, Architects

Plates cxlv, cxlvi, cxlvii, cxlviii, cxlix

Model for the Bahai Temple of Peace, Chicago, Louis Bourgeois, Architect and Sculptor . Page 183
Fourth Congregational Church, Hartford, Conn., Davis & Brooks, Architects, August Frontispiece,

Plates cxxvii, cxxviii, Pages 237, 238
Design for Rectory, Parish House, and St. George's Church, Maplewood, N. J., Charles W. Short Tr

Architect . . Page 42

St. Mark's Church, Mt. Kisco, N. Y., Cram, Goodhue & Ferguson, Architects for Church; Bertram
G. Goodhue, Architect for Tower, Screens for Chapel and Vestibule

Plates clxxvii, clxxviii, clxxix, clxxx, clxxxi, Pages 356, 357, 358

Some Old New England Churches. Photographed by Albert G. Robinson .... Page 49
Temple B'nai Jeshurun, N. Y., Walter S. Schneider, Architect, Henry B. Herts, Associate

Plates i, ii, iii, iv, v, Pages 18, 19
Reredos and Chancel, St. Thomas's Church, New York, Bertram Grosvenor Goodhue, Architect

July Frontispiece, Plates xcvii, xcviii, xcix, C, ci, cii, ciii, civ, cv, cvi, cvii, cviii, cix, ex, cxi, cxii
The Certosa of Pavia . .... Pages 161-164, 212-215

CLUB-HOUSES, CHAPTER AND FRATERNITY HOUSES.

Sigma Phi Place, Hamilton College, Clinton, N. Y., Clement R. Newkirk, Architect

Plates xxix, xxx, xxxi, xxxii, Page 45

Designs for Tau Chapter House, Hamilton College, Clinton, N. Y., R. E. Sluyter, Architect, Pages 306, 307
The English Chapter Houses . . .... April Frontispiece, Pages 97-102

Proposed Fraternity House for Small College, A. Raymond Ellis, Architect . . . Page 242

FACTORIES, WAREHOUSES, AND POWER-HOUSES.

Hugo Bilgram Gear Works, Philadelphia, Pa., Ballinger & Perrot, Architects and Engineers . Page 59
Edison Electric Illuminating Company, Boston, Mass., Service Buildings, Frederick A. Waldron,

Engineer . Page 58

Detroit Edison Company Power-Plant, Detroit, Mich. . . . . . . . Page 189

The Gleason Works, Rochester, N. Y., Gorden & Madden, Architects for Office Building; John W.

Vickery, Architect for Principal Shop Buildings Pages 222, 223

Winnsboro Mills, Winnsboro, N. C., Lockwood, Green & Co., Engineers ..... Page 189

GALLERIES.

The Freer Gallery, Washington, D. C., Charles A. Platt, Architect . . . Pages 332-333
John Levy Galleries, N. Y., Rouse & Goldstone, Architects .... Plates xlix, 1, li, Iii, liii
Art Gallery, Lyme, Conn., Charles A. Platt, Architect . Page 335

V s

ARCHITECTURE INDEX

T ;L ^r

I *v~ \\' -

HOTELS AND APARTMENTS.

Apartment House, Indianapolis, Ind., Bass, Knowlton & Graham, Architects .... Page 216

ApartmCnt House, Mt. Vernon, N. Y., Fred. F. French Company, Architects, Plates cxlii, cxliii, cxliv, Page 269
Calvm- Apartments (Remodelled), New York, B. H. & C. N. Whinston, Architects . . Pages 368-370
Entrance Hall, Apartment, N. Y., Welles Bosworth, Architect . . .... Plate Ixxi

Garden' Apartments for the Queensboro Corporation, Jackson Heights, Queens, N. Y., Andrew J. Thomas,
Architect . . . . ... . . . . . . Plates cxxix, cxxx, cxxxi

Capitol and Union- Station Groups, Residence Halls for Women, Washington, D. C., Waddy B. Wood,

Architect ................ Pages 64-67

Designs for Model Tenement, Andrew J. Thomas, Architect . . . . ." . . Page 117

/v/v

HOUSES CITY AND COUNTRY.

H. P. Benson, Marblehead Neck, Mass., John P. Benson, Architect .... Pages 180, 181

James A. Burden, Syosset, L. I., Delano & Aldrich, Architects

Plates xxxix, xl, xli, xlii, xliii, xliv, xlv, xlvi, xlvii
House and Plans, W. L. Clayton, Houston, Texas, B. P. Briscoe, Architect .... Page 365

A Colonial House, A. Raymond Ellis, West Hartford, Conn., A. Raymond Ellis, Architect, Pages 210, 211
I. Cozzens, Locust Valley, Long Island, N. Y., W. L. Rouse and L. A. Goldstone, Architects

Plates clxxxii, clxxxiii, clxxxiv, clxxxv
An Economical House, Samuel A. Hertz, Architect . . . ' . . . . Pages 168, 169

Reginald Foster, Ridgewood, N. J., Tracy & Swartwout, Architects . . . Plates Ixxxv, Ixxxvi
E. W. Fowler, Hartsdale, N. Y., Eugene J. Lang, Architect ...... Plates xci, xcii

Alvin T. Fuller, Little Boars Head, N. H., Robert C. Coit, Architect .... Pages 261-264

Design for House at Germantown, Pa., Edmund B. Gilchrist, Architect . . . Pages 104-105

Mrs. James Harden, Hartsdale, N. Y., Eugene J. Lang, Architect Plates xciii, xciv

Mrs. Thomas T. Hopper, Pelham, N. Y., Bloodgood Tuttle, Architect .... Pages 184, 185

Louis C. Humphrey, Louisville, Ky., George Herbert Gray, Herman Wischmeyer, Architects

Plates Iviii, lix, Ix, Ixi, Ixii
Charles Ingram, Greenwich, Conn., Warren & Clark, Architects . . . . . . Pages 277-279

P. R. Jameson, Rochester, N. Y., Clement R. Newkirk, Architect . . Plates Ixxii, Ixxiii, Ixxiv, Ixxv
Jonathan Jenks, Merion, Pa., Frank Seeburger and Charles P. Rabenold, Architects . . Pages 174, 175
B. B. Jones, Washington, D. C., Waddy B. Wood, Architect .. . . Plates civ, clvi, clvii, clviii

Walter F. Klemm, House and Plans, Malvern, Pa., C. E. Schermerhorn, Architect . . . Page 37
Mrs. Frederick Lewisohn, N. Y., Harry Allan Jacobs, Architect .... Plates x, xi, xii, Page 9

Augusta Hays Lyon, Huntington, Long Isfand, N. Y., W. L. Rouse and L. A. Goldstone, Architects

Plates clxxxvii, clxxxviii

Isaac T. Mann, Washington, D. C., George Oakley Totten, Jr., Architect . . Plates xxvi, xxvii, xxviii
:. C. Merritt, Larchmont, N. Y., Sterner & Wolfe, Architects . . . Plates cxxxii, cxxxiii, cxxxiv, cxxxv

Morton Morris, Louisville, Ky., George Herbert Gray, Architect Pages 156, 157

Cottage at Mount Kisco, N. Y., Morrell Smith, Architect .... . Page 170

Model for a House at Pasadena, Cal., Reginald Johnson, Architect ... . Page 135

Poplar Hill, Prince George County, Md September Frontispiece

Alterations to House of Hiland Porter, Montclair, N. J., Lucian E. Smith, Architect . . . Page 341
J. B. Quinn, Fieldston, Riverdale-on-Hudson, N. Y., Dwight James Baum, Architect . . Pages 118, 119
Mrs. John Ridgely, "Hampton," Towson, Md. (Historic Colonial Mansion) . . Plates xiii, xiv, xv
George C. St. John, Bungalow, Wallingford, Conn. . . ... Page 125

Houses Being Built at Scarsdale, N. Y., Eugene J. Lang, Architect ' '. Pages 20-22

Design for Small House, Wm. F. Thompson, Architect . . . p age 355

Mr. & Mrs. Vivian Spencer, House and Garden (Alterations), Avondale, R. I., Marian C. Coffin Land-
scape-Architect . p 1 144 145

Stonewell Cottage, From "Small Country Houses of To-day" p ' 51

i. Willard Straight, 1130 Fifth Avenue, N. Y., Delano & Aldrich', Architects

T-. , -, Plates xxxiii, xxxiv, xxxv, xxxvi, xxxvii, xxxviii

Thanhauser, Lodge, Bayville, L. L, Tooker & Marsh, Architects Pages 5-7

Thomas Scarsdale, N. Y., Andrew J. Thomas, Architect . Plates cxxxvii, cxxxviii, cxxxix, cxl, cxli

smame, Allendale, N. J., Lucian E. Smith, Architect . . . Plate clx, Page 299

ARCHITECTURE INDEX

HOUSES CITY AND COUNTRY Continued.

Turtle Bay, New York City (Alterations), Edward C. Dean, William Lawrence Bottomley, Associated

Architects . . . Pages 287) 28 8, 290, Plates cl, cli

Egerton E. Wmthrop, Syosset, L. I., Delano & Aldrich, Architects . . ' . . Plates liv, Iv, Ivi, Ivii
Lodge on the Estate of Emory Winship, Macon, Ga., Nisbey & Dunwody, Architects . . .' Page 339
Winthrop Withington, Jackson, Mich., Leonard H. Field, Jr., Architect ... .' p age 266

House at Yardley, Pa., C. E. Schermerhorn, Architect . ";.,,' . . , . . . Page 136
Frank Young, Hackensack, N. J., Wesley Sherwood Bessell, Architect . . Plates cxxiii, cxxiv, cxxv

INSTITUTIONS.

HOSPITALS:

King's Daughters' Hospital, Madison, Ind., Herbert L. Bass & Co., Architects . ". . Pages 250, 251
Designs for Milwaukee County General Hospital, Milwaukee, Wis., Van Ryn & De.Gelleke and Armstrong '
& De Gelleke, Associated Architects . ...... . . . Pages 300 301

SCHOOLS:

Russell Sage Dormitory, Lawrence College, Appleton, Wis., Childs & Smith, Architects Plates clii, cliii, cliv
School No. 64, Baltimore, Md., Mottu & White, Architects ', ; . Plate clxxiv

Design for School, Cohoes, N. Y., Tooker & Marsh, Architects .... ; . Page 316

School Building, Cranford, N. J., Hollingsworth & Bragdon, Architects . . Plate clxxv

Combination Grade and High School, Greensburgh, N. Y., Tooker & Marsh, Architects, Arthur W. Coote,

Associate Plate clxxi

Grade School, Hartsdale, N. Y., Tooker & Marsh, Architects, Arthur W. Coote, Associate

Page 317, Plate clxxiii.

. Pages 319-323

Plates vi, vii, viii, ix

. Plate clxx

Plate clxi, Page 338

. Pages 288, 289

. Page 315

. Plate clxvi

High School, Hempstead, N. Y. ., . . . , . ;

West Intermediate School, Jackson, Mich., Leonard H. Field, Jr., Architect

Public School, Little Ferry, N. J., Ernest Sibley, Architect . .. .: .

Evander Childs High School, New York City, C. B. J. Snyder, Architect .

New School for Social Research, N. Y., Edward C. Dean, Architect ....

High School, Norwich, N. Y. Tooker & Marsh, Architects, Arthur W. Coote, Associate

High School, Pelham, N. Y., Tooker & Marsh, Architects, Arthur W. Coote, Associate

Combination Grade and High School, Port Henry, N. Y., Tooker & Marsh, Architects, Arthur W. Coote,

Associate . P age 318

Henry K. Boyer School, Lower Providence Township, Montgomery Co., Pa., C. E. Schermerhorn, Watson

K. Phillips, Associate Architects .;;..... '. . . . Plate clxxii
Plymouth Township Consolidated School, Montgomery Co., Pa., C. E. Schermerhorn, Watson K. Phillips,

Associate Architects ............. Page 324

High School, Ridgewood, N. J., Tracy & Swartwout, Architects . . . . Plates clxiii, clxiv, Page 328

Grammar School Building, Rosemont, Radnor Township, Pa., D. Knickerbacker Boyd, John L. Coneys,

Victor D. Abel, Architects

High School, Sheboygan, Wis., Childs & Smith, Architects . , .

Banks School, Waltham, Mass., Kilham & Hopkins, Architects .
Central High School, Washington, D. C., Wm. B. Ittner, Architect . ,
Dunbar High School, Washington, D. C., Snowden Ashford, Municipal Architect
Mount Vernon Seminary, Washington, D. C., Wesley Sherwood Bessell, Architect

February Frontispiece, Plates xvii, xviii, xix, xx, xxi, xxii, xxiii, xxiv, xxv, Pages 33-36
Ferris Avenue Grade School, White Plains, N. Y., Tooker & Marsh, Architects, Arthur W. Coote,

Associate . Plate clxxi

Plate clxviii, Page 330
. Plate clxii
Plate clxvi i
Plate clxxvi, Page 327
Plate clxv, Page 327

OFFICE, BANK, AND STORE BUILDINGS.

Offices of Alfred C. Bossom, N. Y., Alfred C. Bossom, Architect . . Plates Ixxxvii, Ixxxviii, Ixxxix, xc
Office of Welles Bosworth, Welles Bosworth, Architect ..... Plates Ixvii, Ixviii, Ixix, Ixx
Central Union Trust Company, N. Y., Private Offices, Arthur Loomis Harmon, Architect

Plates Ixxxi, Ixxxii, Ixxxiii, Ixxxiv

Corn Exchange Bank, Sheridan Square Branch, N. Y., S. Edson Gage, Architect . Plate xcv

Dollar Savings-Bank, N. Y., Renwick, Aspinwall & Tucker, Architects . Page 53

Egyptian Lacquer Company, N. Y., George Mort Pollard, Architect . . Page 296

ARCHITECTURE INDEX

OFFICE, BANK, AND STORE BUILDINGS Continued.

Elliman Building, New York City, Cross & Cross, Architects Pages 272, 273

The Fletcher Building, N. Y., Helmle & Corbett, Architects Pages 291-293

W. L. Grace & Co., New Offices, Lima, Peru, James Wm. O'Connor, Architect, Plates Ixiii, Ixiv, Pages 109-111
Central Office Buildings, New England Telephone & Telegraph Co. ..... Pages 217, 219

The New York Galleries, N. Y. (Alteration). George Mort Pollard, Architect . . . Pages 294-296
Peoples Trust Company, Brooklyn, N. Y.,Ludlow & Peabody, Architects . Plates Ixxvi, Ixxvii, Ixxviii, Ixxix
The Thrift Bank, Brooklyn, N. Y., Shampan & Shampan, Architects. . . . Pages 56-57

Wayne County and Home Savings Bank, Detroit, Mich., Albert Kahn, Architect . . . Plate xvi

MEASURED DETAILS.

EARLY ARCHITECTURE OF CONNECTICUT, Measured by J. Frederick Kelly. Drawn by Lorenzo Hamilton
Corner Cupboard in the Older Beardsley House, Huntington, Conn. ..... Plate clxxxvi

Doorway of a House, New Haven, Conn. . . . . . . . . . . Page 205

Doorway of Welles Shipman House, South Glastonbury, Conn. ....... Plate xcvi

Panelling from an Old House, Lyme, Conn. . . . .. . . . . Plate cxxxvi

Panelling in Taproom of Ye Olde Phelps Tavern, Simsbury, Conn. ...... Plate clix

Panelling in Parlor, Webb- Welles House, Wethersfield, Conn. . . : . . . . . Plate clxix

Measured Detail, Cornwell House, Cheshire, Conn. . . . . . . . . . Plate cxxvi

EARLY COLONIAL ARCHITECTURE OF THE OHIO VALLEY, Measured and Drawn by Daniel W. Wemy
Stairway in an Old Residence, Circleville, Ohio . . > . . . . . . Plate Ixxx

MEMORIALS.

The Conqueror A Victory Window, Trinity Protestant Episcopal Church, Syracuse, N. Y., Designed
by William Willet and Annie Lee Willet . . . . . : . . . March Frontispiece

A Design for a National Memorial, Submitted to Mayor's Committee, N. Y., Armstrong and De Gelleke,
Architects, From a Rendering by W. T. L. Armstrong ........ Page 234

Memorial Community Building, Goldsboro, N. C., C. Adrian Casner, Architect . . . . Page 25

Plan for an International Historical and Memorial Museum at Washington, D. C., Rossel Edward
Mitchell & Co., Ltd., Architects . January Frontispiece, Pages 2-4

Roslyn Memorial Building, Roslyn, N. Y., Hoppin & Koen, F. M. Godwin, A. D. R. Sullivant, Archi-
tects Pages 122, 123

Soldiers' and Sailors' Monument for Amersfort Park, Flatlands, Brooklyn, N. Y., Joseph M. Berlinger,
Architect . . . " . . ."."'. . ' . . . . . Page 248

PUBLIC BUILDINGS.

Arras, Hotel de Ville , . s . . June Frontispiece

The Butter Tower, Rouen, From the lithograph by Howard Leigh . . . November Frontispiece

Capitol Park, Harrisburg, Pa., Arnold W. Brunner, Architect May Frontispiece, Plates Ixv, Ixvi, Page 126
Dallas Interurban Terminal, Dallas, Texas, Bigelow & Wadsworth, Architects, Stone & Webster, Engi-

neers - . . ;,. Page 28

Minnesota Historical Society Building, St. Paul, Minn., Clarence H. Johnston, Architect

Pages, 68, 69, 71, 72, Plate xlviii
Municipal Building, Dormont, Pa., Harry S. Bair, Architect ... ... Page 303

The Palais de Justice in Anderson and Hebard's Scheme for an International World Centre . . Page 27
Springfield Municipal Group, Etchings by Louis Orr . . . December Frontispiece, Pages 349-353

.own House, Hempstead, Long Island, N. Y., Steward Wagner, Architect

Plates clxxxix, cxc, cxci, cxcii, Pages 361-364
.ings for Water Department, City of St. Louis, Mo., Study & Farrar, Architects . . Pages 282, 283

THEATRES.

Dayton Theatre, Dayton, Ohio, Schenck & Williams, Architects , Plates cxix, cxx

Frederick Theatre, Pittsburgh, Pa., Harry S. Bair, Architect Plate cxxii

re, Pittsburgh, Pa., C. Howard Crane, Architect, Elmer George Kiehler, Associate

T vi f i TL Plates cxvi, cxvii, cxvm

heatre, Corcoran Art Gallery, Washington, D. C., Waddy B. Wood, Architect . Page 182

ARCHITECTURE INDEX

THEATRES Continued.

Orchestra Hall, Detroit, Mich., C. Howard Crane, Architect; Elmer George Kiehler, Associate; Cyril E.

TU W .... Plates cxiii, cxiv, cxv, Pages 240, 241

The Plaza Theatre, Pittsburgh, Pa., Harry S. Bair, Architect Plate cxxi

MISCELLANEOUS.

Argentina Architecture . . ..... Pages 371-374

"Old New Amsterdam" (Between South Ferry and the Bridge). By G. A. Shipley October Frontispiece

Prize Designs for Architect's Certificate, State of Pennsylvania . p age 187

Romanesque Portals ....... Pages 75-85

Swimming Pool for Robert E. Brewster, Mt. Kisco, N. Y., Delano & Aldrich, Architects ! . Page 106

TEXT

An Accounting System for an Architect's Office (Illustrated). By H. P. Van Arsdall

Advance in Building Materials Costs, The

Advertising, As to ' i

Advertising, Reaching the Architect by. By Stowe Phelps, A.I.A.
Alterations of Buildings for Commercial Uses (Illustrated)
Alterations to City Buildings, Shops, Studios, and Apartments .
The American Academy in Rome (Illustrated) .....
The American Academy in Rome, Twenty-fifth Anniversary
American Federation of Arts, The .

Announcements

Architect's Certificate, Programme of Competition for Design of

The Architects of St. Thomas's A Correction . . . .

An Architect's Office. By Alfred C. Bossom .

Architectural History and the Designer. By Rexford Newcomb

Architecture of the Springfield Municipal Group as a Business Asset (Illustrated)

Artificial Light Means to the Modern Structure, What. By H. Vandervoort Walsh

Argentina, The Building Situation in (Illustrated)

As to Advertising ............

The Bahai Temple of Peace (Illustrated) . . .
Beaux-Arts Institute of Design

Pages 112-116
. Page 126
. Page 236
Pages 152-154
Pages 294-296
Pages 139-142
Pages 10, 73
. Page 85
Page 44

Big Building Has Right of Way.

Book Reviews

Brand from the Burning, A . . .

Brass Tacks Plus .....

Brick, For a Standard Size for ...

Building Costs . . . .

Building Expense, Possible and Actual Savings in.

Building Materials Costs, The Advance in

Pages 8, 55, 62, 95, 116, 126, 158, 159, 192, 204, 215, 224, 256, 284, 343, 370

Page 60
. Page 235
. Page 186
Pages 22-24
Pages 349-353
Pages 46-48
Pages 371-374
. Page 236
. Page 183
. Page 108
Page 102

By Perley F. Ayer

. " . Pages 12, 48, 74, 108, 138, 172, 215, 233, 265, 314, 347, 360

Page 43

.... Page 137

Page xxviii

. . Page 268

By Rossel Edward Mitchell .... Page 50

Page 126

Building Prospects in Chicago Federal Loan Banks to Aid Home Builders

The Building Situation in Argentina (Illustrated) . . . . .

Building's the Thing. By Colonel W. A. Starrett . . . . .

Calling in Dr. Architect , .

Capitol Park, Harrisburg, Pa., Arnold W. Brunner, Architect

Carnegie Institute Exhibition, The International Jury of Award

The Certosa of Pavia (Illustrated). By Frank Jewett Mather, Jr.

. Page 143
. Pages 371-374
Pages 61-62
. Page 11
. Pages 127-129
. Page 126
Pages 161-164, 212-215

City Lot, The Problem of the Small (Illustrated). By William Pitkin, Jr., Landscape Architect, Pages 86-92
A Colonial House. By A. Raymond Ellis, Architect ... . Page 211

Colors Employed in Egyptian, Greek, and Gothic Architecture. By Albert M. Kreider . . Page 103
Columbia Trust Company Building, Talbot F. Hamlin, McKim, Mead & White, Architects . . Page 17
Columbia University, Courses in Architecture, Summer Session ... . Page 199

Competition for the Development of a Small Country Property . . Page 60

Competition for Milwaukee County General Hospital, Van Ryn & De Gelleke, Armstrong & De Gelleke,

Associated Architects Pages 300, 301

The Competition for New York's Memorial Army and Navy Club . . Page 313

Competition for the Remodelling of a New York Tenement Block . . Pages 149-152

Concrete Construction. By DeWitt Clinton Pond, M.A. . Pages 280, 281, 284, 344-346

Concrete Housing ........' . Page 107

ARCHITECTURE IN DEX

TEXT Continued.

The Conqueror A Victory Window (Illustrated). Designed by William Willet and Annie Lee Willet, Page 63
The Construction of the Small House. By H. Vandervoort Walsh. In Four Parts

Pages 270, 271, 308-311, 340-343, 364, 366, 367
Co-operation ................ Page 204

Co-operative Apartments ............. Page 44

Courses in Architecture at Columbia University Summer Session . ... . . . Page 199

A Design for a National Memorial, Submitted to the Mayor's Committee, New York, Armstrong &
De Gelleke, Architects . ......... Page 233

Detroit, Good for . . . .... . . . ..'"". . . . . Page 203

- Ecclesiastical Monument, A Great ............ Page 204

An Economical House (Illustrated). By Samuel A. Hertz, R.A. ..... Pages 167-169

Editorial and Other Comment Pages 11, 12, 43, 44, 73-74, 107-108, 137-138, 171, 172, 203-204, 235, 236,

267, 268, 297, 298, 325, 359, 360
Electric Hazards, Reducing ............ Page xxviii

English Chapter Houses (Illustrated). By Albert C. Phelps, A.I.A. . . Pages 97-102

The Fiftieth Anniversary of the Metropolitan Museum of Art ....... Page 173

Fine Achievement, A .....;....... . Page 43

A Fine Memorial . ; . ; . . ; . . . . . . . Page 179

Fire Prevention, For . . . . ... ...... . . . Page 126

The Fletcher Building (Illustrated). By Frank J. Helmle . Pages 291-293

For Better Housing . ...... ... . Page 360

For Fire Prevention . . . . . . . ... Page 126

For a Library of Civic Art . . . . . r . . Page 44

For a Standard Size for Brick . . . . . . . Page xxviii

For the Student of Architecture. By David Varon . . . -. . Pages 165, 166

Forest Policy, The Lumberman's Attitude toward a . . . . " . Page 268

The Fourth Congregational Church of Hartford (Illustrated). By W. F. Brooks . Page 238

Fraternity House for a Small College, Proposed. By A. Raymond Ellis . . . Page 242

The Freer Gallery and What It Will Contain (Illustrated). Charles A. Platt, Architect . Pages 332-334
The Alvin T. Fuller House at Little Boars Head, N. H. (Illustrated). Robert C. Coit, Architect . Page 261
The Functions of Lighting Fixtures. By M. Luckiesh ....... Pages 274-276

General Principles of School Planning and Construction (Illustrated). Tooker & Marsh, Architects

Pages 315-318
Give the Architect His Due ...... Page 171

Glass in Modern Buildings, The Uses of. By H. Vandervoort Walsh . Pages 247, 249, 252

The Gleason Works; A Plant Planned for the Future. By John W.. Vickery . Pages 221-224

Good for Detroit .....,' ' Page 203

W. A. Grace & Co., New Offices, Lima, Peru . ' p age 109

Graft . ....... Page 235

Grand Theatre, Orchestra Hall and the (Illustrated) Pages 239-242

A Grave Question ..... ' p age 297

A Great Ecclesiastical Monument . . Page 204

Home-Building and Labor .... p age 298

Home Ownership on a Pay Envelope (Illustrated). By Wm. F.' Thompson^ Architect '. Pages 354-355

Housing Shortage and Health ..... ' Page 260

The Importance of Good Design in School Building (Illustrated). Ernest Sibley, Architect '. Pages 319-323

Incomparable Educational Opportunities Offered by the Metropolitan Museum of Art . Page 12

Industrial Housing n n ->A 2

*-pi T . . T . * ...... .r o.gC ^UO

1 he International Jury of Award for the Carnegie Institute Exhibition Page 126

An International Memorial . . . pjj ^

Mrs. Frederick Lewisohn (Illustrated). Harry' Allan Jacobs, Architect Page 9

Library of Civic Art, For a .... Page 44
Lighting Fixtures, The Functions of. By M. Luckiesh p aees 27^-276

The Lumberman's Attitude Toward a Forest Policy ' p a p. P 268

Luxuries vs. Homes . . p B <jt

Making Over Old New York-A Modern Development in' Turtle Bay (Illustrated). ' By ErnesT

P 987 9QO

Making Over the Old Theatre for the Movies '. '^Paselll

n ' ' ' (Alterati n) ' Ge r g e Oakle >' T , J r " Architect '. Page 36

Metropolitan Museum of Art, Incomparable Educational Opportunities Offered by the ' ^e 12

ARCHITECTURE INDEX

TEXT Continued.

The Minnesota Historical Society Building (Illustrated). By Stirling Homer '-. . ' ' , . Pages 68-72
Modern Building Superintendence. By David B. Emerson:

Chapter V. Plastering, Marble and Tile Work . Pages 26-27

Chapter VI. Sheet-Metal Work, Ornamental Iron and Carpenter Work . . Pages 52, 54, 55

Chapter VII. Plumbing and Drainage . . . . . . ; Pages 92-94

Chapter VIII. Electric Wiring and Elevators . . . ....'. . Pages 120, 121, 124

Chapter IX. Bank Vaults and Fixtures . . ..,.-. . . . Pages 154, 155, 158

Chapter X. Heating and Vacuum Cleaners ....... Pages 188, 190, 191

Chapter XI. Installing of Fire Protection and Fitting Up Turkish Bath . . . Pages 218, 220
The Modern Theatre (Illustrated). By E. M. Mlinar . ... . . Pages 225-232

The Module System in Architectural Design (Illustrated). By Ernest Flagg . ~ ". . Pages 206-209
The Money Value of France's Loss in Art Treasures and Historic Monuments .... Page 298

Mortgage Tax Exemption ............. Page 313

Mount Vernon Seminary, Washington, D. C. (Illustrated). By Wesley Sherwood Bessell . Pages 33-36
Museum at Washington, D. C., Plan for an International Historical and Memorial (Illustrated). By

Rossel Edward Mitchell , . . . . Pages 1-4

The National Council of Architectural Registration Boards . . . ./ . . Page 2

Nebraska State Capitol, Some Comment on the Competition for the ...... Page 235

The New Hempstead Town House (Illustrated). Steward Wagner, Architect , -', . Pages 361-364
New Houses for Old (Illustrated). By B. H. & C. N. Whinston, Architects . . . Pages 368-370

The New School of Architecture at Princeton Page 137

The New York State Association of Architects Legislative Committee for 1920 .... Page 138

New York's Housing Problem . . . Page 267

Nineteen-T wen ty Will be a Great Year for the Architects . . .- . . . Page 11

"Not Enough Copies to Go Around" ...... . Page 7

A Notable One-Story Schoolhouse. By David Knickerbacker Boyd .... . Page 329

Notes for Architects on Engineering Moments. By DeWitt Clinton Pond, M.A. . . Pages 176-179

Notes on Engineering Units for Architects. By DeWitt C. Pond, M.A Pages 146-148

Notes on Steel Construction. By DeWitt Clinton Pond, M.A Pages 253-256

Of Especially Timely Interest ..... . Page 236

One-Story Schoolhouse, A Notable. By David Knickerbacker Boyd . . Page 329

Orchestra Hall and the Grand Theatre (Illustrated) . . . Pages 239-242

Our Architecture as History ......... Pag e 107

Our New Architecture ,.? . Page 29:

Our School Architecture .'.'.. Page 235

Philippine Architecture (Illustrated). By Carlos P. Romulo . . Pages 244-246

The Place of the Institute (Illustrated) . . . Page 182

Plan for an International Historical and Memorial Museum at Washington, D. C. (Illustrated). By
Rossel Edward Mitchell .... . . . P a g es ^

Possible and Actual Savings in Building Expense. By Rossel Edward Mitchell . Page 5

A Post-War Impression of the Cathedral at Reims (Illustrated). By Kenneth John Conant Pages 257-260
Princeton, A New School of Architecture at ...... Pa g e 137

The Problem of the Small City Lot (Illustrated). By William Pitkin, Jr., Landscape Architect, Pages 8

Programme of Competition for Design of Architect's Certificate

Proposed Fraternity House for Small College. By A. Raymond Ellis Page 242

Putting It Up to the Public ftP

Reaching the Architect by Advertising. By Stowe Phelps, A.I.A. . Pages 152-

Reducing Electric Hazards . fo

The Ridgewood High School (Illustrated). By Edgerton Swartwout Pages ;

The Right Way to House the Single Worker .

The Road Back to Human Ideals f*jBL*S{

Romanesque Portals Lombard and French (Illustrated). By C. R. Morey Pages 75-8.

Roslyn Memorial Building, The _ "g: "

St. Mark's Church, Mt. Kisco, N. Y. (Illustrated). By Ernest Peixotto . Pages 356-357

St. Thomas's and Its Reredos (Illustrated). By Ernest Peixotto Ea

School Architecture, Our ....

Sculpture in Landscape Architecture. By Fletcher Steele P a 8 es ^

The Sheboygan High School (Illustrated). Childs & Smith, Architects

Single Worker, The Right Way to House the . a g e

Some Comment on the Competition for the Nebraska State Capitol . a g e

Some Practical Suggestions for the Draughtsmen. By David B. Emerson .

ARCHITECTURE INDEX

TEXT Continued.

Springfield Municipal Group, Its Architecture as a Business Asset (Illustrated)
Steel Construction, Notes on. By DeWitt Clinton Pond ....

Stonewell Cottage. By Lawrence Weaver ......

Taking It'Seriously ..........

Tau Chapter House, Hamilton College, Clinton, N. Y., R. E. Sluyter, Architect
Teaching Architecture by Practical Methods

Pages 349-353
Pages 253-256
. Page 51
. Page 297
. Page 306
Page 236

Temple B'nai Jeshurun (Illustrated). Walter S. Schneider, Architect, Henry B. Herts, Associate Pages 18-19
Tenement Block, Competition for the Remodelling of a New York ..... Pages 149-152

Theatres Page 235

Town Planning for Convenience and Health (Illustrated). By Louis Lott

Pages 302, 304, 305, 334-338, 375-378
The Uses of Glass in Modern Buildings. By H. Vandervoort Walsh, Instructor in Architecture, Columbia

University - ; : Pages 247, 249, 252

A War Memorial for California ............ Page 268

War Memorials. By Charles Moore . Pages 38-41

Washington's School Shortage (Illustrated) ..... ... Page 327

J. Alder Weir ......... . .... Page 12

What Artificial Light Means to the Modern Structure. By H. Vandervoort Walsh . . Pages 46-48
What the Huns Have Done for French Art {Illustrated). By A. Kingsley Porter. Photographs by L.

W. Porter . t . . . . p ages 13_16

Without a Home ............. . Page 107

Wooden Doors Dating Back to Middle Ages Page 314

Working Together for Better Conditions Page 267

Rossel Edward Mitchell, Architect.

THE MONUMENTAL FEATURE OF THE GROUP IS THE CENTRAL MEMORIAL HALL.

From a drawing by J. Floyd Yewell.

ARCHITECTVRE

THE PROFESSIONAL ARCHITECTURAL MONTHLY

VOL. XLI

JANUARY, 1920

No. 1

A Plan for an International Historical and Memorial Museum

at Washington, D. C.

By Rossel Edward Mitchell

THE progress of any civilization is measured by its ad-
vancement in the arts. There is no surer index; no
other revelation of the mental vigor, refinement, and ac-
complishments of a civilization is so clear and readable as
the record left by the hands of men as they wrought for use,
comfort, or for the expression of the deeper strivings of the
mind as influenced by religious instinct and desire for im-
mortality.

The archaeologist delves into a heap of dust, and shortly
from the misty fogs of centuries, and by means of clay from
the hands of a potter dead five thousand years, he rebuilds,
so to speak, the civilization of a Nineveh or a Babylon.

The extreme refinement of the Periclean age is revealed
to a world that has not yet ceased to wonder, by the marbles
of Phidias, the architecture of the Parthenon and the Propy-
laea. Pericles did not succeed in his great ambition to form
"A grand Hellenic Confederation in order to put an end to
the mutually destructive wars of kindred peoples," but he
did succeed in putting through his- plans for the embellish-
ment of Athens. And although the philosophy of his day
has been succeeded by many others, the arts of his age are
still the delight and despair of millions.

The sensual, pleasure-loving life of the citizen of Pom-
peii is known and read of all men who care to look. The
world-ambitious Roman projected across twenty centuries
the grandeur of his conceptions of conquest, triumph, luxury,
and religious impulse by means of the major arts of archi-
tecture and sculpture.

Nor is the record limited to dead civilizations; it is
written large on every page of current events and in every
country on earth. Is it mere chance, that Germany possesses
no architecture to be admired ? Is there no significance in
the fact that this people have slavishly copied and appropri-
ated every conceivable form of architecture without once
showing evidence of having imbibed the spirit of any ?
Who but a German could have conceived the Sieges Allee ?
Or who but a Prussian could adorn every street corner with
statues which in every instance but two out of several hun-
dred are engaged in the noble act of killing a fellow creature ?

When the record of the World War is written it will
not be written, it cannot be written, in terms of triumph
over fallen foes; nor will it be indited in periods of fulsome
praise of conquering chieftains it will not dwell unduly on
the glory of combat nor the machinery and panoply of the
unparalleled struggle; it will trace the divergent currents of
national life, the processes of thought and consequent action
which animated the minds and absorbed the energies of na-

tions, and which, by their very divergence made conflict
inevitable. Such a record will show, most clearly, the break-
down of the supreme falsehood of history: the divine right
of a few to decide the destinies of the millions; the belief in
material force as an overcoming influence when counter-
acted by spiritual and moral resources; and the easy hypoc-
risy that any one people possess to a surpassing degree the
qualities that make for world leadership.

But the record must be written. And where better
could it be written than at the capital of America; at the
capital of the free nation that reluctantly forsook the paths
of peace, but once awakened to the vital issues of life and
liberty involved in the struggle, put aside the freedom of the
individual so dearly prized and deliberately donned the
servitude and endured the privations of the common soldier;
bringing her overwhelming strength to the struggle in time
to galvanize the weary legions of the Allies into new life and
vigor, and to join with them in a swift and sweeping victcry.

Indeed it is not possible that a great Historic and Com-
memorative Monument and Museum which should fittingly
set forth the purposes, the struggles, and the achievements
of the Allied nations can be erected in any other country.
On France and Belgium the ravages of war have fallen too
directly. The shadow of the fearful tragedy will not depart
for a century from those countries. Britain, engrossed in the
perplexing problems of a world-scattered empire, could not
possibly undertake it. America alone has the resources, the
spirit, the idealism, and, by no means least, the perfect set-
ting for such an undertaking. On the shores of the beauti-
ful Potomac, in harmony with the grand design which is
gradually making Washington the finest city in the world,
at a sufficient distance from the turmoil of a devastated
Europe, an International Historical and Memorial Museum
may find as fitting a setting as Ictinus found for the Parthe-
non on the Acropolis of Athens.

To give every civilized nation a portion in this great
edifice, or group of edifices, will require a structure of vast
dimensions. It is, therefore, proposed to build three great
galleries, each one thousand feet long from centre to centre
of the terminal pavilions. These galleries to be forty feet
wide, between walls, and in addition to the terminal pavilions
are divided into equal lengths of five hundred feet by centre
pavilions, or rotundas. The galleries may be subdivided
at will and in accordance with the wishes of the participat-
ing nations. America, France, and Great Britain, and, per-
haps, Italy, with its unlimited artistic wealth, would each
wish to have allotted to them, no doubt, both a terminal

ARCHITECTURE

DETAIL OF CENTRAL MEMORIAL HALL. Drawn by J. Floyd Yewell. Rossel Edward Mitchell, Architect.

INTERNATIONAL HISTORICAL AND MEMORIAL MUSEUM, WASHINGTON, D. C.

ARCHITECTURE

pavilion, with its great rotunda, and at least two hundred
and fifty feet of gallery space. Other nations in proportion.
The participating nations would send their own artists,
sculptors, mural painters; their own relics, mementos, tro-
phies, records, and memorials. Under the supervision of a
general board of design these artists, mural painters, decora-
tors, and directors would embellish the interior of the gal-
leries allotted to them or selected by them, in accordance with
the national history, the aspirations, the historic events, and
the artistic tastes of the peoples whom they represent.

The monumental feature, the crux of the group, is the
central memorial hall which occupies the exact centre of the
great enclosed square. This lofty building rises from a high
marble terrace three hun-
dred and twenty feet
square. The terrace is
reached by four broad
flights of steps, flanked
by entrance pylons. The
memorial hall is a square
building alike on all sides.
By the technical the lower
story would be described
as a dipteral octadecas-
tyle peristyle of the Corin-
thian order. To the non-
technical it is a double
row of Corinthian col-
umns, eighteen across
each front row. This
peristyle is surmounted by
a Corinthian entablature
and parapet. The para-
pet in turn is divided by
pedestals over each col-
umn, and each pedestal
supports a heroic statue
of a plain soldier or sailor
of an Allied nation. Back
of this great colonnade
rises the square mass of
the building proper, the
upper portion of which is

finished with a further Corinthian cornice. Beneath this
cornice is a band of sculpture of heroic proportions, extend-
ing around all four sides. This sculptured band, a "Gigan-
tomachia," is designed to exemplify the efforts of peoples in
all walks of life to support the purposes for which the World
War was waged to a successful conclusion. The toiler on
farm, factory, and mine, in home, in school, on land and
sea, would be here portrayed; this having been a war, not
of soldiers and armies alone, but of peoples.

Above the imposing mass of the majn building rises an
octagonal pedestal; this supports a lesser peristyle of Co-
rinthian design. Surmounting the peristyle, the glistening
white marble of the dome, unbroken by line or detail, and
the whole crowned by a bronze altar of liberty, with its
finely wrought candlesticks' designed to typify the cardinal
virtues of Truth, Justice, Patience, and Charity, without
which liberty cannot exist.

The interior of this central building consists of a great
and lofty rotunda, around which are elaborate galleries and
halls. In this rotunda would be placed the statues of the
supreme leaders of the Allied nations, both in peace and in
war. Here would be found mural paintings, statuary, and
portraits of the highest excellence, especially those designed
to portray events of international history and significance.

"IH

*y i

Plot Plan.

The ceiling of the grand dome above the rotunda would be
covered with one great painting; its subject an international
event of unparalleled importance. The surrounding gal-
leries and halls will be sumptuously furnished and decorated
to accommodate meetings of an international character.

This central building could be reached not only from the
long museum galleries, by means of the open walks leading
from centre to centre of the enclosed square, but also by
underground passages for use in inclement weather and for
privacy.

The four corner pavilions are designed primarily as en-
trances to the galleries; as such they require the emphasis
of height. The classic character of the design, however, is

preserved in them, Re-
naissance detail being
avoided.

The pyramidal roofs
of these pavilions are
supported by circular
walls, outside of which are
sculptured Canephora.
The Canephora are cho-
sen, rather than Cary-
atids, the latter being
derived from the slave
women of Caria who
were traitors to the Greek
cause in the war with
Persia. The Canephora,
however, being bearers of
baskets of flowers and
voluntary gifts to the
Temple, are, therefore,
proper symbols of the
vital part taken by the
womanhood of the world
in the Great War.

Many years would
be required for the con-
struction of the buildings
and the completion of the
interiors. The task
should be undertaken

while the inspiration of the vast efforts, the high ideals,
the unstinted sacrifices of the World War still lingers.
It would cost much money, for no great good is obtained
without great cost. It would bring to America the tal-
ent, the genius of the entire world. Americans spend
countless millions to see the art and architecture of the
Old World. This great Historical and Memorial Muse-
um would exceed in the scope of its purpose, its historic
interest and eventually in the wealth of its embellish-
ments any known structure. It would rival the greatest
galleries of Europe and be a Mecca for travellers from all
quarters of the globe.

The student of history will find history here portrayed
by master hands to appeal to the sense most readily reached,
the sight. The scholar will find authentic matter for study
and research. The student of men will observe the sculp-
tured features of the leading minds of all nations. The
sociologist will mark important epochs in the development
of mankind, the patriot find endless inspiration, the sight-
seer entertainment of the highest order.

It is estimated the buildings will cost fifty million dol-
lars. The interior fittings, paintings, sculpture, and other
embellishments supplied by the Allied participating nations,
half that amount additional.

ARCHITECTURE

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ARCHITECTURE

LIVING-ROOM.

Tookcr & Miirsh, Architects.

LODGE FOR EDWIN THANHAUSER, BAYVILLE, LONG ISLAND.

ARCHITECTURE

FRONT.

GARDEN IN REAR. Tooker & Marsh, Architects.

LODGE FOR EDWIN THANHAUSER, BAYVILLE, LONG ISLAND.

Announcements

BIND YOUR COPIES OF ARCHITECTURE. The Title-
Page and Index for Volumes 39 and 40, January to December,
1919, of ARCHITECTURE are now ready, and will be mailed
without charge to any subscriber upon request. Address
Circulation Department, ARCHITECTURE, 597 Fifth Avenue,
New York City.

Edward H. Wigham and J. Elder Blackledge, archi-
tects, announce the opening of their offices in the Indiana
Pythian Building, Indianapolis, Indiana. Manufacturers'
catalogues and samples are requested.

Edgar M. Wood announces that he has moved his offices
from Alma, Michigan, to suite 519 Oakland Building, Lan-
sing, Michigan.

F. S. Montgomery, for the past six years advertising
manager, National Metal Molding Company, Pittsburgh,
and prior to that, for several years district manager in charge
of the Atlanta office of the same company, has tendered
his resignation to take effect December 31, after which date
he will be associated with the Ivan B. Nordhem Co., Out-
door Advertising, 8 West 40th Street, New York City. Mr.
Montgomery's successor has not been announced.

W. V. Marshall, formerly of the firm of Mclver, Co-
hagen & Marshall, architects, Billings, Montana, announces
the opening of an office for the general practice of archi-
tecture, at room 204 First National Bank Building, Mis-
soula, Montana. Member Montana Association of Architects.

The Magnesia Association of America has recently
placed a large display case, containing samples of 85 per
cent magnesia, steam-pipe and boiler-coverings, on exhibi-
tion with the Architects Samples Corporation, 191 Park
Avenue, New York.

This has been done in order to give visiting architects
the opportunity of inspecting the various kinds of 85 per
cent magnesia coverings, and thereby becoming better ac-
quainted with their great value as savers of heat and coal.

In addition to the exhibit the Architects Samples Cor-
poration has a stock of the Magnesia Association Specifica-
tion and other literature for distribution.

It is announced that negotiations have been completed
whereby Jenkins Brothers will, in the near future, increase
their manufacturing facilities by owning and operating a
plant in Bridgeport, Connecticut. This plant will be de-
voted entirely to the manufacture of the Jenkins valve
an engineering product which dates back to 1865, when
Nathaniel Jenkins invented and first introduced the re-
newable disc type of valve.

Beginning January 1, 1920, the Contracting and Sales
Business carried on since 1892 by the General Fire Ex-
tinguisher Company will be taken over by Grinnell Com-
pany, Inc., with executive offices at Providence, R. I.

The new company will retain the executive, engineer-
ing and construction staffs of all the five sections of the
business.

The Bishopric Manufacturing Co. advises us that they
have purchased about ten acres of land in Ottawa, Canada,
and have already started to build factories at that point
for the manufacture of Bishopric Board to supply the Can-
adian market.

The Arden Studios, Inc., 599 Fifth Avenue, are showing
a number of objects suitable for decorative purposes, many
of them from original Arden designs, and a very compre-
hensive exhibit of Durant faience of great interest to all who
follow the development of American applied art. They
announce also a special exhibition of portrait busts and
bas-reliefs by James Earle Fraser, January 6th to January
24th, 1920.

Westinghouse, Church, Kerr & Company, Inc., take
pleasure in announcing the appointment of Russell W.
Stovel [recently lieutenant-colonel, Engineers, U. S. Army]
as a consulting engineer. Mr. Stovel has had an unusually
comprehensive experience in the mechanical and electrical
problems connected with central power station and steam
railroad electrification work, as well as a valuable experience
in the mechanical handling of freight at water terminals.
With the American Expeditionary Forces in France, Lieu-
tenant-Colonel Stovel served as chief of the Terminal Facili-
ties Division of the Army Transport Service, one of the two
big divisions of transportation of which Brigadier-General
Atterbury was the chief.

Mr. Bache Hamilton Brown and Mr. Samuel R. T.
Very announce their association for the resumption of the
general practice of architecture under the firm name of
Very & Brown, Architects, with offices at 70 East 45th
Street, New York City (Grand Central Terminal Office
Building).

Benedict Stone Corporation, successor to Emerson-
Norris Company of New York, cut cast stone, Aeolian Hall,
35 West 42d St., New York, announce the corporate change
in their business as above. This does not involve any
change in the management of the company, the principal
officers remaining the same as since the start of the business.

Alfred C. Bossom, the bank architect and engineer, is
just removing his offices from 366 Fifth Avenue to 680
Fifth Avenue, where he has taken the entire top story of that
handsome structure, recently built by Mr. John D. Rocke-
feller, Jr., and has arranged it to accommodate a most com-
plete architectural and engineering organization. In the new
quarters, he has introduced a very novel feature by making
special provision for any of his banking clients when they
visit New York.

A 1'Ecole des Beaux-Arts

"Le decret qui a fixe a cinq ans la duree du professorat
a 1'Ecole des beaux-arts a re?u son application: tous les vides
ont etc combles, pour cinq ans.

M. Raphael Collin, decede, est remplace par M. Ernest
Laurent. M. Peter et M. Antonin Mercie, decedes, sont
remplaces a la sculpture par M. Jean Boucher et M. Carli.
M. Jaussely est nomme a la chaire d'histoire generale de
1'architecture. MM. Pierre Andre et Pontremoli remplacent,
aux ateliers d^architecture, MM. Bernier et Pantin.

Enfin, la chaire d'histoire generale de 1'art, ou professait,
avec tant de savoir et de distinction, notre regrette colla-
borateur et ami de Louis de Fourcaud, decede en 1914, est
confiee a M. Louis Hourticq.

Un atelier de fresque est cree: il est confie a M. Paul
Baudouin."

Entrance doors, residence, Mrs. Frederick Lewisohn, New York.

The Residence of Mrs. Frederick Lewisohn

Harry Allan Jacobs, Architect

f I A HE problem of designing a house o v n a twenty-five foot
A inside lot is an extremely difficult one, as so many
things have to be crowded in a small space. It then becomes
a question of eliminating and concentrating one's space to
the best advantage.

On the second floor of' the Lewisohn residence the usual
foyer hall has been eliminated and the space thrown into the
living-room, thereby getting a room twenty-three feet wide
and forty-six feet deep and seventeen feet high. The house is
of the English basement type, with reception-room and dining-
room on the entrance floor, the kitchen, servants' dining-room,
and laundry being in the basement. The second floor con-
tains the large living-room, the drawing-room in the rear, and
the private dining-room or card-room in the extension.

The third floor has the library in the front, the bedrooms

and dressing-rooms and baths in the rear. The same scheme
is repeated on the fourth floor.

The fifth floor has two guest bedrooms in the front and
servants' rooms in the rear.

The sixth floor contains servants' rooms.

The entrance floor is quite Italian throughout, the
second floor English, and the upper part of the house French.

The facade is of South Dover marble, and has been kept
very simple. It is two part composition, consisting of two
windows, which is probably in better scale than three win-
dows for a twenty-five foot front. The more masonry one
can secure in these narrow facades, the better effect one gets
and also better contrast by having a large plain surface sur-
rounding the rich carved places, giving plenty of light and
shade and color to the composition.

"History of Art " pediment for Mr. Henry C. Frick's residence, New York. Charles Keck, Sculptor. Carrerc & Hastings, Architects.

The American Academy in Rome

THE American Academy in Rome recently closed an ex-
hibition at the Century Club, New York, of the work
of its graduates architects, painters, sculptors. These men
are leaders in American practice and talent in their respective
fields; the American Academy in Rome has placed its stamp
upon them, giving them the weapons with which careers are
carved, knowledge and technical training in constant associa-
tion with the workmanship and prowess of Renaissance
Rome as well as the ancient city of the Caesars. They have
thus been able to make contact with the channels of thought
that guided the artistic output of an age the emulation of
which is at once our joy and our despair.

The exhibition contains examples of the work of the ar-
chitects: John Russell Pope, Lucian Smith, H. Van Buren
Magonigle, Edgar I. Williams, William S. Koyle, Alfred
Githens. The sculptors: H. A. MacNeil, Charles Keck, Paul
Manship, John Gregory, Albin Polasek, Sherry Fry. The
painters: F. Tolles Chamberlin, Eugene Savage, Barry Faulk-
ner, Ezra Winter, F. P. Fairbanks, Charles Stickroth, all of
whom owe a debt of gratitude for a golden opportunity to the
foresight of the founders of the Academy and to the energy
and educational policy of its present administrators.

The American Academy in Rome is an established in-
stitution with a history beginning in 1894 over a quarter
century of yeoman work and unbroken faith. It was in the
fertile brain of that most distinguished ornament of American
architecture, Charles F. McKim, that the idea of such an
Academy was born; under his fervor and enthusiasm, to-
gether with that of Daniel Burnham, it took shape; to their
unswerving devotion to this idea, their gifts to it of money
and time; to their inspiring example; to the years of Frank
Millet's unselfish service; and to the adherence of such
others as La Farge and Saint-Gaudens, now gone, Mowbray,
French, and Blashfield, happily still active among us, that
the seed came to its present fine fruition.

In Rome the American Academy occupies the finest
site in the city. Its buildings stand upon the summit of
Mount Janiculum, the highest point within the walls.

Mr. C. Grant La Farge, Secretary of the Academy, who
is devoted to the principles which have been its guide for
twenty-five years, writes enthusiastically of its great work.
The American Academy in Rome offers opportunities for
architects, painters, and sculptors in its School of Fine
Arts, and for archaeologists, historians, and students of
literature in its School of Classical Studies. The latter was
founded in 1895, and a union between the two institutions
was effected in 1912. Says Mr. La Farge: "Although its
two co-ordinate branches are called 'schools,' they are not

schools in any commonly accepted sense. The Academy is
not for teaching rudiments, it does not have classes, nor does
it even impose a very rigid prescribed course. Its bene-
ficiaries are those who have advanced far beyond the pre-
liminary stages in their various callings. What the Academy
offers its Prize of Rome is not meant to be benevolent
assistance to worthy youth, but the means whereby the best
material discoverable may be raised to its highest powers for
the elevation of American art and letters." The Academy
sends out Fellows annually, and offers in addition the privi-
lege of its facilities to the fellowship-holders sent out from
fifteen American Universities and other educational institu-
tions. Fellows are chosen in competitions held throughout
America.

The American Academy in Rome is a national institu-
tion, and it is erected upon the underlying conception of the
value of, and need for, collaborative work among artists.
Its students come from all parts of the United States, and
they are thrown together in working out their problems:
"Not Fellowships only, but fellowship truly." It is most en-
lightening to note that the Board of Trustees of the Academy
is composed of representatives of the provinces of architec-
ture, sculpture, painting, archaeology, literature, and his-
tory; it is furthermore stipulated that three-fifths of the
trustees must at all times be professionally engaged in their
respective types of work and that the three major fine arts
must always be represented by no less than two-thirds of
the professional members of the board. Devoted experts
thus control the destiny of the American Academy in Rome.

The exhibition just closed was an index of the Academy's
success and usefulness and a sustained test of its policy of
educational work. The entire collection of drawings, paint-
ings, photographs, reliefs, figures, etc., are to be sent on
tour throughout the country, as one of its regular travelling
exhibitions, by the American Federation of Arts.

Officers of the American Academy in Rome: William
Rutherford Mead, President; Breck Trowbridge, vice-presi-
dent; C. Grant La Farge, secretary; William A. Boring,
treasurer. Trustees: Edwin H. Blashfield, Professor J. C.
Egbert, Daniel C. French, Henry C. Frick, Cass Gilbert, C.
Grant La Farge, Wm. Rutherford Mead, Edward P. Mellon,
Jas. Sturgis Pray, Anson Phelps Stokes, Frank Frost Abbott,
Geo. Allison Armour, William A. Boring, Charles A. Coolidge,
Robert W. DeForest, Wm. Mitchell Kendall, Hermon A.
MacNeil, George B. McClellan, Edward K. Rand, Breck
Trowbridge, Edward D. Adams, Herbert Adams, Francis C.
Jones, Charles D. Norton, H. Siddons Mowbray, John B. Pine,
J. C. Rolfe, Henry Walters, Andrew F. West.

Editorial and Other Comment

icj20 Will Be a Great Year for Architects

THERE is no lack of optimism apparently in the ex-
pressed opinions of various competent authorities as
to the immense building programmes for the coming year.
Supply is far behind demand in every kind of building,
industrial, office buildings, apartments, homes, and if we
can only arrive at some fairly settled state with regard to
labor and the adequate production of materials, we shall
see a development unprecedented in our history. Let us
get together in encouraging an optimism that can be built
upon the solid foundations of facts, not upon the here and
there evidences of individual or local prosperity, but upon
a general prosperity that' only unified, consistent and in-
telligent co-operation can make possible. We hear of
many offices that find it difficult to find the time to keep
up with work in hand, and good draftsmen were never in
such demand.

The period of waiting with any expectation of a
marked reduction in cost of materials has long since passed.
There will be no going back to pre-war conditions. Clients
who have been waiting with any such idea in mind can be
assured that if anything prices will be higher. The vastly
increased rentals that are being paid, due to both conges-
tion of population and increased incomes, will make up for
differences in cost. It is only a short-sighted and unimagi-
native man of business who will fail to see the handwriting
on the wall. It is written plainly on thousands of walls
that inclose spaces utterly inadequate for present needs.
There are great lines of would-be tenants ready to enter
every new portal opened, ready to pay the price for places
to work, places to live.

Looked at in terms of figures, 1919 was the largest
ever known in the history of construction industries.
There is not a community in the country where the de-
mand for building is not far behind the supply, and with
the adjustment of labor troubles on some promise of a
fixed basis, 1920 will go as far beyond 1919 as that year
was ahead of its predecessors.

Calling in Doctor Architect

NEVER was there a time when the services, taste, and
special knowledge of the trained architect were more
needed or more in demand. The carpenter and builder
have for years been the consulting experts in the building
of thousands of suburban homes and farmhouses, and let
us give them credit, at least, before the jig-saw era for many
beautiful and charming old houses.

Following the building shortage in these latter years
has come an appreciation of the fact that any old house,
or new, be it as hopelessly ugly as it may be, has possibili-
ties. Architecture has shown many instances of "before
and after," of old ramshackle, barn-like structures, altered
into most delightful homes. Old barns have been made
over into charming studios and living quarters, woodsheds
incorporated into the redesigning of an old farmhouse.
Everywhere is shown a wider appreciation that nothing is
impossible to the architect of taste and skill.

The old and hopelessly ugly city brownstone house
and the little two or three story brick house or stable 'on a
side street have been made into artistic and attractive
apartments or studio buildings.

It is to the architect that we owe this renaissance and
we have only made a beginning toward the development
of the city beautiful from old and unsightly and out-of-
date structures. Lest some should say that we are dealing
with merely idealistic matters, with our own desire for
better things artistically, we remark that in every instance
these "artistic" improvements have proved the very best
of business in increased rents and more desirable tenants.

If the cost of new buildings has deterred many from
carrying out their long cherished dream of owning their
own home, there is abundant opportunity almost every-
where for the alteration of old places at very moderate
cost. And old houses nearly always offer the nucleus of a
more substantial structure than many hurriedly built mod-
ern houses put up in quantities for speculative purposes.

In considering a new house the architect can very
often effect a large saving by taking full advantage of local
materials. The familiar stone houses of Pennsylvania are
greatly admired, and throughout the New England States
there are abundant reasons for using the local stone. It is
right at hand and the transportation cost is a minimum one.
An instance of the effective use of local stone came to mind
some time ago in the purchase from an old Connecticut
farm of the moss-covered stone fences that for generations
had testified to the hard labor of the first owners of the
fields they enclosed. They added a picturesque and inex-
pensive note to a big fireplace and outside chimney.

An International Memorial

SINCE we arranged some months ago for the publica-
tion of Mr. Mitchell's "Plan for an International His-
torical and Memorial Museum," a somewhat similar idea
has been presented in the "Peace Commemoration Num-
ber" of the Architectural Review, of London. In the ac-
companying text the English architects say: "They are
frankly put forward as proposals to quicken the imagina-
tion, leaving to the future to consider how they may need
modification." It is with this idea in mind that ARCHI-
TECTURE presents in this number Mr. Mitchell's dignified
and interesting drawings and plan. Washington would
certainly be the logical place for a great International
Memorial, and we shall be interested in the discussion that
may follow the presentation of this proposal. From the
article in the English magazine we also quote the following
significant passage:

"America has played the principal part in establishing
the League of Nations. It is to be hoped that American
architects will remind themselves that, when the United
States came into being as an independent State, the great
man and genius to whom it owed that being seized the op-
portunity to lay out a capital worthy of the occasion.
Along the shores of the Potomac, to the plan of the great
French architect L'Enfant, arose the city of Washington,
the home of the legislature and the executive of the United

ARCHITECTURE

States. Unique in being not the capital of any one of the
States over which it was to rule, but the capital of them all;
more unique in being the first capital in which the functions
of the legislature and the executive were separated; most
unique in being the capital in which the legislature was
made predominant over the executive Washington, the
home of the league of States which has made the United
States of America, is the fitting model for the home of the
League of Nations which- is to make the United States of
the world."

The Incomparable Educational Opportunities
Offered by the Metropolitan Museum of Art

NO doubt there are few readers of ARCHITECTURE who
have not at some time availed themselves of the great
opportunities for special study offered by the Museum, but
perhaps some are not aware of the special service offered
in the way of lantern-slides, photographs, casts, etc. The
series of lectures that are given during the winter by authori-
ties on the special subjects should attract members of the
profession and all concerned in the betterment of the as-
sociated arts and crafts. The Saturday lectures, given at
four o'clock, offered for 1919-20 include:

Jan. 17. "The Art of Louis XIV and Modern America."
E. Raymond Bossange, Carnegie Institute of Technology,
Pittsburgh. Jan. 24. "The Art of Louis XV and Louis
XVI and Modern America." E. Raymond Bossange. Jan.
31. (Subject to be announced later.) A. D. F. Hamlin,
Professor Columbia University. Feb. 7. "Italian Baroque
Sculpture." Chandler R. Post, Professor Harvard Uni-
versity. Feb. 14. "The Development of Italian Gardens
in the Renaissance, with a Study of Certain Examples."
James S. Pray, Professor Harvard University. Feb. 21.
"Further Examples of Italian Renaissance Gardens; Their
Bearing on American Work." James S. Pray. Feb. 28.
"Early French Book Illustration: The Hours of the Blessed
Virgin Mary." William M. Ivins, Jr., the Metropolitan
Museum of Art. Mar. 6. "The Rise and Early Develop-
ment of Spanish Painting." Charles Upson Clark, Lecturer.
Mar. 13. "The Great Spanish Masters." Charles Upson
Clark. Mar. 20. "The Morris Ideal in Craftsmanship."
Elizabeth Luther Gary, Author. Mar. 27. " English Illus-
trators of the Sixties." Elizabeth Luther Cary.

SUNDAY LECTURES. Jan. 25. "The Mediaeval House."
Henry A. Frost. 4.00 P. M. Feb. 1. "French Country
Houses." Mrs. John W. Alexander. 4.00 P. M. Feb. 29.
"The Architectural Growth of New York." Richard F.
Bach. 4.00 P. M.

Book Reviews

J. Alden Weir

THE death of Mr. Weir took from us not only one of
our greatest and most admired painters and when
we say this we say that he was a painter universally ad-
mired by his own profession but a man who was loved by
all who knew him. His influence for good among the
younger generation was incalculable, for he was a generous
critic and a helpful and kindly advisor. Mr. Weir's pic-
tures are hung in nearly every public gallery in America,
and his career illustrated with rare emphasis that a man
may be at the same time conservative and progressive.
He was ever looking in new ways, ever expressing old
ideals with the inspiration and truth, regardless 'of mere
variations in technique, that belong to all art that endures.

"THE PRACTICAL BOOK OF INTERIOR DECORATION," by HAR-
OLD DONALDSON EBERLEIN, ABBOT McCujRE and EDWARD STRATTON
HOLLOWAY. 460 pages of text, 300 illustrations of interiors and fur-
niture, including 7 pages in color. J. B. Lippincott Co., Philadelphia.

Here is a book that has been needed and one that has the authority of
writers qualified by experience and special study. It covers very fully the
things that are of particular interest to the architect, the decorator, the
manufacturer, the dealer, and all who are looking for practical information
and suggestion. It is especially helpful for its exceptionally full account of
period decoration. Part II discusses the essentials of harmonious decoration
and furnishing, questions of color, walls, floors and their coverings, textiles,
etc. Part III, on the Assembling of Various Styles, will do much to save
the feelings of the architect whose work is so often made negative by the
conglomerate and tasteless furniture that clutters up so many charmingly
designed interiors. There is too much interior decoration based upon what
is called "a taste for effects" without any basis of knowledge or authority.

"THE COLONIAL ARCHITECTURE OF SALEM," by FRANK COUSINS
and PHIL M. RILEY. Little, Brown & Co., Boston.

Salem has been and will be, as long as the old houses there continue to
stand, a rich mine for every student of Colonial architecture. This book
covers the period from 1628 to 1818 and presents the architecture of Salem
with a view to giving in the fullest measure a presentation of the best and
most typical examples of four distinct periods of development.

It should prove an invaluable and necessary reference for every archi-
tect's library. Together with the many examples of complete houses is a
treasury of details, porches, halls, stairways, doorways, mantelpieces,
cornices, and wood trim.

The illustrations from Mr. Cousins's incomparable collection of photo-
graphs are profuse and are handsomely printed. The edition is a limited
one and will be probably eagerly sought by collectors.

"COLOR SCHEMES AND MODEL INTERIORS," by HENRY W.
FROHNE, editor of Good Furniture Magazine, and ALICE and BETTINA
JACKSON, Interior Decorators. J. B. Lippincott Co., Philadelphia.
With 20 full-page color plates showing actual color schemes for rooms
wall-paper, rugs, upholstery and detail 20 full-page suggestive in-
structions for the use of these schemes; 2O full-page illustrations of
fully furnished rooms, specially designed as a guide to furnishing.

This is a book of practical service, and the many excellent color plates
will be valued. They are worth many pages of the usual descriptive matter,
and though the schemes are adapted mostly to large spaces, they can be,
modified for use in smaller houses.

THE MONOGRAPH SERIES. Rogers & Manson, Publishers, New York
and Boston. Paper covers. "Old Colonial Brick Houses of New
England." Photographs and measured details. "Twelve Old Houses
West of Chesapeake Bay." With text and measured drawings by Ad-
dison F. Worthington. "Interiors of Old Houses in Salem and Vicin-
ity." Mantels, stairways, fireplaces, doorways. "Parish Churches of
England." By C. Howard Walker. Every one of this admirable
series is of interest and value.

"USEFUL DATA ON REINFORCED CONCRETE BUILDINGS FOR
THE DESIGNER AND ESTIMATOR," by the Engineering Staff
of the Corrugated Bar Co., Inc. Published by the Corrugated Bar
Co., Inc., Buffalo, N. Y.

A book radically different from any other heretofore published on the
subject of Reinforced Concrete. // aims to give the answer rather than to
deal with methods and theory of design. It is a handbook in the true
sense of the word a reference or guide-book for the designer and estimator
as essential to the reinforced concrete engineer as the structural steel
handbook is to the engineer of steel structures.

The text, tables and diagrams have all been prepared for the practical
problems confronting the engineer. The greatest care has been exercised
to make the tabular results comply rigidly with theoretical requirements
but at the same time to be in accord with commercial limitations.

The data included is practical, of everyday use and in such form as to
be of constant service to the concrete engineer and of inestimable value to
the architect or engineer in general practice.

"LUMBER AND ITS USES," by R. S. KELLOGG. Illustrated. The
Radford Architectural Company, Chicago.

A valuable treatise upon lumber, its uses, its various qualities, kinds,
and handling. It is a book for architects and for anyone interested in
forestry and the special qualities and particular uses and value of trees.

"CHECKING SCHEDULE FOR PROJECTED SCHOOL BUILD-
INGS," by JAMES O. BETELLE. Bruce Publishing Co., Milwaukee.
Paper cover.
Of use to every architect in the planning and specifications of school

buildings.

In the November number of The Western Electric Ntws,_ delayed like the
rest of us by the printers' strike, appears an interesting historical rec-
ord of "A Half Century of Western Electric Achievement."

JANUARY, 1920.

ARCHITECTURE

PLATE I.

Walter S. Schneider, Architect; Henry B. Herts, Associate.
TEMPLE B'NAI JESHURUN, WEST 88iH STREET (NEAR BROADWAY), NEW YORK.

JANUARY, 1920.

ARCHITECTURE

PLATE II.

Walter S. Schneider, Architect; Henry B. Herts, Associate.
ENTRANCE DETAIL, TEMPLE B'NAI JESHURUN, WEST 88TH STREET (NEAR BROADWAY), NEW YORK.

O
W

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i i

W
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JANUARY, 1920

ARCHITECTURE

PLATE V.

Walter S. Schneider, Architect; Henry B. Herts, Associate.
DETAIL OF SANCTUARY, TEMPLE B'NAI JESHURUN, WEST 88ra STREET (NEAR BROADWAY), NEW YORK.

JANUARY, 1920.

ARCHITECTURE

PLATE VI.

DETAIL OF FRONT, WEST INTERMEDIATE SCHOOL, JACKSON, MICH.

Leonard H. Field, Jr., Architect.

JANUARY, 1920

ARCHITECTURE

PLATE VII.

MAIN FACADE.

uauuuuuu

:HOOL- L^NCH fc-OOM

n n fftffl n n n

W E J T
I.NTR.ME9IATE
C H O O L

WEST INTERMEDIATE SCHOOL, JACKSON, MICH.

Leonard H. Field, Jr., Architect.

JANUARY, 1920.

ARCHITECTURE

PLATE VIII.

AUDITORIUM STAGE.

y E C N D FL006,

P L A N

Leonard H. Field, Jr.. Architect.

WEST INTERMEDIATE SCHOOL, JACKSON, MICH.

JANTJAKY, 1920.

ARCHITECTURE

PLATE IX.

CORTLAND STREET ELEVATION.

PuNT 1 * ACIKUITUII Q Q-J
bO T A N Y

ceo II HICITATION
rtr nfll II roow

CBC on tta

Leonard H. Field, Jr., Archito< 1.

WEST INTERMEDIATE SCHOOL, JACKSON, MICH.

JANUARY, 1920.

ARCHITECTURE

PLATE X.

RESIDENCE, MRS. FREDERICK LEWISOHN, 835 FIFTH AVENUE, NEW YORK. Harry Allan Jacobs, Architect.

H
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JANUARY, 1920.

ARCHITECTURE

PLATE XV.

GARDEN.

LIBRARY.

"HAMPTON," TOWSON, MD. (HISTORIC COLONIAL MANSION), RESIDENCE OF MRS. JOHN RIDGELY.

JANUARY, 1920.

ARCHITECTURE

PLATE XVI.

EXTERIOR.

BANKING-ROOM.

PLAN.
WAYNE COUNTY AND HOME SAVINGS-BANK, DETROIT, MICH.

Albert Kahn, Architect.

What the Huns Have Done for French Art

By A. Kingsley Porter
ILLUSTRATIONS FROM PHOTOGRAPHS BY L. W. PORTER

Pronleroy (Oise). Lecturn which saw the
Germans come and go and is still intact.
Polychrome wood, period of Louis XIV.

MUCH inconsistency and some bad judgment marked
the choice of objects which the Germans selected for
evacuation. At Marchais, for example, a chateau belonging
to the Prince of Monaco, a number of cases of furniture and
tapestries have arrived, sent back from the German depot

at Brussels. But a Louis
XV bed, a superb piece
of carving, finer indeed
than many removed, had
been left to take its
chance in the chateau.
The soldiers had carried
it off to the trenches,
where they had evidently
put it to practical uses.
When the family re-
turned, after the district
had -been liberated, they
had the good fortune to
find the bed, water-
soaked and stained, but
still essentially un-
damaged, in the trenches
where it had been left by
the retreating Boches.
Much other furniture,
doubtless of an equal
beauty, had disappeared
at Marchais. It will,
perhaps, never be known

whether such objects were stolen or simply destroyed.
During the winters the soldiers had the habit of taking to
burn whatever came handy in the line of wood. This was
the lot which fell to much wood-carving in the churches.

The mining of St.-Quentin was not an exceptional proce-
dure. In other churches, unhappily, the fortunate chance
which saved that basilica did not intervene. The great
majority of those deliberately blown up were destroyed just
before the final retreat of the Germans. One of the most
brutal instances that have come to my knowledge was at
Puisieux (Aisne). In this otherwise undamaged town even
the debris of the church has disappeared. It is believed
locally that the Germans needed stone to repair the roads,
and took this way to procure it. The houses were spared
because useful for quartering troops. Similar motives ap-
pear to have determined the destruction of Ciry, a church
of considerable archaeological importance, and which also
has obviously been mined. Toward the end of the war the
quality of the German explosives apparently fell off. An
eye-witness told me that three attempts were made before
the beautiful little church at Cugny was finally destroyed.
Seven attempts were made at St.-Martin of Chauny, not-
withstanding which, considerable parts of the building still
stand. Unfortunately, however, the explosives generally
worked only too well. Heaps of stone like that at Coura-
mont are all that remain of many once lovely monuments.

One of the losses that will be most keenly felt is the
destruction of the bells. Almost all of the village churches

in France had ancient bells, which in some cases dated from
as far back as the twelfth century. It was, of course, rare
to find examples of such antiquity, but bells of the sixteenth
or seventeenth century were common. These bells gen-
erally bore inscriptions of interest. I suppose I had always
realized in a vague way that ancient Bells were remarkable.
Every one knows the description by Fra Salimbene the
mediaeval Benvenuto of the founding of the great bells at
Parma in the thirteenth .century. A German, strangely
enough, Hauptmann in his Versunkene Glocke has under-
stood the beauty that lies in bells, and has expressed it with
the vision of a poet. Yet I confess I never appreciated bells
until I heard the sad silence of French churches deprived of
them.

No other class of objects was so systematically stolen
by the Germans as the bells. The bronze of which they were
made was probably needed to supply metal for munitions.
At any event, wherever the Germans occupied territory for
an appreciable length of time, the bells disappeared. The
very few which escaped probably owe their good fortune to
difficulties of transportation. A large bell is not easy to
move. Thus at Montcornet the bell was with great labor
dismounted and carried just outside the church; but although
the Germans held the town four years, they never found the
means of carrying it farther, and there it still remains. An-
other bell, evidently from some church in the neighborhood,

Veuilly-la-Poterie (Aisne), June 13, 1919-
woodwork.

Photograph shows the LouU XV

ARCHITECTURE

Scringes (Aisne), May 20, 1919. The debris has been partially cleared.

Oulchy-la-Ville (Aisne), June 4, 1919. Ruins still uncleared.

got as far as the railway-station at Berzy-le-Sec, where it
still is, or was a short time ago. Such cases are, however,
exceedingly rare, and the lovely old bells throughout the
occupied territory were with unusual thoroughness col-
lected, carried off, and doubtless melted down.

The task of removing them was sometimes compli-
cated. In certain portions of France, notably in the northern
half of the department of the Aisne, it is the tradition to
mount the bells before the tower is finished. To take down
the bells, it was therefore necessary to tear out a portion of
the belfry. One notices in passing through this - district
church after church with the tower ripped open. When
there were vaults beneath the clocher, these were often
blown up to allow the passage of the bells. Short work was
made of the elaborate and often costly machinery for running
the clocks and ringing the chimes.

These Germans who melted bells and mined churches
still made grandiose gestures of love for art. It is rumored,
and I doubt not correctly, although as yet I have been un-
able to obtain the publications, that at Laon certain Boche
scholars excavated the ancient abbey of St. Vincent, thus
disproving a thesis of French archaeologists in regard to the
architectural forms of the building. The excavations were
filled in by the French military authorities when they retook
the city. Even more amusing is the exposition of paintings
the Germans opened in the museum of Valenciennes. A
monumental catalogue was published in commemoration of
this exhibition, which was formed exclusively of works of
art stolen* from collections in the occupied territory. The
catalogue is edited by Doctor Theodore Demmler, assisted

^ * "Stolen" is a hard word. The French authorities placed on the
depot of objects of art collected at Metz the following sign; "Garde des
objets d'art voles par les Allemands." Subsequently, however, the word
"voles" was erased. It is certain that the Germans evacuated objects
of art generally only at the express desire of the owners. It is also certain

by Doctor Adolph Feulner and Doctor Hermann Burg..
The title is delightfully characteristic: "Geborgene Kunst-
werke aus dem besetzten Nordfrankreich. Bergungswerk
der deutschen Heeresverwaltung. Kunstwerke aus dem
besetzten Nordfrankreich ausgestellt in Museum zu Valen-
ciennes. Miinchen, 1918." In an amusing passage of the
preface the editor apologizes for the absence of Italian paint-
ings of the first order; but visitors must be lenient, for there
were really none to be found in the districts so far invaded !
He perhaps hoped for better results from the Louvre.

The German plunderings have resulted in bringing into
prominence several works of art previously not so well
known as they deserved. This was apparently the case with
certain pictures at La Fere the Boches are said to have
published for the first time. I make the statement, however,
under reserve, for I have seen neither the paintings nor the
publication. The most famous instance of such an event
is assuredly the collection of pastels by La Tour formerly
at St.-Quentin. These portraits were one of the artistic
treasures of France. It is not true, as has been said, that
they were unknown. La Tour has been long much appre-
ciated by connoisseurs, and the bibliography of the works
which refer to the St.-Quentin pastels would be long. Never-
theless, it is strange that the pilgrimage of St.-Quentin was
not made by art-lovers as frequently as it should have been,
and this is an age which tended rather to overappreciate
the eighteenth century. It is also true that the Germans in
1917 removed the pastels to Maubeuge, where they were
exposed at the Pauvre Diable, temporarily converted into a
museum. In 1918, while the pastels were still at St.-Quentin

that the depots were generally kept on French soil. It is equally certain
that in February, 1919, all these objects were punctiliously returned to the
French. But would they have been, had the victory fallen on the other
side ?

Timeo Danaos et dona ferentes.

ARCHITECTURE

and while that city was occupied by the Germans, they were
the subject of a monograph by Hermann Erhard. A copy
of this book with numerous reproductions, some even in
color, is now in the War Museum at Paris, where I was
able to inspect it. It is dedicated to William II, King of
Wiirtemberg, and is published by a reserve corps in garrison
at Bapaume.

When Maubeuge fell before the English, the La Tour
pastels were brought to Paris and exposed in the Louvre,
pending the reconstruction of the Museum of St.-Quentin.
The Parisian public has extended to these war-tossed
refugees a welcome of extraordinary warmth. This is,
indeed, as it should be. On entering the room where the
pastels are hung, one seems to find one's self suddenly before
a translation into painting of
the "Confessions." Many
characters familiar in Rous-
seau's pages are immediately
recognized, from the writer
himself to the Abbe Hubert (in
this portrait La Tour touches
a note of almost tragic grandeur
he has nowhere else attained)
and that Madame de la Pope-
liniere who snubbed Rousseau
for no better reason than be-
cause he was the compatriot of
her enemy, the same Abbe
Hubert. The effect of the
pictures, however, is perhaps
due not so much to their liter-
ary and historical interest as
to the circumstance that they
reflect the very spirit of the
eighteenth century that folly-
loving eighteenth century
which is so exquisite, so charm-
ing, and so light-hearted. In-
deed, its very absence of con-
science is singularly refresh-
ing to us who live in a time
overburdened with the gloom
of causes and uplift. In those
days the world was child-like.
People were naively selfish as
only a child can be; they in-
dulged each whim, each caprice, each passion as a child
would like to; they played with the self-abandon and the
prettiness of a child, and they were naughty as only a thor-
oughly bad child can be naughty. All these qualities are
idealized by the dainty technic of La Tour. In his pastels
we make the acquaintance of superbly groomed gentlemen,
of ladies without a wrinkle, all gay, all wjtty, and all mali-
cious. One feels that for them the only unpardonable sin is
dulness. This clever company, of touch so unfailingly light,
has the power to transport us, heavy-footed mortals, for a
moment into their own more brilliant if also more cruel age,
an age when pleasure was the supreme law, and when the
purpose of life was laughter. If we once grant the eighteenth-
century premise that art (or anything else) has only to please,
we must concede that the pastels of La Tour are among the
greatest of masterworks. For they undeniably please;
they please even the most fastidious taste more, possibly,
but as the tapestry-covered, gilt and white furniture Louis
XVI. It is chiefly in La Tour's sketches that we catch
glimpses of something deeper than the prettiness of a day
that is gone; as for his finished work, it seems most artificial

Port-a-Binson (Marnc), June 13, 1919. What the Germans left.

and hence most delightful in those rare moments when
he plays at being sincere.

The last chapter of the history of the Germans and
French art must occupy itself with events since the armis-
tice. It was poetic justice that the Boche prisoners should
be made to labor at repairing, so far as they could, the dam-
age they had wrought. And they have everywhere been set
to work by the French at clearing up the debris of the
ruined churches, and even at building temporary roofs,
They have been far from bringing to the work of reconstruc-
tion the enthusiasm which marked that of destruction. The
dragging and shuffling pace of the prisoners, their slow
movements, a something indefinably tragic in their listless-
ness, those who have seen will never forget. Yet by the

sheer force of their numbers
much work has-been accom-
plished. And certain skilled
men have shown real com-
petence.

Thanks to this labor of
the prisoners, throughout the
devastated regions the more
important monuments have
been cleared of refuse, the
stones piled up, and any bits
of carving that could be saved
put in security. The most
urgent repairs have already
been carried out. In many
ruined churches a side-aisle
or a chapel has been boarded
off, so as to form a room
where mass can be celebrated.
In others less injured, the
ruined portion has been sepa-
rated from the rest by tempo-
rary walls. This has been
done, for example, at Estrees-
St.-Denis, where the chevet
vault has been destroyed, and
is being done at Soissons, where
a substantial wall will separate,
probably for long, the ruined
western portion of the cathe-
dral from the more fortunate
choir. It has been done, too,

in the cathedral of Chalons. Here a vault of the ambula-
tory was destroyed by a bomb dropped from an aeroplane.
This is the only casualty, happily, among the noble group
of Chalons churches. Notre-Dame-en-Vaux, St.-Alpin, St.-
Jean, St.-Loup, and Notre-Dame-de-Lepine are all intact.
Even the glass of the cathedral of Notre-Dame was dis-
mounted and saved by the French Government. The es-
cape of the churches is part of an immunity shared by the
entire city of Chalons, and so extraordinary that it is con-
sidered miraculous. In 1914 the bishop of Chalons vowed
an annual pilgrimage to Notre-Dame-de-Lepine if the city
should not again fall into the hands of the enemy. And
it never did, although for four years it lay within a few
kilometres of the front. In payment of his vow the bishop
conducted his people this year on the first of these pilgrim-
ages, which may very probably become one of the important
religious festivals of France. Almost as remarkable as the
escape of the churches of Chalons is that of the abbey of
Mouzon in the Ardennes, a church which is particularly inter-
esting because of a copy of the cathedral at Laon. Although
the town was much destroyed, the abbey is uninjured.

ARCHITECTURE

Maurice Qucntin de la|Tour Portrait of Jean Jacques Rousseau.

A temporary roof, destined to protect the building
against damage by rain-water, is already in place at Noyon.
Similar roofs will be erected on the other great monuments
which have been so damaged as to be exposed to the weather.
The one for St.-Quentin is nearly ready. These roofs are
constructed in sections, transported, and then put up.
They are a remarkable achievement from the point of view
of practical construction, as they are efficient umbrellas very
quickly constructed and inexpensive. When one remembers
what a long and serious task it was in the Middle Ages to
construct a roof over a great cathedral, this modern accom-
plishment seems doubly remarkable. The temporary roof of
Noyon is not as distressing from
an aesthetic standpoint as I con-
fess I had feared. I first saw it
from the ridge near Bellefon-
taine, where one looks down on
the broad plain and sees the
cathedral of Noyon some fifteen
miles away. This used to be
one of the romantic views of
France, and I was distinctly
shocked to see, not the pictur-
esque mass of the cathedral
loved of old, but only the new
roof of corrugated iron glisten-
ing in the sun. But from the
city of Noyon itself the roof is ex-
tremely inconspicuous, a model
of discretion and good taste in

temporary Construction. It is SO Maurice Qucntin de la Tour. Portrait of

Maurice Qucntin de la Tour. Portrait of Madame de la Popeliniere.

low as to be practically invisible, and one could look at the cathe-
dral long and carefully without being aware of its existence.

Thus the last phase of German activity amid French
art has been, in a sense, an expiation. The Huns have been
forced to help gather up a few fragments of the vase they
wantonly shattered. There is nothing more futile than to
speak in such a connection of "reparation." The art that
has been destroyed in France can never be repaired. No
redress is possible. A man whose child has been murdered
will not be repaid by forcing the assassin to liquidate in part
the funeral expenses. No treaty of peace can bring the dead

to life. The crime which Ger-
many has committed against art
will endure to the ending of time.
It is impossible ever to repair or
ever to forget. Nothing is pos-
sible but forgiveness. In this
necessary act of forgiveness we
may, perhaps, be aided by the
thought that the fatal germ of
materialism, the poison which
caused the German madness, is,
notwithstanding the war, ram-
pant in our own blood, and that
it is driving capitalist, and even
more socialist for the socialists
are more crassly materialistic
than any Prussian military
clique toward an abyss of equal
the Abbe Hubert.' insanity and horror.

The Columbia Trust Co. Building

By Talbot Faulkner Hamlin

THE COLUMBIA TRUST CO. BUILDING, FIFTH AVENUE AND 34ra STREET, N. Y.

McKim, Mead & White, Architects.

THE colossal order as a decoration for a building of several stories is no
new device, but seldom has it been used as simply and as consistently
as on the old Knickerbocker Trust Building, now the Columbia Trust
Company. This is a building that, is a monument to the genius of its de-
signers, who, having once adopted the old idea, suppressed every other
detail relentlessly, merging windows and wall together into one dark pat-
tern of metal and glass between the marble columns. This conception, so
easy to express in a sketch, and so difficult to handle in reality, is realized
almost perfectly in the Columbia Trust Company by the careful treatment
of surfaces and color; the contrasting of dark grille and cream-toned columns,
of flat metal detail and the bold relief on capital and entableture; and is
further emphasized by the deep recessing of the walls between the columns
so that heavy shadows are caused which are a pleasing change from the
flatness of most of our city buildings.

The ornament of the building throughout is as successful as it is rich.
It is principally due to an absolute mastery of scale that such richness can
appear so simple. From the detail of the entrance door, with its restrained
relief, small in scale and delicately cut, to the bold capitals and the gorgeous

frieze, there is not a shadow that is out of tone, not a moulding profile or a
leaf which is not studied with regard to its position, its material, and its
distance from the eye.

Like all buildings with colossal decorative orders, purists can criticise
thh one as illogical. Modern fashion seems to be more sympathetic to the
delicacy of the Adam period than to the rich and noble power of Roman
work. Yet even the purist must allow that in consistency of conception, in
beauty of detail, and in mastery of scale the solution of the problem of the
colossal order in this building is well-nigh perfect. And even the modernist
must realize that this massive and rhythmically scrolled acanthus frieze, the
rich beauty of the capitals, the powerfully profiled base, all cut from marble
like yellow ivory against the dark green grilles between, form a decorative
whole of great nobility and powerful dignity that has been a pleasure and
an inspiration to thousands of passers-by.

NOTE: This beautiful structure has been sold recently and is to be re-
constructed, with an addition of a number of stories, into a general office
building.

Front elevation. C

for the Temple B'nai Jeshurun. The original design.

The Temple B'nai Jeshurun

Walter S. Schneider, Architect; Henry B. Herts, Associate

OTRIKINGLY unusual, and a noteworthy addition to
O ecclesiastic monuments, is the Temple B'nai Jeshurun
of New York, that expresses in its conception a more nearly
Semitic type of architecture than can be found in any other
modern building of its kind.

Upon entering the competition for the building, the
purpose was to seek among the archseologic fragments of
the period and time most closely related to Jewish unity as
a nation in Palestine. Extensive research in the various
collections in the Metropolitan Museum of Art furnished
inspiration for a design that reflects a blending of several
styles and periods more or less related.

For financial reasons, the original design was not exe-
cuted in all its details, but it has been so planned that ulti-
mately several features of the original scheme may be carried
out without disturbing the present structure notably, plac-
ing the Sunday-school above the auditorium, with an elevator
as shown on the plan, insuring ready access from the base-
ment or auditorium to the roof.

In treating the facade, an effort was made to soften
the chill and somewhat bleak effect so usual in granite by
using stone that had weathered, so that a rich buff color is
the prevailing tone. The seamed-face granite fa9ade shows
the influence of Egyptian stonework, relieved of too great
severity by the ornate treatment of the main portal.

In the lobby, restraint and simplicity of treatment are
evidenced. Whatever ornament there is, is well studied and
in low relief. Cast stone perforated grilles conceal radiators;
and a slight amount of color is introduced in the soft buff
of the high marble base and of the rough buff floor tile, set
in squares, and bordered by glazed tile running in color from
a deep blue to mottled blue and buff.

At the opposite ends of the lobby, marble stairs ascend
to the balcony, and descend to the basement." Here the
Sunday-school has been temporarily installed, and here
also are located the board rooms, lavatories, an apartment

for the janitor, and facilities for heating and artificially ven-
tilating the building.

The Sunday-school, which now occupies the major
amount of floor space, is so arranged that by means of fold-
ing partitions it can either be divided off into classrooms, or
used in its entirety as an auditorium for lectures or other
assemblages. The auditorium of the synagogue proper has
a seating capacity of about eleven hundred.

In plan, the auditorium is a square, with the four cor-
ners worked out as pendentives, each with two pilasters,
highly decorated with low relief ornament, supporting dec-
orative brackets carrying an octagonal dome, which sur-
mounts the whole. The perpendicular surface of the oc-
tagon is perforated by a number of segmental arches.
The octagon and its elaborate stalactite ceiling are thrown
into high relief by means of concealed lighting.

Between the projecting brackets framing the octagon,
the auditorium ceiling is a geometric design of stalactites,
similar to that above the octagon.

The sanctuary has been so treated that it immediately
arrests and centres attention. Intricately and richly orna-
mented, the compartment containing the scrolls of the
law has been further enhanced in beauty through the use
of color. Veined blue marble columns are clustered about
the openings, and the surrounding ornamented surfaces
have been richly colored in dull tones of blue, buff, red, and
gold. Pendant above the portals of the sanctuary is the
everlasting light, symbolic of eternal faith.

Above the sanctuary and reached by a stairway from the
ambulatory, is the choir and organ loft. This, together
with the sanctuary, is framed by an ornamental perforated
arch of geometric design.

In front of the sanctuary is the altar or reader's desk.
This is of buff-colored marble, inlaid with a richly blended
mosaic. Concealed light reflects its rays upon the altar ta-
ble. The altar is flanked on either side, near the outer ends

ARCHITECTURE

of the platform, by large
seven-branched candelabra.

Distinctly decorative in
their treatment, and some-
what reminiscent of the
Moorish, are four large can-
delabra which are pendant
over the auditorium from the
four points where the brackets
form the octagon. These also
have been colored to harmo-
nize with the general color
note touched in the treatment
of the sanctuary.

The ornament through-
out the interior is a free in-
terpretation of Coptic design,
interpolated with suggestions
from Moorish and Persian
sources. Adapted to modern
conditions, it gives in a build-
ing of this character a har-
monious result, insuring a
Semitic character that cer-
tainly no classic treatment of
columns and cornices could
approach.

An added effect of digni-
ty, and a certain mystical
quality, is obtained in the
treatment of the larger win-
dows, which are of cathedral glass. These, together with the
rose-window in the main portal, are, in general, in two colors
only blue and golden yellow. Simply treated with a diaper
pattern, the only allegorical design is at the rounded window

Section. Competition for the Temple B'nai Jcshurun. Above the roof line of the
present building is shown the proposed Sunday-school.

head. The yellow tone gives
a cheerful sunlight effect, con-
trasted with the mystic qual-
ity imparted by the blue win-
dows near the sanctuary.
This note is carried further in
the dull blue upholstery of
the pews and the carpeting of
the aisles and floor of tjie
sanctuary.

Practically all radiators
are concealed from view be-
hind perforated ornamental
cast-stone grilles, while at reg-
ular intervals, beneath the
pews in the auditorium, mush-
room ventilators, operated
from the plenum chamber in
the basement, are placed-
insuring filtered air of an even
temperature at all times.

But no auditorium of any
kind, no matter what its artis-
tic attributes, may be called
"successful" if acoustic con-
siderations have been neglect-
ed. To this end the interior
has been carefully studied,
so that sound is taken up at all
points, and not reflected, there
being no disturbing echoes.

The Temple B'nai Jeshurun " shows a most careful
study of plan, design and ornamentation, and the result
is a building expressive of its purposes and of unique artistic
interest.

cuss lien ;| -5UHJY JCKSOL- |d!S loon

Plans of completed building.

ARCHITECTURE

HOUSE No. 1

HOUSES BEING BUILT AT SCARSDALE, N. .

HOUSE No. 2

See page 22.

Eugene J. Lang, Architect.

ARCHITECTURE

HOUSE No. 3

HOUSES UKING BUILT AT SCARSDALE, N. Y.

HOUSE No. 4

See page 22.

Eugene J. Lang, Architect.

ARCHITECTURE

E ft I

HOUSE No. 5

HOUSES BEING BUILT AT SCARSDALE, N. Y.

Eugene J. Lang, Architect.

Designs and plans shown on this and two preceding pages represent a group of five frame buildings now under construction at
Scarsdale, N. Y. They are straight Colonial Academic architecture, designed for definite sites with regard to outlook, location of porches
being determined by orientation. The architect aimed to get within a compact plan of 1,000 square feet floor space at least 1,200 square
feet of accommodation. The houses range in price from $9,000 to $18,000, the average cost being $15,000.

Architectural History and the Designer

By Rexford Newcomb

Assistant Professor of Architecture, University of Illinois

WITH the changes that have been wrought in our think-
ing as a result of the Great War, many questions
have been raised regarding the future of architectural educa-
tion in America. There seems to be abroad among archi-
tects an idea that the architect of the future needs, if he has
not done so in the past, to get closer to the realities of his
work, to understand better engineering procedures, to have
a better knowledge of materials, to think more logically and
clearly, to act more orderly and surely. And well may such
ideas run through the mind of the observing practitioner,
for of all professional men the architect came in for the
severest criticism during the war. The architect's perform-
ance, when compared with that of the engineer, for instance,
left much to be desired. The architect saw work that from

time immemorial had been given to him turned over to the
engineer for execution. Clearly something was wrong.
Some have tried to lay the blame upon the schools that have
trained a portion of the profession; others have blamed it
upon the profession and its attitude toward the current
questions of the day. All agree, however, that now is the
time to seek out better methods and formulate better policies
to guide the profession, whether it be the practical man or
the educator, in the future.

In such a stock-taking time as this, clearly the educa-
tion of the future generation of architects should be care-
fully considered, and constructive suggestions offered. Now
seems a good time for educators to reconsider the educational
trend, discard those practices which a changed social order

ARCHITECTURE

has made obsolete, and restate the policy that is to guide
them through the post-war period. In this connection the
subject of architectural history and its place in the curricu-
lum might be profitably considered.

In none of the various suggested schemes for changed
architectural curricula, that have resulted from a desire to
reorientate architectural study, has the writer found any-
thing that would seem to challenge the place that the study
of architectural history has held in the curriculum of the
past or attempt to exclude it from the curriculum of the
future. Yet, although its place seems unchallenged, the
methods by which it is presented and the attitude held
toward it in many of our schools should not go uncriticised.

The writer is well aware of the attitude which most
young students have toward the study of architectural his-
tory. To the student, taking up for the first time the study
of architectural history, some of the following questions are
likely to arise: Of what use is this study of past architec-
ture, anyway ? Why not concentrate upon the best that
is being accomplished in the world to-day and let the past
the dead past lie undisturbed ? It is to the future, not
to the past, that we look; why should so large a percentage
of our time be spent on what has gone before when we could
be contemplating what we are going to do in the future ?
All these questions and many more are likely to disturb the
mind of the young American, especially if he comes from a
section of our country which has neither much of a historic
background nor many old things to reverence. Now and
again these very questions arise in the minds of the more
thoughtful practitioners as well, especially in the minds of
those who are fearful that we shall never arrive in America
at an adequate expression, architecturally, of our life, ideals,
and civilization. Now and again arises a "modernist" who
counsels us to "leave off the copying of the forms of the
past and strike out for the future," and if he does not coun-
sel by word of mouth, he does by act and deed.

The importance of the study of architectural history to
the practical designer has thus been challenged in the past
and doubtless will be in the future. Thirty years ago Mr.
Henry Van Brunt, in a report of the Committee on Educa-
tion of the American Institute of Architects, urged strongly
upon the profession and the architectural schools the ex-
treme importance of a detailed study of architectural his-
tory to the designer. His emphasis was placed then, as it
should be now, upon that aspect of the study which would
bring out the "fundamental principles that underlie design
and show the student how form and ornament were devel-
oped out of the genius of civilizations and peoples." .

The history of architecture has always occupied a
prominent place in American curricula, and the arguments
of such reports as that just mentioned only served to empha-
size, and correctly, too, in the writer's estimation, the im-
portance of such study. Some ten years ago there began
to be manifest in certain branches of the profession a grow-
ing dissatisfaction with the subject of architectural history.
It was argued that a formal study of architectural history
only operated to enslave, the student to the forms of the
past and to abridge his ability to do real creative work. It
was further argued that the great designers of ancient and
mediaeval times knew nothing of their architectural past
and that they were concerned only with the solving of the
problems of the present and 'future. They had succeeded
admirably and why should it not be possible for our design-
ers to proceed in the same fashion ? The recommendation
was that a detailed study of architectural history be given
up and that the resulting extra time be spent upon design.

Now there was ground, no doubt, for such reasoning,

and the writer believes that some of the blame for mediocre
design, as far as the schools are concerned, can be with jus-
tice laid at the door of poor history teaching. This question,
however, should be asked: Were designers doing parrot-like
work as a result of a detailed study of architectural history,
or was there some other cause for their intense worship of
dead, past forms ? There are probably two answers to this
question. In the first place the detailed study of architec-
tural history, as a thing in itself, was not wrong, but ,the
method of approach used with few exceptions in those days,
and from then even down to the present, was fundamentally
wrong. Even with this admission, however, the whole blame
cannot be laid at the door of the teachers of architectural
history. Some of the blame must be charged up to the
teachers of design, who, as a class, have taught as unsuccess-
fully as the historians. The prevalent habit, as practised in
schools of design, of taking good historic examples, things,
of course, perfect as far us their material, time, and place
are concerned, and "adapting them to modern uses," has,
the writer is constrained to believe, been as large a factor in
the making of parrot-like archaeological designers, as an
archaeological approach to the study of architectural history
could ever possibly have been. The writer remembers with
perfect clarity the procedure in the design classes of his day
and, so far as he can observe, the methods in use to-day
offer no greater incentive to sane, logical, original, creative
thinking than the methods in vogue at that time. It is
not with the glowing folly so apparent in the teaching of
design that the writer is here concerned, however, but with
the less obvious, yet perhaps just as dangerous methods that
are currently used in the presentation of the study of archi-
tectural history to the undergraduate.

As has been charged, much of our architectural history
teaching has been nothing more nor less than archaeology.
In many schools it has amounted to scarcely more than a
superficial criticism of the aesthetic externals of the buildings
of the past, with no attempt upon the part of the instructor
to inspire the student really to seek to understand the social
order which brought forth these monuments, the geological
or commercial conditions which made possible their con-
struction, the correlation of their aesthetic and structural
elements, or an appreciation of the fact that out of these
pre-conditions, in a given time and place, there could not
have come any other expression architecturally than the
one that resulted.

This method of presentation may indeed have been
largely influenced by the books on architectural history, for
it is lamentably true that in many schools the course in his-
tory is based upon a text-book, which usually divides the
subject into a series of "styles" with hair-splitting differ-
ences and fine distinctions drawn, distinctions that are
clearly more archaeological than artistic. Style has been
over-emphasized, over-worshipped, with the result, that the
study of history often degenerates into nothing more than
a learning of the characteristics of these sacred styles, a
"grammar" of details and ornament to be drawn upon in-
discriminately as the occasion arises. And right here, per-
haps, lies one of the fatal mistakes that history-teachers
make. Realizing that the shortest way to a high standard
of taste and a highly developed appreciation lies in the
study of the best examples of the past, the teacher places
great emphasis upon the study of these masterpieces. He
analyzes their beauties upon plan and elevation, he expands
upon the charm of their detail and the wonder of their
color. All this is very well, but the mistake has been to
stop when this has been done, and to say, "This is the end
of our quest; these things are perfect art consummate."

2 4

ARCHITECTURE

They are perfect as far as form is concerned, and the student,
practical-minded, reasons that if these things are perfect
why not use them, and so he borrows bodily this or that
from a Byzantine church, or a Roman bath, or a Gothic
cathedral, and "applies it to a new use." His sole reason
is that it is beautiful. Whether it is appropriate and logical,
expressive of this race and place and time, is never consid-
ered. What has been lost sight of is the fact that behind
all these forms and through them there is a "guiding spirit,"
and this spirit which, most of all, the student should have
grasped, he has most completely missed.

What we need is the study of architectural history from
an approach that will compel the student to appreciate the
fact that the great architecture of the world has always
evolved in obedience to certain unfailing principles, that
form grows out of structure, and that structure is in turn
the result of man's using the materials that he is able to
lay his hands upon, to accomplish a very definite, practical
result. Above all, it should be pointed out that various
peoples approach the same problem in very different ways,
these differences being due to their different mental habits,
which, in turn, are determined by their history as a race,
their religious ideas, their social order, or their present
environmental conditions. The student should be led to
see that great architecture is the result, always, of a frank,
logical, and straightforward meeting of the conditions im-
posed, the intelligent selection of means to the accomplish-
ment of ends, and that, after all, outward form is significant
only when it expresses in a direct way the inward organ-

ism.

It has occurred to the writer that in courses in the
history of architecture there are several opportunities for
the student. First of all, he can gain an appreciation of
form through the study of the best historic examples. If he
does this he is progressing, but every intelligent layman
should do at least this much. What is more fundamental
to his future studies and work as a creative artist is this: he
may order his architectural philosophy. In this second case
there is a grave responsibility laid upon the instructor, and
it seems well to remind the student as the course proceeds
that these forms, these buildings, this subject-matter, if you
will, though interesting and beautiful in themselves, are not
the sole object and end of the course. They are only the
subject-matter, the visible remains that show us in concrete
form the results of all the forces that have been at work in
a given place at a given period. He should be taught how
these forms do express their civilization and time.

At first, it will be necessary to point out to the student
what he will, if he is a thinker, discover sooner or later for
himself; namely, that architecture is a perfect index to the
life and thought of a people, and, in this sense, is the result
of many influences, among which might be mentioned geog-
raphy, geology, climate, ethnographic and historical relation-
ships, political and religious systems. There are hundreds
of classic examples to bear home to the student the truth
of the above proposition. Secondly, the student will soon
discover that man builds or constructs for two sets of
reasons, and that what he rears he builds because it satisfies
his physical needs or satisfies his mental, his spiritual needs,
and that in the accomplishment of these things he takes the
line of least resistance. In this connection he will soon dis-
cover that structure is physical, results from a physical de-
mand, while ornament is mental, results from a psychologi-
cal demand. This observation should teach him why forms,
particularly ornamental forms, have persisted in architec-
ture and the other arts of design, long after they are no

longer racially or nationally appropriate. They persist sim-
ply because they satisfy man mentally, spiritually.

Moreover, the student will soon discover that in all
great periods of architectural activity there has been behind
the new evolving forms a new structural principle, and he
will soon come to feel that in the world's history there have
been, after all, only two great architectural trends, the first
the development and perfection of the post-and-lintel system
of construction, that is the static system; and the second,
the development and perfection of the arcuated system,
the dynamic system of construction.

He will soon discover, also, that ornament, as the fulfil-
ment of a psychological demand in mankind, follows struc-
ture, and that when ornament, at any period, dictates struc-
ture, architecture becomes decadent. In other words, there
must be a perfect balance structure, logical, simple, and
appropriate to .time, place, people, and materials on one
hand, with form for its perfect aesthetic expression, enhanced
by sane ornament, upon the other. Thus it seems to the
writer that any course in architectural history that does not
satisfactorily and adequately correlate architectural expres-
sion and its pre-conditions is a failure. For if architecture
is the perfect index to the life and ideals of a people, the
young designer will reason that in order to make his art
vital, appropriate, and living to-day, he needs not take
parrot-like the forms of the past and paste them upon the
structures of the present, with little thought of their meaning
or significance, but that he needs to fathom the spirit, the
life, the civilization of his time, and by the same processes
used by the great architects of other days arrive at as worthy
results in the expression of that new civilization. In other
words, he should emulate the spirit, the method of work that
brought forth these forms, not copy the forms themselves. -

In this connection it should be noted, however, that
there are many forms that have been used throughout all
the styles, that have been common to many peoples. This
is especially true of ornamental forms, and in this sense they
are "world forms," and persist because they express the ful-
filment of a definite psychological need. Whenever man is
able to do without them mentally they will cease to be used.

It is needless to argue that structure precedes ornament;
it goes without saying that here it should be noted that
ornament should grow out of structure, should enhance it.
In this sense architectural procedure would seem to follow
biological precedent. It is to be noted, moreover, that what
has in one age been a structural necessity has often persisted
in a succeeding age as a pleasant ornamental reminiscence.
The reason is again to be found in a psychological analysis.
These columns, for instance, now structurally obsolete, are
demanded aesthetically, or, at least, a vertical element in
the design is demanded. Where we have made our mistake
has been to supply the columns which, in the material of
which we have made them, are totally illogical and prepos-
terous, if we expect them to do the work that they seem to
be asked to do.

It appears, then, that there are many vital and helpful
lessons to be gained from the right study of architectural
history, but in order to accomplish some of the things here
mentioned it is necessary to go thoroughly into the pre-
conditions, to make complete analyses of all the other phases
of a nation's history; in other words, to try to master com-
pletely an understanding of the civilization of which the
architecture is, after all, the visual expression. Approached
in this spirit, architectural history may, instead of being the
study of dead forms, be the means of realizing more fully and
appropriately the architectural expressions of our own times.

Memorial Community Building, Goldsboro, N. C.

C. Adrian Casner, Architect

FEATURES EMBODIED IN THE BUILDING. A memorial hall
on whose walls shall be inscribed the names of all the boys
who saw service in the war and in addition thereto records,
relics and trophies of the war.

An auditorium with a seating capacity for fifteen hundred
and suitable for large county and community gatherings,
with a modern stage and equipment.

A public comfort room with suitable toilet facilities. Suit-
able rooms for all county and city public welfare agencies and
social organizations. A reading room. A gymnasium. A

swimming pool and shower baths for both men and women.
A room for games and amusements. A bowling alley. A
lunch room and kitchenette.

PLANS. The architect has prepared and submited plans
for such a building, embodying all of the above features and
answering the needs of the community.

COST. The estimated cost of the building is $200,000,
and the estimated cost of the building equipment and
grounds is $50,000, making an estimated total of $250,000
to be raised in order to finance the undertaking.

Modern Building Superintendence

By David B. Emerson

CHAPTER V
PLASTERING, MARBLE AND TILE WORK

THE ceilings in the first story were to be furred and
lathed with metal lath, and the top story had a hung
ceiling two feet below the bottom of the lowest roof-beams
to give an insulating space under the roof. To carry the
furring, steel hangers were clamped to the flanges of the
beams; to these hangers were bolted one and one-half-inch
by one-quarter-inch running bars spaced five feet apart.
To these running bars were clipped by means of No. 9
gauge galvanized-wire clips three-quarter-inch steel chan-
nels, spaced twelve inches on centres; this formed the fur-
ring to which the lath was to be fastened.

Where the beams in the coffered ceiling of the bank
occurred, longitudinal rails of one inch by three-sixteenth-
inch flat steel, fastened to the floor-beams, were run, and to
these rails were fastened brackets of flat steel bars, which
were bent to conform with the shape of the beams, and
were spaced twelve inches on centres. To hold the whole
frame in place stiffening rods of three-eighth-inch round
steel were run at right angles to the brackets and securely
wired to them. The lath which was used was a galvanized
No. 18 gauge wire lath. It was tied in place and drawn
tight to the furring with No. 18 gauge galvanized annealed
wire; ties were spaced every six inches, given a double turn,
and the raw ends bent back flush with the face of the lath.
All end joints were lapped two inches, and care was taken
to make all side joints along a furring bar, and they were
lapped one inch and securely laced together. The ceilings
were all carefully tested to see if they were perfectly level
and true before starting the plastering. All of the external
angles throughout the building were protected with gal-
vanized-iron corner bends, which were secured to the terra-
cotta block partitions by means of iron clips three inches
long, which held them firmly in place. In some of the rooms
in the bank, and in the tiled rooms in the Turkish bath in
the basement, two-inch solid plaster partitions were called
for. These partitions were constructed of galvanized cor-
rugated expanded sheet metal, secured at floor and ceiling
with special expanded metal angles. After setting the lath,
the partitions were ordered to be braced with temporary
bracing, until the plaster was on and set, for although these
partitions are very firm after the plaster has set, the lath is
very shaky until the plaster has been put on. Before the
plastering was commenced the carpenter closed all exterior
openings with well-braced wood frames, and covered them
with heavy muslin to keep out the weather. The plaster-
ing was done with patent plaster, which is by far the most
efficient method of plastering a large building in a city, as
it is practically impossible to slake enough lime and keep it
on hand for any large operation, whereas patent plaster
can be mixed and used at once; in fact has to be done that
way on account of the nature of the material. All plaster-
ing which was done on lath was three-coat work, and that
which was done on terra-cotta walls and partitions and on
the concrete floor slabs was two-coat work. Bevelled
grounds thirteen-sixteenths of an inch thick of dressed
white pine were set at all openings, and wherever required,
and plastering was ordered to be worked up full \o the
grounds. It is a great mistake to put patent plaster on
too thin, and a great many unsuccessful jobs of plastering

can be traced back to this error. The plaster for the scratch-
coat was fibred, but that for the burnt coat was unfibred.
When the plaster was mixed particular attention was given
to seeing that all mortar-boxes were clean before starting
to mix the plaster in them, and that they were thoroughly
cleaned out after each gauging. The mortar mixers were
warned not to wash hoes and shovels in the gauging water.
Not more than enough plaster to last one hour was allowed
to be mixed at a time on account of the quickness with
which it sets, as patent plaster, unlike lime plaster, sets in-
stead of drying. No plaster which had commenced to set
was allowed to be used. We were very careful when the
scratch-coat was put on to see that the plasterers applied
enough pressure to push it through the mesh of the lath
and give it a good key. Plaster was filled in between
window-frames and walls in all cases to make a wind-stop.
All terra-cotta partition tile and furring were ordered to
be well wet down before commencing any plastering on
them. The burnt coat was properly screeded up and fin-
ished with straight edge and darby, using a float to knock
off all lumps and fill cut faces. Once or twice during the
progress of the work we noticed some of the plasterers pick-
ing up some of the droppings on the staging and using them
on the ceiling; this we ordered stopped at once, as the drop-
pings have frequently commenced to set, and do not as a
result have a good adhesion, so that any jar on the floor
above will cause a fall of a portion of the ceiling, with the
accompanying discomfort to the occupants of the room.
The finish coat of plaster on all walls and ceilings was com-
posed of hydrated finishing lime, gauged with twenty-five
pounds of calcined plaster to each one hundred pounds of
lime. The finish was trowelled smooth, and all brush marks
worked out. The ornamental plaster-work in the banking-
rooms was done before the finish coat was put on the walls.
The beams and cornices were given a scratch and burnt coat of
plaster, roughly following the profiles over which the gauged
plaster was to be run. The plaster for all new mouldings
was mixed in the proportion of two parts plaster of Paris
and one part of well-seasoned lime paste, so that it would
not set too rapidly as it was being run. All ornamental
mouldings and applied ornaments on the surface of the
ceilings were cast from pure plaster of Paris and set in
freshly mixed plaster. We were careful to see that all of
the work was well mitred and joined, and that all orna-
ments were centred in the panels, all of which contributes
to the mechanical accuracy of the work. When the plas-
tering was completed the installing of the interior marble
and tile work was commenced. All of the vertical surfaces
of the marble which were not carved were highly polished;
the floors and stair-treads were hone finished. In all cases
the base course was ordered to be set before laying the fin-
ished floors. All of the marble work was set in plaster of
Paris, and the plaster was called for to be the best casting
plaster. Where the marble bases had to set out any distance
from the wall we instructed the contractor to build brick,
backing for marble; brick was laid up in lime mortar, so as
not to stain the marble.

Before laying the floors we had the concrete slabs
thoroughly swept broom-clean, and then thoroughly satu-

ARCHITECTURE

rated with clean water and sprinkled with dry cement to
the thickness of about a sixteenth of an inch. A levelling
coat of cement mortar composed of one part Portland
cement and three parts clean-washed sand was put down,
and the floors were laid on this bed. The floor of the first-
story vestibule and halls was of marble tile, eight inches by
twelve inches, with border strips. The marble used was
pink-and-gray Tennessee marble, which on account of its
hardness gives an excellent wearing floor. In laying marble
floors, where two or three kinds of marble are used to get
color effects, care should always be exercised to select mar-
bles of very nearly the same degree of hardness, otherwise
walking over them will wear down the soft marble faster
than the harder ones, giving an uneven surface which is
very disagreeable to walk upon. The marble tiles which
composed the floor were bedded in the cement mortar and
well grouted with cement. The floors in the corridors in
the upper stories were of marble mosaic. Before com-
mencing to lay the mosaic an open-mesh galvanized-wire
netting was placed on top of the cement levelling coat; to
prevent cracking of the flooring, the netting was stretched
tight and fastened at the ends to hold it firmly in place.
The mosaic was composed of a field of Carrara chips and a
fret border composed of colored marbles. Borders were
set upon heavy paper face down and laid in strips on the
levelling coat; fields were set by hand in the cement. Care
was taken to see that the mosaic was kept to a line. After
the mosaic was laid it was well grouted with cement, and
when the cement had set the entire floor was ground down
to an even level surface by means of electrically driven car-
borundum wheels. The walls of the first-story corridor
and the banking-room were wainscoted with marble up
to the cornice, with pilasters panelling, etc. All of the cor-
ridors throughout the building had a plain marble wain-
scot seven-eighths-inch thick and five feet high, with base
one-and-one-eighth-inch thick by eight inches wide, and a
plain cap one-and-one-eighth-inch thick by four inches wide.
All offices had seven-eighths-inch marble base six inches
high. All marble was well anchored as it was set with No.
6 gauge copper-wire anchors; all slabs were anchored by the
edge, and all corners of the pilasters and wainscoting were
cross-anchored. The anchors were well wedged in and
covered with plaster of Paris. The marble was backed up
with plaster of Paris as it was set. All joints in the marble
should be as neat and close as possible, and none of the
slabs should have the edges chipped or spawled in the

setting. No screens were allowed to be used in the face of
the marble work. The treads and platforms of the stairs
were of gray Tennessee marble one and one-half inches thick,
with rounded nosings. The treads were secured to the iron
risers and strings by means of brass screws, the marble being
drilled, and the holes filled with lead to give a grip to the
threads of the screws. All of the toilet-room floors were of
three-inch hexagonal vitreous tile, and the walls of toilet-
rooms were wainscoted to the height of seven feet with
three-inch by six-inch enamelled white tile, with a sanitary
base and moulded cap. Tile by reason of its being absolutely
impervious, makes the most sanitary material known. The
bed for the floor tile was prepared the same as that for the
mosaic flooring. Tile were placed upon the mortar and firmly
pressed into place, and tamped down with block and hammer
until exactly true and even with the finished floor. All tile
were grouted with cement mortar, the grouting was ordered
done the morning after laying, to insure a proper bond be-
tween the grout and the cement mortar. All surplus grout
was removed before it had commenced to set. The walls of
the toilet-rooms were prepared for tiling by giving them a
scratch-coat of cement mortar, mixed one part Portland
cement to two parts sand, and well scratched horizontally.
The cove base was set before setting the wall tile to give a
good start for the tiling. Wall tile were set by buttering;
this was done by spotting tile on the walls about thirty
inches apart, and plumbing them accurately with the fin-
ished face of the wall. The scratch-coat on the walls was
thoroughly saturated with water. Neat cement mortar was
spread on the back of each tile, and they were gently tamped
into place and plumbed with the spot tile by means of a straight-
edge. After the tile had set, the joints were washed out and
filled with a thinly mixed white Portland cement. Care was
taken to see that all cement was cleaned off before it hardened.
The only defect to watch for in wall tiling is crazing.
All of the enclosures around the water-closets in the toilet-
rooms and the back linings of the compartments were of
structural glass, with white enamelled iron door-stiles. This
material, on account of its being absolutely impervious and
practically non-staining, and offering a great resistance to
abrasion, makes a most ideal partition for use in public
toilet-rooms. The partitions were erected according to
standard details and specifications, issued by the manufac-
turers. When the work just described was completed, the
building was 'ready for the metal and wood trim, much of which
had arrived at the building and was ready to be installed.

d's scheme for an international world centre

The Palais de Justice, in A

ARCHITECTURE

EXTERIOR.

WAITING-ROOM.

Bigelow & Wadsworth, Architects. Stone & Webster, Engineers.
DALLAS INTERURBAN TERMINAL, DALLAS, TEXAS.

ARCHITECTURE

Some Significant and Encouraging Facts Regard-
ing Building Prospects as Shown in
November, 1919

BUILDING operations for which arrangements were
made in the United States last November must be
referred to as simply stupendous. As winter approaches
there is invariably a tendency toward contraction in con-
struction work as compared with periods immediately pre-
ceding, and 1919 was not an exception to the rule, but
the contraction was extremely moderate, and the plans en-
tered into summed up an extraordinarily heavy total of
contemplated expenditures. In fact the volume of pro-
jected operations for the month was not only the heaviest
by a very decided margin of which we have record for
November, but actually in excess of all earlier months
in 1919, excepting only August and October. Further-
more, all indications would seem to be for the continuation
of marked activity in building lines for some time to come,
the incentive being the urgent need for housing accommo-
dations in virtually all sections. Some relief has been af-
forded locally, in part by the alteration of private dwellings
into apartments capable of housing a number of families,
but otherwise the demand is as keen as ever.

Our compilation of building statistics for November
included 159 cities, all but 9 showing gains over 1918, and
in many cases the percentages of increase was phenomenally
heavy. This was especially true of Greater New York,
Chicago, Philadelphia, Boston, Detroit, Cleveland, Cin-
cinnati, Kansas City, Baltimore, San Francisco, Los
Angeles, Milwaukee, Minneapolis, Newark, Pittsburgh,
Washington, Seattle, St. Paul, St. Louis in fact, of prac-
tically all of the leading cities of the country and many
of those of lesser prominence. The total of intended out-
lay reaches no less than $140,691,829 against only $18,347,-
234 last year, $47,000,000 in 1917, and $75,000,000 in 1916,
this latter until now the high-water mark for November.
Greater New York exhibits a very .decided expansion from
the very low total of a year ago, the comparison being be-
tween $20,428,281 and $1,688,949, the most striking gains
being in Brooklyn and Queens boroughs. The aggregate
for the outside cities (158 in number) is $120,213,548
against but $16,658,285. The Middle West group of 29
cities reports a total of $43,904,311 against $4,591,212 last
year, and the territory west of the Mississippi River (24
cities), exclusive of the Pacific Coast section, furnishes an
aggregate of $15,939,557 against $2,457,445. The total for
the 37 cities in the Middle Atlantic division (not including
Greater New York) at $27,736,256 is over seven times that
of a year ago; New England cities to the number of 24
give an aggregate of $7,835,538 against $1,388,827; the
South (31 cities) discloses a result of 12,348,996 against
$1,590,174, while a total of $12,448,190 on the Pacific
Coast contrasts with $2,801,691.

For eleven months of the calendar year 1919 the ex-
pansion was of course extremely heavy, the aggregate ex-
ceeding by a considerable amount the high record for
the period established in 1916, which latter obviously was
upon a lower-cost basis for labor and material than now
prevails. A total of approximately 1,175 million dollars
compares with only 425 millions in 1918 and 945 millions in
1916. Greater New York's aggregate for the eleven months
at 215 millions is 161J4 millions above that of 1918, and
outside of this city the comparison is between 960 millions
and 371> millions. The contrast with 1918 at a few
leading cities is: Chicago, 95% millions against 33?< mil-

lions; Philadelphia, 54 millions against 14^g millions;
and Los Angeles, 24^-fj millions against 8 millions.

Returns from the Dominion of Canada for November
furnished evidence of activity at most of the reporting cities,
and the activity was especially notable at Montreal, To-
ronto, Ottawa, Winnipeg, and Vancouver. For the eleven
months of last year the intended outlay exceeded that of
the like period of either of the five preceding years but fell
behind 1913.

From the Commercial and Financial Chronicle, New York\

State Societies of Architects

THE formation of State Societies of Architects, as
recommended by the American Institute of Archi-
tects, will not only accomplish much for the profession
but will also aid in making the profession of ever-increas-
ing benefit to society.

The Committee on State Societies is now engaged
in the preparation of a simple form of Constitution and
By-Laws which, after approval by the Executive Council,
will be submitted to the Chairman of all State or Major
Locality Committees as an aid in the formation of State
Societies. In the meantime the Committee on State So-
cieties tenders you its services in any manner that it may
aid you or the profession in your State in organizing all
of the architects of your State, or the States in your major
locality, into State Societies.

Such State Societies should admit to membership
every registered or licensed architect in those States where
registration or license laws are in effect and in other States
should admit every honorable practitioner.

At the next convention of the American Institute an
amendment to the Institute's by-laws will undoubtedly be
considered which, if adopted, will give to all State Societies
the privilege of being represented at the Institute conven-
tions. Thus, by the organization of State Societies, admit-
ting all practitioners to membership, and the representa-
tion of State Societies in the Institute itself, the ent're
profession will be united in one national body, not only
making membership in either State or national Society
of more value to the individual, but through organization
the entire profession will have more influence in local,
State, and national affairs.

The chairman would welcome from you any sug-
gestions you may have to offer as to how best to proceed
to secure the formation of a State Society in your State.
Will you as chairman of your locality appoint a special
committee to do this work ? If so, will you please give the
name and address of your special Committee Chairman so
that the general committee on State Societies may keep in
close touch with the work of your local committee ?
Yours very truly,

N. MAX DUNNING, , .
Chairman, Committee on State Societies,
53 W. Jackson Blvd.^Chicago, 111.

Some Strike Facts

URING the twenty years from 1881 to 1900 the build-
ing trades had more strikes than any other one industry
-\9 1 A per cent of the total number but they involved a
smaller number of men per strike; far fewer, for instance,
than were involved in railroad strikes during the same period,
although these numbered only 5.6 per cent of the total num-
ber recorded. Out of a total of 22,793 strikes reported from
1881 to 1900, 52.8 per cent were successful, 13.6 per cent
partly successful, and 33.54 per cent failed.

ARCHITECTURE

DINING-ROOM.

V LJULiJbJLLJLJluJliJUU

FARKAGUT HOTEL, KNOXVILLE, TENN.

W. L. Stoddart, Architect.

XXIV

ARCHITECTURE

Assuredprotection for
ceiling ornament

V7"OUR hours of study and effort and
* your artistic labors are largely wasted
if the surface to which your designs are ap-
plied is not rigid and lasting.

BOSTWICK "TRUSS-LOOP," because of its truss
construction and its double weight (4^ Ibs. per square
yard), is assurance against sagging, buckling or cracking.

So distinctive is this extra strength that it permits the
spacing of studding 16, 20 or 24 inch centers- reducing the cost
of framing at least 25%.

A letter will bring you complete data and an exact form of
specification if the logic of TRUSS-LOOP appeals to you.

THE BOSTWICK STEEL LATH COMPANY
NILES, OHIO, U. S. A.

St. Bernard's .
R. C. Church,
Akron, Ohio
Wm. P. Ginther
Architect

IBOUT the Bostwick
Truss-Loop used in
St. Bernard's R.C. Church,
Akron,O.,Mr.Wm.P.Ginther,
the architect, writes:

Niles, Ohio
September 3rd, 1919

THE BOSTWICK STEEL LATH Co.,

NILES, OHIO

Gentlemen: Having had occasion to redecorate the
St. Bernard Roman Catholic Church in which I used
your "Truss-Loop" Lath about fifteen (15) years ago,
I was interested to note that from every indication the
Metal was as intact as when originally built.

While this is the usual experience I have had with your
product, yet I thought you would be inter-
ested to also learn as to this condition.
Yours very truly,

WM. P. GINTHER

TRUSS-LGOP

(Steel Lath)

From the original water-color sketch for an earlier proposed,central feature of the quadrangle.

MOUNT VERNON SEMINARY, WASHINGTON, D. C.

Wesley S. Bessell, Architect.

ARCHITECTVRE

THE PROFESSIONAL ARCHITECTURAL MONTHLY

VOL. XLI

FEBRUARY, 1920

No. 2

The Mount Vernon Seminary,
Washington, D. C.

By Wesley Sherwood Bessell

Perspective.

' I ^HE problems presented in the development of a col-
*- lege or educational institution are so varied and
numerous, that it is almost impossible to set down any par-
ticular one. An outstanding purpose, however, always to be
considered in our present-day institutions devoted to the
higher education of our future citizens, is the problem of how
to overcome the prevailing feeling, when one enters such
buildings, of "this is an institution."

Long, uninteresting tunnel-like corridors, large for-
bidding rooms, or cold, nondescript, characterless and poorly
furnished parlors seem to be abundant. This feeling of "in-
stitution" has always left its impression upon the writer,
so that in approaching the problem of providing the proper
dormitories, together with the administration and purely
educational facilities under one roof, this was the upper-
most obstacle to overcome. To combine all three, and still
maintain an atmosphere of home, was the first and foremost
idea. How well it has been met, is for others to decide, but
as a problem for solution, it was most compelling and in-
tensely interesting.

Of the other problems, that one of unity of a whole,
seemed next to the elimination of the institutional atmos-
phere. So many schools are a collection of heterogeneous

types, that in order to avoid this, a complete scheme
was developed, both as to present and future building,
with gardens and all other accessories carefully studied
and developed, and leading to a culmination of the
whole.

Believing that any project of this sort should hold to
certain defined lines as to its completed ideas, it was with
this thought that the Mount Vernon Seminary was laid
out. The result to be obtained being the blending of a definite
type of architecture, into a whole, yet with each individual
bit interesting in itself. ,

Aside from these main factors, there were, as one be-
came engrossed in the problem, unlimited bits of delightful
opportunities unfolding themselves. Among them special
features became desirable, such rooms as a post-office, great
hall, study halls, refectory, art studios, and numerous other
interesting subsidiary rooms.

With all this at hand, one's imagination might easily
run rampant. Think of being privileged to design and create
twenty separate and distinct outside doorways, each with
its own little idiosyncrasies, of the fun in slipping in little
surprises here and there, all tending to add interest and
picturesqueness !

ARCHITECTURE

CLOISTER.

THE CLOISTER ARCHES.

DOORWAY TO REFECTORY.

THE CLOISTER STAIRS.
THE MOUNT VERNON SEMINARY, WASHINGTON, D. C.

Wesley Sherwood Bessell, Architect.

ARCHITECTURE

Entrance-hall and corridor.

Situated as it is on a commanding ridge on the out-
skirts of Washington, and facing old Virginia, an earnest
effort was made to produce in Mount Vernon Seminary
an atmosphere of our traditional past. This was a considera-
tion both without and within. It was hoped that girls
attending might unconsciously absorb something of this
atmosphere, something that would count in their future.
To eliminate the institutional feeling and supplant it by
one of a home environment, simple, dignified, and refined,

School mistress desk-library.

was the purpose to be accomplished if possible in the design-
ing and execution of Mount Vernon Seminary.

The building is built on the U-shape plan with cloisters
both sides and a quad, opened at one end, one hundred feet
wide. This quadrangle and cloister permit the girls free-
dom for exercise, and are secluded from public view. All of
the bedrooms at one time during the day receive sunlight,
and these rooms are arranged in groups of two double rooms
with a connecting bathroom and also a few double rooms

View in quad.

without these connecting baths. There
are twenty single bedrooms, a senior
hall and a corresponding room called
the optima. These rooms are club-
rooms for the girls' use.

On the third floor are sound-proof
practice-rooms and an art studio.

In the lower end of the north
wing above grade is located the swim-
ming-pool, which is built of reinforced
concrete and finished in white cement.
This pool is twenty feet by forty feet,
and four to eight feet in depth. It
contains also a visitors' gallery and
dressing-rooms. Back of the swim-
ming-pool is a gymnasium of ample
size.

In the south wing, lower end, is
located the domestic science depart-
ment and telephone-room. Here also
is the kitchen with its necessary ad-
juncts such as the bakery, butcher
shop, dairy and ice-cream room.

ARCHITECTURE

/'/' ^ i* ,*.'<$ ^j-'

Main entrance design.

Just over the kitchen there is
a large serving pantry fully equipped
with the necessary equipment that goes
with the making of economical and
efficient service. Next to the pantry
is the main dining-hall with windows
on both sides that means sunlight at
all meals. Next to this room are the
French and private dining-rooms,
and to the front of these connected
by a hall is located what is known
as the "Great Hall." Across the en-
trance front are the necessary recep-
tion-rooms and administration quar-
ters, and in the north wing, facing the
north light, are all of the class-rooms.

The heating plant is located at the
rear and away from the main building,
and connected only by a pipe tunnel.

Such, in a brief way, is the gen-
eral layout of this school, which has
proven to date to be a satisfactory,
complete, and workable unit.

The Remodelling of the Residence of Mr. Isaac T. Mann

George Oakley Totten, Jr., Architect

ALTERATION and reconstruction seem in these times
-i\ of high prices and scarcity of labor the order of the
day. To make more usable what we have is the final step
before entering upon what we hope is to be the greatest and
most glorious construction period of all times. To alter and
make attractive the old Victorian brick home which Mr.
I. T. Mann had purchased in a very desirable location in
Washington was the problem presented to the architect.
The adjoining lot had also been acquired so that additional
space might be added and light and air assured.

The first criticism which suggests itself in the old house
was the excessive fenestration of the main fa9ade. It was
possible to reduce this in two ways. On the second floor
the two front rooms were thrown into one, so it was possible
to eliminate two windows and to add a central one, making
one large group on the axes, and this had the additional
advantage of giving restful plain wall surfaces on either
side. The other change was placing transoms in the third-
story windows, not reducing their actual but apparent size.
The gables of the dormers were made steeper and enriched, and
the entrance altered to be in keeping with the new design.

A cresting was placed upon the roof ridge and a balus-
trade around the parking. The entire building was stuccoed.
This was a very successful piece of workmanship. The
color of the stucco is a light yellow, similar to aged stone,
and the texture rather fine.

An addition was built on the adjoining vacant lot and
a two-story garage added in the rear on the side street. On
the first floor the entrance hall was re-designed and the
walls plastered with Caen stone cement. A ladies' recep-
tion-room and a billiard-room were added.

The one really fine feature of the old house was the
staircase, but this was confined to a narrow staircase hall.

On the second floor a partition was removed, so that the stair-
case enters directly into a large and attractive living-hall,
some forty feet square. This is panelled from floor to ceiling
in walnut of a rich brown tone, as is also the main stairs.

To one side of this central hallway is the drawing-room,
extending entirely across the front of the house. There had
been two rooms here, but by removing the partition between
them a fine large room was possible. This seemed rather
high and narrow, so the apparent height was reduced by
the introduction of an elliptical barrel vault and the apparent
length reduced by cross ribs dividing the vault into three
motives. The result is thought to be quite successful.

Directly opposite the main stairs is the sun room.
Two sides of this are entirely of glass, leaded, and with just
a touch of color; on the other a central fountain in tiles, and
on the fourth are the entrance doorways and a fireplace.
The general tone of color is a grayish green. The floor is
of brownish tiles.

On the third side of the living-hall is the dining-room.
This was also enlarged and panelled in oak and corresponds
in color with the brown walnut of the hall. The ceiling of
the dining-room is panelled in plaster.

The floors of the living-hall, reception-room, and dining-
room are of teak.

On the third floor is the library. This is panelled to
the ceiling in oak and is Elizabethan in style. Several dif-
ferent periods of architecture have been employed on the
interior.

The style of architecture for the exterior, the transi-
tional period of the French chateau, suggested itself from
the fenestration and main lines of the building. Having
adopted this style, great care was taken to carry it out in
the minutest detail.

ARCHITECTURE

HOUSE -AT MALVEBN.-PA.-
'KLEMM. -

FIB5T FLOOC,

SECOND FLOOE,

HOUSE AND PLANS, WALTER F. KLEMM, MALVERN, PA.

C. E. Schermerhorn, Architect.

War Memorials

By Charles Moore

Chairman of the Commission of Fine Arts
(An address delivered at the Metropolitan Museum, New York, December 21, 1919)

IT does not make much difference what kind of a war
memorial a community shall erect. There are a score
or more of forms to choose from, any one of which may be
suitable. They may have a building or a flag-pole, a park
or a statue, a fountain or a tablet. The memorial may
serve some useful purpose, like a bridge or an art gallery;
or it may be its own excuse for being. Communities often
excite themselves unduly, and even wax acrimonious, over
the choice of a form, neglecting entirely the weightier mat-
ters of the law.

If, then, the form is not essential, is not the problem
simplified ? By no means. If a community could only do
as most communities are doing go to a firm of brass found-
ers and order a tablet so many inches long and so many
inches high, to fit a given space then the problem would
be as easy as selecting presents during Christmas week
and quite as satisfactory !

The ordinary method of procedure is to hold a meet-
ing to express the desire of the community to honor the
brave boys who have given their lives for their country.
One such committee took to itself the name "Supreme
Sacrifice Committee," and the bad taste in the name satu-
rated the memorial they erected. The committee, on being
appointed, enters into correspondence with the firms of
tablet-makers. A certain committee, having less than a
thousand dollars to expend, secured designs from forty-six
different establishments. Five of these designs, each differ-
ing from the others but all with the same inscription, were
made by a single firm in New York, to whom the job would
be farmed out in the event that one of the five designs
should find favor. Several founders sent more than one
design; and the whole series represented, for the work of
designing alone, more money than the tablet would cost.
Of course, that cost is reduced by using the same general
design many times, with a change of lettering or ornaments
falsely so called.

It so happened that this series of designs was sub-
mitted to a committee of five artists, each one of whom had
won his spurs as an architect or a sculptor. They rejected
every one of the designs. Why ? In the first place, be-
cause the lettering was positively bad. Next, because the
proportions were bad; because the inscriptions were not
harmoniously disposed on the tablet; because there was
such a profusion of ornament as to produce an example of
bad taste; because the eagles and cannons and other war
paraphernalia were badly designed; because some of the
subjects treated were beyond the art of sculpture; in short,
because the designs lacked simplicity, suitability, and ele-
gance because they had in them the seeds of speedy death
rather than of eternal life.

All of the designs were presented in the form of draw-
ings. In order to obtain any adequate idea of how a tablet
would really look, a model is absolutely necessary. Of
course, these particular designs were so bad that they could
be rejected without going to the length of a model; but had
any one of them given promise, a model would have been
required before making final decision.

The usual committee, bewildered by so numerous an

array, would probably have chosen one of the forty-six
varieties and breathed a sigh of relief that their warfare
was accomplished. Then the tablet would have been
erected; and before the bronze had its color no one would
pay attention to it, save perhaps members of the families
of those whose names it bore. On the other hand, a tablet
good in form and material, with a suitable inscription well
cut, is a source of joy to the beholder and of honor to the
persons or events commemorated. The Romans, retreating
from Britain, left behind them tablets every letter on which
was a work of art.

The objection then is not to the tablet as such, but to
the futile, puerile and inadequate design of the tablet. It
is not to the thing itself, but to the way in which the thing
is done. This is what is meant by the opening proposi-
tion. It does not much matter what kind of a war memo-
rial you shall erect; it is the way you do it that counts.

Of course every community not only desires to erect a
work of art, but also confidently expects to do so. After
the memorial is in place, they are going to tell people that
it is the finest thing of its kind in this country and, if in a ,
very confident mood, they will add, the finest in the world.

Now, works of art are rare; and war memorials that
are works of art are still rarer. The Kings of Assyria deco-
rated the walls of their palaces with sculptures depicting
their successful battles. Few of these works have survived.
The Egyptian artists were concerned with the mysteries of
life and death, and with the arts of peace. At Thebes and
Karnak there are representations of fights in Syria and
Mesopotamia, cut in the rock thirty-three centuries before
Allenby's campaigns of restoration in 1918; but these, few
in number, possess an archaeological rather than an art
value. Moreover, these works are the memorials of indi-
vidual kings, not of the nation. The Greeks expressed the
joy of victory in festivals and processions, wherein spoils of
war, animate and inanimate, found prominent place. Also,
they made permanent memorials of their triumphs in the
form of temples and statues like the Nereid Monument
taken from Xanthos in Lycia to the British Museum; and
the colossal lion from Cnidus in Asia Minor, which has
found a like resting-place. Picture to yourselves this great
lion, standing out on a headland two hundred feet in height;
and, on its pedestal, raised forty feet into the clear air.
So the Athenians commemorated the victory of Colon in
394 B. C., who met the enemy of three hundred sail, no
more than eight escaping.

Then, too, Athens had a Street of Tombs, lined with
"monuments to all those Athenians who came by their
death in battle by sea or land, except those who fought at
Marathon, for these have their tombs upon the place it-
self as a memorial of their bravery." For the brave men
who laid down their lives in that most memorable battle in
the history of the world the first victory of the West over
the East it was esteemed a mark of highest honor that
their bodies lie where they fell. It was a like spirit that

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impelled Theodore Roosevelt to declare that the body of Valley Forge arch threw suitability to the winds- and even
his son should he where he fell, fighting the latest dare we disregarded the matter of appropriateness in the choice of
hope the last ? great battle between civilization and greed site, dropping their arch casually across the road. In

order to produce a work of art every element should be
considered, and among these elements none is more im-
portant than suitability of location. The relief experienced
when the New York temporary arch disappeared from Madi-
son Square was due to the general feeling that as located
the arch was an obstruction an impediment rather than
an ornament. i

The Washington Arch in New York with its park setting
is recognized abroad as well as at home as one of the world's
worthy memorials. There is no sense of conquest, no exal-
tation of Washington as a conqueror. Rather, the simple
dignity and graceful serenity typifies a completed nation
emerging from strife.

In the Arch of Triumph of the'Star, the French have
carried the arch to its conclusion as to location, architecture,
and sculpture, making it a portion of the organic unity of
Paris. Napoleon, in order to impress Europe with a just
sense of his majesty and relentless power, ordered Paris to
erect a monument to commemorate the victories of his
armies. Paris gladly obeyed the command. Two of the
foremost architects of their day were selected to carry out
the work, which occupied thirty-two years. During this
period one of the original architects withdrew, the other
died and was succeeded by his pupil, who in turn was asso-
ciated with two others, so that the arch represents the
combined work of four architects. To the four architects
must be added sixteen sculptors, who set themselves not so
much to praise Napoleon as to express in majestic fashion
the undying heroism of France. That arch, by reason of
its focal site and the arrangement and distribution of the
avenues leading to it, as well as because of its intrinsic
grandeur, is a constituent portion of the City of Paris.
And in like manner, any arch that we shall erect should be
so tied into the city as to become an integral part of that city.
The cost of the entire French work was $1,875,000.
The Lincoln Memorial, the work of one architect, one
sculptor, and one painter, has cost about $2,600,000, exclu-
sive of the enhancing landscape treatment. The location
of the Lincoln Memorial in Washington was suggested by
that of the Arch of Triumph in Paris. Both are terminals
of the great central composition of the city. In Paris we
have on the main axis the Palace of the Tuileries, in Wash-
ington the Capitol; there the gardens, here the Mall; there
the cross-axis, with the Madeleine where we have the White
House; the Obelisk where we have the Washington Monu-
ment; and the Chamber of Deputies where we have a still
unoccupied site of the first order endowed with axial rela-
tions in the Central Washington composition. Finally, as
the termination of the composition, Paris has the Arch and
we have the Lincoln Memorial. The plan of Paris and the
plan of Washington both are great plans in civic economy.
Both were designed by Frenchmen, and both have the same
end in view the expression of unity, dignity, and grandeur
in the making of the city.

In point of style, the -Arch and the Memorial are in
striking contrast. Lincoln had no conquests to celebrate,
no battles to record. Instead of martial sculpture, we have
Daniel French's statue of the clear-sighted, patient man;
and, cut into the walls, both his Gettysburg speech of con-
secration, and also his Second Inaugural his plea that the
consequences of sin might be averted and that the peace of
brotherhood might be restored. Nor is there a single note
of war in Jules Guerin's two muraljpaintings^but rather the
idea of emancipation from slavery, a condition as old as

of dominion. Is it possible to conceive any more fitting,
any more truly commemorative memorial to one of our
boys than the simple headstone, bearing his name, his ser-
vice, and the date of his death, placed side by side with like
memorials of his comrades of trench and battle, shaded by
the trees with whose branches the sun paints ever-varying
shadow-pictures on the white stone, and visited by multi-
tudes of his countrymen ?

It is the purpose of the War Department to maintain
at least four American cemeteries in France, and in each
case to create a field of honor. To have a son, a husband,
a relative buried in one of those four cemeteries will be a
high distinction.

In opposition to this plan of the Department the Ameri-
can Undertakers' Association has set its face like a flint, and
has induced many relatives to have the bodies of their sol-
diers returned to this country. There is a potential scandal
in every such removal.

Ill

There is one Greek war-memorial that has become the
admiration of the civilized world the Winged Victory of
Samothrace. We know little of the naval battle save the
date (B. C. 306), and not much more of the ^Egean islet
near which the fight took place. With trumpet gone,
without arms or head, far removed from the scene of tri-
umph, the goddess to-day subjugates the hearts and minds
of men the world around. The poise, the forward sweep
of that glorious body, expresses the concentrated and irresist-
ible force of a great cause. Not fighting, not prowess, not
tactics, but the invincible power of right, is what this
winged victory typifies. And so, with careful thought, the
victory medal of the Allies was planned at the Peace Table
in Paris a full-faced, full-length figure of Victory with
wings. In days to come, the American soldier, catching
sight of that benign figure, worn in honor by Greek or Mon-
tenegrin, or Frenchman or Briton, will say to his former
brother in arms: "I, too, went over the top in war, and by
this emblem which we both wear, I am ready now to stand
shoulder to shoulder with you to fight the battles of peace
the battles of right and order and law and fair-dealing."

W 7 e Americans are more akin to the Romans than to
the Greeks in our expression of national ideals. The Greek
strove for individuality and refinement; the Roman sought
grandeur and dignity. Energy and power are the ideals
expressed in their triumphal arches. Rome, small as was
its circumference, had no fewer than forty arches of triumph.
Doubtless we would have had even more memorial arches,
only that they are very expensive, and our victors have not
the resources that Titus and Constantine enjoyed that of
paying for his arch with the spoils of war. We did get
spoils from Mexico, but we put the money into land in
Washington for a home to shelter incapacitated men of the
regular army. Since the boys began to return we have
built innumerable triumphal arches in lath and plaster and
muslin. Not the smallest part of their success was in their
speedy exits. With the Romans the arch stood for a tri-
umph in arms. We have erected an arch at Valley Forge,
where the only triumph to be celebrated was the triumph
of mind over matter, of faith and endurance over the grim
array of the forces of nature an American soldiery, hungry
and ill-clad, but still conquering their surroundings by the
spirit of an indomitable commander. The buildings of the

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the world itself; and of the joy that reconciliation brings to
members of one family after estrangement; and of the
blessings of peace in fostering the arts and sciences. In-
deed Henry Bacon's entire work as an architect has been to
make the Lincoln Memorial a true expression of the sim-
plicity, dignity, and moral grandeur of Lincoln.

When Napoleon said that he would make Paris the
capital of the world that is, the ruler of taste he pro-
claimed his greatest success. Due to the artists who drew
their inspiration from his victories, the French classical
tradition was carried throughout Europe. Even England,
having withstood the power of Napoleon's armies, succumbed
to the dominion of his artists. Through the French archi-
tects the world has learned to speak one and the same lan-
guage in commemorative monuments and in those structures
that may justly be called monumental. To-day our young
men are trained in the great Paris school of architecture;
our sculptors and painters seek instruction and stimulating
companionship in the studios of Paris. Then, if they are
seriously ambitious to place themselves among the im-
mortals, they win their way to the American Academy in
Rome, where they are brought face to face with works that
have lived throughout the centuries and never were more
alive than they are to-day.

Thomas Jefferson, a contemporary ruler with the great
Napoleon, sought to set up here in America standards of
taste in architecture and sculpture. In public architecture he
would have us derive neither from the classicism regnant in
Paris, nor yet from the Palladian style with which the unin-
spired followers of Sir Christopher Wren were decorating
London buildings. Rather he would send our builders back
to the finest examples of Greek and Roman architecture for
their standards of simplicity, proportion, and elegance. He
understood none better the difference between body and
spirit. He did not seek the reproduction of Greek and Roman
buildings, thereby putting new wine into old bottles; but
he did insist that our public buildings should be planned
for the uses they were intended to serve, and also that they
should be a joy and a delight to the eye, by reason of loca-
tion, landscape-setting, harmonious proportions and worthy
materials. He sought to produce in the American mind
those emotions of patriotism, love of country, desire for the
things of the spirit, which to his mind were the real satisfac-
tions of life. Often he cast pearls to a heedless generation,
and especially to the generations succeeding; but may not
we approach our national and commemorative art in his
spirit, and with an intelligence such as his enriched by
travel and meditation, and by a disposition to enjoy rather
than to criticise ?

To celebrate his victories over the Dacians, the Em-
peror Trajan set up a marble Doric column, up the surface
of which winds a spiral band of sculpture, depicting scenes
from his triumphs; and the amiable Marcus Aurelius fol-
lowed his example. Each emperor had his own statue placed
upon the summit of his column, a position that ultimately
proved precarious to those royal pagans; for, after standing
on their lofty summits for some fifteen centuries, they were
forced at last to give place respectively to St. Peter and St.
Paul, who have now some three hundred years to their
credit.

In 1805 Napoleon commanded a copy of Trajan's
Column set up in the Place Vendome, in Paris, the sculpture
in bronze, to depict his victories in Germany and Austria.
With us the shaft has taken many forms. In the case of
the Bunker Hill and the Washington Monuments, the

obelisk was used. There are people who are so set against
the idea of an obelisk which is not a monolith that they
will see no beauty in the Washington Monument. It is
well to let such people take their theories off into a corner,
as a dog takes a bone. The good Washingtonian lives hap-
pily within the sphere of influence exerted by the dominat-
ing shaft, which takes color and form from the atmosphere,
changing from hour to hour, but always standing strong,
serene; planted on the earth yet towering far above it, like
the benignant Father of his Country, to whose prescience
and taste we owe the fact that our national capital may, in
another century, come to stand among the greatest capitals
of the world.

Brooklyn has used the column for its monument to the
Prisonship Martyrs of the Revolution; and the Lake States
have set up, at Put-in-Bay, a memorial of Perry's Victory
on Lake Erie, in the form of a great column, rising almost
from the surface of the water, and bearing a burning tripod
as a signal for the multitude of ships using that waterway.
In setting and design the Battle Monument at West Point
leaves nothing to be desired.

In all three instances the beholder is moved by the
happy way in which nature and art combine to stir patri-
otic pulses and excite feelings of satisfaction that our heroes
have been beautifully and nobly honored.

Ever since 1853, when Clark Mills mounted Andrew
Jackson upon a prancing steed, and made him doff his hat
to the White House, the equestrian statue 1 has been the
favorite memorial for martial heroes, until to-day Washing-
ton can boast of more bronze men on horseback than qan
any other city in the world if, indeed, it is a mattef for
boastfulness ! Among American equestrian statues are some
that may be classed as works of art, and one which seems
destined to be accounted so surpassingly good as to take
place with the two acknowledged pre-eminent equestrian
statues of the world the Gattamelata at Padua and the
Colleoni at Venice. 2 The Sherman statue at the entrance of

1 The first equestrian statue set up in this country was one of George
III, made in England, of lead, gilded. It was erected at the foot of Broad-
way, New York, in 1770. Six years later it furnished 42,088 balls for Con-
tinental muskets. In 1803, an equestrian statue of Charles IV of Spain
was executed in the City of Mexico, and was cast in one piece in that city.
The first equestrian statue executed in the United States is the Andrew
Jackson, by Clark Mills, unveiled in Lafayette Square, Washington, Jan-
uary 8, 1853, on the thirty-eighth anniversary of the battle of New Orleans.
Henry K. Brown's statue of Washington, in Union Square, New York City,
was unveiled July 4, 1856. This is one of the few good equestrian statues
of Washington in the United States.

2 During the period of the Renaissance in Italy, three great equestrian
statues of military heroes were fashioned. The first of these was set up
at Padua in 1453, in memory of the famous condottiere, Erasmo de Narni,
called Gattamelata. The sculptor was Donatello, who achieved one of the
great equestrian statues of the world. It is "powerful and majestic in its
very repose; there is no striving for dramatic effect, no exaggerated mus-
cular action, but the whole is dominated by the strong, energetic head,
which is modelled with searching realism." The second great statue is the
Colleoni in Venice; the third was Leonardo da Vinci's statue of Francesco
Sforza, which never got beyond the model stage.

The monument to General Colleoni stands in the centre of the Campo
Santi Giovanni e Paolo, at Venice. It was modelled by Andrea Verroc-
chio, a pupil of Donatello, and was cast in bronze by Alessandro Leopardi,
who designed the perfect pedestal, and probably had a part in the statue
itself. It was unveiled March 12, 1496. Professor Middleton says: "This
is, perhaps, the noblest equestrian statue in the world, being in some re-
spects superior to the antique bronze of Marcus Aurelius in Rome and to
that of the Gatta-Melata at Padua, by Donatello. The horse is designed
with wonderful nobility and spirit, and the easy pose of the great General,
combining perfect balance with absolute ease and security, is a model of
sculpturesque ability."

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Central Park, New York, makes use of man and animal to
portray the steady, determined, resistless march of armies
bent only on the conquest of peace. The figure of Victory
is the harbinger not of cruelty and oppression but of reunion
and good will. As a portrait the work is excellent, but its
real value lies in the fact that it arouses in the spectator
strong patriotic emotions.

Now as to that perplexing subject of the memorial
building community centre, auditorium, or art gallery.
The question is not whether it is useful, but whether it can
be made to arouse in coming generations feelings of honor,
respect, and gratitude for the lives sacrificed on the altar
of country. Remember, those boys were great idealists, as
every one knows who mingled with them in camp and on
shipboard. In the trenches ideals were often concealed
under the helmet, and showed themselves only in the stiffen-
ing of the knees that came at the end of the first twenty
yards on the Hun side of the top. Can the building be made
to express their service and sacrifice ? If so, by all means
build it. Once it has been done in this country. The
Memorial Hall that dominates Harvard University is con-
ceived in a spirit not military but peaceful. Dedicated by
a great prayer and a poem in which the character of Lincoln
is enshrined, bearing the names of those who died in battle
to save the Union, adorned with windows depicting the
world's noblest characters, carrying on its walls the por-
traits of men and women whose service to learning and the
community makes them worthy of enduring remembrance,
Memorial Hall rises high above its utilitarian uses even
above its bad architecture and proclaims the supreme
virtue of valor and sacrifice for one's country.

So the Pantheon in Rome and the Invalides in Paris
are great memorials, because of the emotions they inspire.
Therefore, it is not impossible to make a memorial of a
building; but it has been done rarely.

VII

In the discussion thus far, emphasis has been placed
rather on the effect of the memorial than on its form. The
question then arises, How can such effects be created, such
high emotions be inspired ? Unfortunately, there is no
straight and certain road to the goal. It is not sufficient
to say, Go to an artist and put yourself in his hands. We
have but to look back on the discarded or dishonored works
of the past to be modest as to present achievements or even
possibilities. There is no beaten path which leads directly
to the artist who shall surely express emotions comparable
with the courageous facing of ignominious death, as in
MacMonnies" Nathan Hale; or the gracious dignity and
controlled power of this nation, as in* French's colossal
statue of the republic; or the leadership of a despised race
fighting for freedom, as in Saint-Gaudens' Shaw Memorial.

Yet there are some practical considerations that will be
helpful. An artist must be capable of thinking greatly be-

fore he can express himself greatly. He may not be able to
put his thought into words, but he must be able to express
himself in his chosen medium architecture, sculpture,
painting. Further, he must'be able to express his own emo-
tions in such manner as shall arouse like emotions in the
beholder of his work. He must have the technical ability
to deliver his message clearly, distinctly, powerfully. He
must have something to say.

What shall the artist say to-day ? We went into this
war with high ideals. Have we realized them ? Have we
even formulated them ? Shall we be in haste to undertake
great works while the world is still in a chaotic mental state;
before the ship of civilization rights itself and rides on an
even keel after the greatest of storms ?

Is the last word to be one of helpless pessimism ? By
no means. Nothing can check the passion for the expres-
sion of national, patriotic feeling in monumental form. We
shall have plenty of monuments, such as they are. But,
now that we have an opportunity to give thought and con-
sideration to the matter, let us hasten slowly. Let us first
find out for ourselves what really constitutes an enduring
memorial, and then strive to attain for our own community
an ideal creation, a real work of art; and let that creation
breathe the spirit not of carnage but of peace.

Americans have regarded art as a luxury smacking of
effeminacy. To-day there are people who would not enter
an art gallery, not only because they have no desire to see
pictures and statues but also because they fear the ridicule
of their fellow-men. Art and music and poetry they leave
to the women of the family. They want serious things
like golf and poker, shooting and shows. They want to
talk about business, and their own automobiles.

Unless the artist shall be clear in his conception, noble
in his thought, and skilful in his expression, the memorial
will fail lastingly to count. Unless the community shall be
patriotic at heart, appreciative of excellence in the work, the
artist will labor in vain. That was a true saying of John
La Farge: "You do not judge a work of art; a work of art
judges you."

A work of art is the graphic expression of the emotions
of the artist in such manner as to call forth similar emotions
in the beholder. But suppose the individual or the com-
munity is immune to emotions, or is carried away by gusts
of emotion. Suppose the ideals that our boys carried over-
seas have been put back in the closet until some great crisis
shall again bring them into use. Suppose the idea prevails
that we can buy, as we would buy diamonds or pearls, a
memorial worthy of those who for our sakes laid down their
lives on the battle-fields of France and Belgium, or amid the
snows of Russia. Now, as a matter of conscience and of
justice toward the dead, can we so slight them ? Shall we
not rather give time and thought and serious consideration
to make our war memorials real works of art works that
shall express our deep-felt convictions, our appreciation of
sacrifice made, and our high determination to work for the
protection and advancement of that civilization for which
they fought ? Can we not put minds and hearts, as well as
our money, into our war memorials ?

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DESIGN FOR RECTORY, PARISH HOUSE, AND ST. GEORGE'S CHURCH, MAPLEWOOD, N. J. Charles W. Short, Jr., Architect.

Editorial and Other Comment

A Brand from the Burning

WE extend our most sincere sympathy to the architects
and artists who suffered loss in the surprising fire
that destroyed the galleries of the Fine Arts Building on
Fifty-seventh Street, where the exhibition of the Architec-
tural League was all ready to be opened on January 31.
The exhibition was to have been one of unusual interest
and distinction. Architects from all over the country had
sent work to be shown. From an appreciative editorial
in the New York Times we quote the following, as it gives
a very good idea of how attractively the exhibition had been
planned, and expresses so well our own feeling regarding
the zeal and efficiency of t'he men who had so generously
given their time and services and skill toward making the
exhibition what it was hoped would prove one of the most
notable in the history of the league.

BEAUTY BURNED AWAY

"The Architectural League had planned and carried
through the most beautiful and logical exhibition of archi-
tecture and the allied arts ever held in this country. Men
were working at full speed over the final details on Thurs-
day making ready for the reception to be held yesterday,
but before the exhibition was opened the result of many
weeks of labor of hand and brain was in ashes. Compara-
tively few people had seen the exhibits in the Fine Arts
Building before the catastrophe, but those who had been
admitted will not forget the dignity of their appearance
at the eleventh hour. The art of exhibition had been prac-
tised with a high degree of intelligence. The Vanderbilt
Gallery was divided into small alcove rooms and each of
these was designed by an architect and decorated and fur-
nished under his supervision, and was so placed in the gallery
as to preserve its aspect of spaciousness; the sculpture, with
the exception of the large central groups, was placed in re-
cesses and seen against a background of decorative paintings
or fabrics, so that beauty of color contributed to the general
effect. The skeleton of the old galleries was reconstructed
in harmony with the architectural plan of the exhibition.
The whole was eloquent of a generous spirit of collabora-
tion and of the immense industry and single-mindedness
of the workers in making the exhibition successful."

There was never a time when such an exhibition could
be made of more public service, for thsre has never been a
time when there is such a crying need for building, for the
services of the trained architect and for the intelligent and
tasteful uses of the allied arts.

For some years the tendency of the league exhibitions
has been, it has seemed to us, toward a rather overaccentua-
tion of the work of the interior decorator and the manu-
facturer of materials. The architectural exhibits have been
more or less submerged. There were perhaps good busi-
ness reasons for making this particular appeal on the house
furnishing side, for it no doubt brought many visitors to the
show who had little appreciation and, perhaps, less interest
in purely architectural matters. The whole tendency of
the present in the arts seems toward the cultivation of a

wider interest in the decorative arts and both the Metro-
politan Museum and the Museum of Natural History have
done splendid work in helping extend this interest in creat-
ing a better public taste.

In spite of the losses due to the fire the league announces
that it hopes to have an exhibition, and no doubt archi-
tects everywhere will respond to the request for new ma-
terial to take the places of what has been -destroyed. No
one interested at all in the arts, who has followed the course
of various exhibitions in the Fine Arts Building, will think
of the loss without at the same time a hope that perhaps
at last the long and crying need for an adequate fireproof
building large enough to house the various art societies may
come from this disaster. It has been for many years a shame-
ful reflection upon New York's attitude toward the arts that
there was nowhere an adequate place for a comprehensive
and really important exhibition of American art. The acad-
emy shows have been woefully limited by inadequate wall
space, and much of the criticism of that dignified and well-
meaning institution has been due entirely to this lack of
space and not 'to any lack of a generous attitude toward
the younger men.

We are informed that plans have already been formed
by the Architectural League for the construction of a built!
ing, and we sincerely hope that the project will materialize.
There is a fine opportunity here for some of our rich men
interested in the arts to establish enduring monuments and
to perform a great public service. We had the Vanderbilt
Gallery in the Fine Arts Building, why may we not have
a series of galleries in a great new building endowed and
named after their donors ? There is no reason why a suit-
able building should not be constructed that will house all
the various art societies, provide adequate exhibition gal-
leries for all purposes, and with its schools and exhibitions
be made to support itself.

The prizes of the Architectural League had been
awarded before the fire and include the following:

Medal of Honor for architecture to Delano & Al-
drich; for painting to Arthur Crisp. For landscape archi-
tecture, to Vitale BrinckerhofF & Geiffert; the Helen Bar-
nett Prize for sculpture, to Laurence Mandarelli; the Avery
Prize to Karl H. Gruppe.

A Fine Achievement

'T^HERE were a number of admirable things done in a
A large way by our architects during the war, and some
of the housing developments were not only great practical
successes but were artistic successes as well. Many of the
houses built in large numbers were admirably designed and
have set a standard that will be of use all over the country.
Nowhere was the demand for building more urgent
or the problems greater_and more difficult than in the city
of Washington, and here under the direction of Mr. Waddy
B. Wood were constructed buildings that covered in all the
great floor space of fifty-six acres. Among the buildings
were the Food Administration buildings, the Fuel Adminis-
tration buildings, the Council of National Defense, War In-

ARCHITECTURE

dustries Board, War Trade building, Aviation building,
Medical Corps building, two large buildings for the Ord-
nance Department, and the numerous buildings for the
Industrial Housing Corporation.

This work was done with an office force averaging six
men and one stenographer, in about two and one-half years
and amounted to over $7,500,000. The first building was
for Mr. Hoover, for which he was apparently willing to pay
the normal commissions, but which the architect declined
to charge a cent for, executing the contract without any
profit. Mr. Wood also offered to do all the other buildings for
fifty cents up to the normal overhead. In every case the
government, which decided the fees, paid under the normal
overhead for all expenses and personal compensation. In no
case did any of the work cost the government over 2 per
cent gross, and in the work done for the Housing Corpora-
tion, taking what was designed and built and what was not
built, the total fee including the architect's profit and all
expenses was six-tenths of one per cent. In addition to the
above work that was completed working drawings were made
for the Housing Corporation for $5,313,000 worth of work
that was not built, besides preliminaries for other projects
that would amount to several millions more. In every in-
stance this work was completed inside the time allowed and
the money appropriated, with the exception of the Hous-
irig, and in the case of the Trade Board $100,000 was saved
on the appropriation.

There is no doubt that all of this work was done under
the most difficult conditions with pressure from all sides,
with many conflicting judgments. The result is a worthy
manifestation of what can be achieved under the direction
of conscientious and thoroughly trained architects, and
reflects honor upon the profession in general. They were
not only ready to give their services but gave them freely
and effectively whenever they were called upon.

Co-operative Apartments

HHERE are thousands of families, many thousand in-
A dividuals, living in makeshift apartments in New York,
in every city and town in the country. They are paying
exorbitant rents, getting less and less service in return for
their money, and wondering when the house is going to be
sold and another landlord pirate come in for his pound of
flesh. There is a solution of the problem in well-organized
co-operation, and by well-organized we mean not only from
a merely business point of view but from a view of filling a
house with the right sort of co-operators. Co-operation on
a dollar basis, any one coming in who can pay the price,
is no better than present arrangements where the high price
of an apartment has nothing whatever to do with the char-
acter and selection of tenants. There are so few places for
the relatively poor but respectable professional man and
his kind.

A properly qualified organizer of co-operative apart-
ments who started out with the idea of building places that
could be looked upon as permanent homes, where every
tenant could be assured of the respectability of his neigh-
bors, and the peace and quiet sought by the decent tired

business man at the end of his day, would be besieged by
numbers. Small apartments are wanted at modest prices.
They can be built and made to yield a handsome and as-
sured income.

For a Library of Civic Art

BY a plan recently agreed upon, New York has taken a
step toward a nucleus for a library of civic art as the
result of an agreement made recently by the Municipal
Art Commission and the Municipal Reference Library.
Finding that there was some duplication and overlapping
in the work being carried on in the Art Commission's li-
brary and in the Municipal Reference Library, Mr. Henry
Rutgers Marshall, Assistant Secretary of the Commission,
arranged with Mr. Dorsey W. Hyde, Jr., Municipal Refer-
ence Librarian, for the latter to assume complete responsi-
bility for the art commission's collection, which was duly
constituted a branch of the Municipal Reference Library,
to be devoted to civic art.

In accordance with this plan a civic art division of the
Municipal Reference Library has been created, and the
work of consolidating the two collections is now in progress.
A classification scheme is being prepared, and some progress
has been made in the compilation of an index. Index cards
will be duplicated in the index of the Municipal Reference
Library, 512 Municipal Building, in accordance with the
plan already followed for the books of the library's Public
Health Division. Suggestions from New York architects
as to how the new library can be made of wider usefulness
will be gladly received.

The American Federation of Arts

1. Sends out travelling exhibitions selected by experts.

2. Circulates illustrated lectures by authoritative writers.

3. Publishes a monthly illustrated magazine (The American
Magazine of Art). 4. Issues a yearly Art Directory (The
American Art Manual) . 5. Conducts a campaign for better
War Memorials. 6. Holds Annual Conventions. 7. Serves
as a National Art Clearing House. 8. Supplies Art informa-
tion, study courses, etc. 9. Aids in establishing Art Com-
missions. 10. Strives for better Art legislation. 11. Works
for better Art education. 12. Fights for American In-
dustrial Art.

Finally through these and other means correlates all
the art interests of the United States.

It is a live-wire organization, hard at work and suc-
cessful, but not happy until you are a member.

Membership. Associate Membership, $3. Active Mem-
bership, $10. Contributing Membership, $100. Life Mem-
bership one payment of $500. Perpetual Membership
(which may be bequeathed), $1,000.

The American Magazine of Art is sent to all members.
Active, Contributing, Life, and Perpetual members may vote
at the Annual Meetings.

Separate subscription to The American Magazine of
Art, without membership in the American Federation of
Arts, is $2.50.

FEBRUARY, 1920.

ARCHITECTURE PLATE XVII.

MU tVH^ i

THE ENTRANCE DOORWAY, MOUNT VERNON SEMINARY, WASHINGTON, D. C.

Wesley S. Bessell, Architect.

n
H
b.

FEBRUARY, 1920.

ARCHITECTURE

PLATE XX.

THE CLOCK BALCONY, MOUNT VERNON SEMINARY, WASHINGTON, D. C.

Wesley S. Bessell, Architect.

x
x

H
U
W
H

i (

ffi
U

X
X

i i

FEBRUARY, 1920.

ARCHITECTURE

PLATE XXIV.

MAIN STAIRWAY.

VIEW IN CLOISTER.

Wesley S. Bessell, Architect.

MOUNT VERNON SEMINARY, WASHINGTON, D. C.

FEBRUARY, 1920.

ARCHITECTURE

PLATE XXVI.

RESIDF.NCE, ISAAC T. MANN, WASHINGTON, D. C.

George Oakley Totten, Jr., Architect.

X
X

ffi

FEBRUARY, 1920.

ARCHITECTURE

PLATE XXVIII.

SUN-ROOM.

ENTRANCE-HALL.

RESIDENCE, ISAAC T. MANN, WASHINGTON, D. C.

George Oakley Totten, Jr., Architect.

H
i

ffi
U

FEBRUARY, 1920.

ARCHITECTURE

PLATE XXX.

ENTRANCE DETAIL, SIGMA PHI PLACE, HAMILTON COLLEGE, CLINTON, N. Y.

Clement R. Newkirk, Architect.

FEBRUARY, 1920.

ARCHITECTURE

PLATE XXXII.

MANTEL AND FIREPLACE IN "COMMON" ROOM.

"COMMON" ROOM.

SIGMA I'HI FLACK, HAMILTON COLLEGE, CLINTON, N. Y.

Clement R. Newkirk, Architect.

ARCHITECTURE

BILLIARD-ROOM.

JI G MA PHI PLACE,

HAMILTON" COLLEGE,

('LfiMBNT B. NEWKIILK

G MA PHI PLACE
HAMILTON

6 tP ROOM. I JTUDf I JTVY I A1.VMNI

BED Bj^OiL I R.OOM

JECOND VLOOtL PLAN"

What Artificial Light Means to the Modern Structure

By H. Vandervoort Walsh

IN the words of one of our popular songs, "We never miss
the sunshine until the sun is set. We never miss the
laughter until the eyes are wet," we find the same strain
of human nature with which we look upon the marvellous
development of lighting in our modern building. We have
no thrills any more when we are dazzled in the brilliant
lights of a hotel lobby, nor are we charmed by the soft
mysterious glow in the reading-room of some home where
bowls of light pour their indirect illumination around us.

Suppose that to-morrow night we should suddenly re-
vert back to one hundred years ago with our lighting sys-
tems of sperm-oil lamps and primitive candles. We would
then appreciate how dependent the modern structure is
upon its lighting. The gloom of darkness which the war
required would be daylight in comparison. The hottest
radiator could not dispel the mental chill upon the air.
Then, think of the cost ! One hundred years ago to burn
sperm-oil you spent JS2.50 for every 1,000 candle-hours.
When you realize that to-day we use nearly eighteen times
as much light in the home as was used then, and that we
pay about 10 cents per 1,000 candle-hours or about one-
twenty-fifth of what it used to cost, the picture becomes
even more vivid. Indeed, you cannot get away from the
fact that artificial light is the very life-blood of the modern
structure.

As progress in lighting increased there were two lines
which it followed, and each of these lines has produced a
force for illumination which has supplanted all others.
These two lines of development were caused by the fact that
we can secure light by two physical means: first, by the
flame where chemical action took place, and, secondly, by
the incandescent object where no chemical action occurred
but some filament is heated to such a high temperature that
it glows. Gas has become the force behind the flame
method of illumination, but even this has slipped half-way
over to the incandescent system in the Welsbach mantle.
Electricity has become the force behind the incandescent
system.

To-day we have two classes of illuminating gas: one
for the isolated house and the other for the cities. Acetylene
gas and gasoline gas are extensively used in homes which
are separated from any central supply, and have produced
a lighting system which brings comfort and cheer into the
lonely farmhouse. Coal gas and water gas are the two great
sources of flame illumination in the cities, and before the
electric light was developed in usefulness held the supreme
position. In certain localities where natural gas can be se-
cured at a very cheap rate it still holds its own.

The general tendency in gas-light development has
been to reproduce as far as possible the incandescent sys-
tem of electric lighting. The use of the old-fashioned gas
flame is not only out of date but is highly uneconomical.
One of the first principles of good gas lighting is the use of
the very best gas mantles and maintaining them in good
condition. The mantles are caused to glow by heat produced
by the burning gas, which is designed to combust like a
Bunsen burner. The comparatively white light produced
by this mantle should be hidden by properly designed
globes to secure the best effects.

The employment by the gas companies of highly spe-
cialized men has led to very remarkable developments of this
system of lighting, and although living in a city where
electricity is the prevailing form of illumination, no architect
should allow himself to develop the scorn that many peo-
ple have for gas light, which is largely due to ignorance of
the best methods. In many localities gas lighting is as much
a blessing to the community as electricity is in others.
There are many places where the electric service is irregular
and liable to breakdown, and the use of gas is quite neces-
sary as a stable standby. Double outlet fixtures should be
provided for such emergency. Where there is good pres-
sure, uniformity of quality, and proper purification of gas,
and the electric service develops variations of more than
5 per cent from the maximum, gas lighting is much to be
preferred.

One of the best aids to the architect for securing in-
formation concerning gas lighting is through the National
Commercial Gas Association. They have developed a
standard system and table for piping a house for gas which
is founded on a carefully studied, formula for the flow of
gas through pipes. Unlike other methods of measuring gas,
this table is based upon the quantity of gas delivered through
a pipe in terms of 3^-inch outlets instead of cubic feet. It
is found by comparison that s^-inch outlets consume 10
cubic feet of gas per hour. The aim of this table for laying
out gas-pipes is to have the loss in pressure not to exceed
jij-inch water pressure in 30 feet of length of piping, and
to have the size of the pipe increase from the extremity of
the system toward the meter, according as each section has
an increased number of outlets to supply.

Of course the developments in electric lighting have
made such great strides that it has really been this form of
lighting which has made possible our enormous commercial
structures, and it is to this system that the architect most
naturally turns his attention. Here he has at his disposal
a great variety of lights, such as the Cooper-Hewitt lamp,
the enclosed and the open arc-lamp, the incandescent lamps,
like the tantalum and the tungsten and Nernst; and the
Mazda lamp filled with nitrogen. All of these have their
special places and adaptable qualities. The easy switch
control of any system makes possible almost any effect.

At the same time the architect has at his disposal the
information of the finest specialists in the country. He need
not worry much if his specifications require that the electric
wiring in the building follow the National Electric Code of
the National Board of Fire Underwriters. Nor does he
need to wait long for information if he calls upon the So-
ciety for Electrical Development. With two such excellent
sources of information handy, there is hardly any reason
why the architect of to-day should have much difficulty in
solving his electric-light problems.

In attacking this subject with each new building, the
architect should constantly keep in mind the economical
value of good lighting and what it means to the modern
building. In the business building it makes possible great
powers of advertisement. Flood-lights played upon the
structure bring out the architectural beauties ot the struc-
ture on the blackest nights. Good lighting on the inside

ARCHITECTURE

never be less than one foot-candle. The lights for halls and
elevators should follow similar lines.

In determining the intensity of any lighting system
there are a few fundamental rules with which the architect
should be familiar. If he desires to compute the intensity
of light at a certain interval from its source, he should di-
vide the candle-power of the light by the square of the feet
distant from that source. This result is expressed in foot-
candles. This foot-candle in the following table will be
considered as the factor of illumination. In rooms for gen-
eral work this factor is from 3 to 6. For fine bench-work the
factor is 5 to 10.

To produce an intensity of 1.0 the following table gives
the watts to each square foot of floor surface with lamps of
1.0 watt per candle-power. Lamps with higher efficient
change the table in proportion.

WATTS PER SQUARE FOOT NECESSARY AT ONE W. P. C. TO
PRODUCE AN INTENSITY OF ONE FOOT-CANDLE

LIGHTING UNITS

AREAS 30 x 30
OR LARGER

LIGHT CEILING

SMALL AREAS
IN BOTH CASES

LIGHT
WALLS

DARK

WALLS

LIGHT
WALLS

DARK

WALLS

Prismatic

o. 19

0.40
O.24

0.32
0.32

O.2I
O.2I
0.27
0.37
0.37

0.27
O.26
0.34
O.5O
O.5O

0.30
O.29

0-37
0.62
0.62

Heavy density opal

Light density opal

Semi-indirect. . . .-.

Totally indirect

decreases the fatigue of employees and therefore their lia- The intensity of light on the edge of the landing should

bihties to make mistakes. It hardly is necessary to tell of ..'..-

the advantages it has in the showrooms to make sales or

in the windows to attract trade. In the home, club, or

hotel good lighting is as much a part of the decorative

scheme as the walls themselves. It gives good comfort and

cheer. It is better to read by and live in.

The proper study of the problem requires five distinct

steps: (1) To determine the kind of lighting system to be

employed; (2) to locate all outlets and settle upon the ar-
rangement of wiring; (3) to select the kind of lamps to be

used; (4) to decide upon the lighting method to be used,

and (5) to make a selection of the fixtures and the glass-
ware to be used on them. Each building has its own diffi-
culties which must be surmounted, but on the whole there

are some very good general rules to be followed.

The general consideration of what system of lighting

will be used has already been discussed; as to the location

of outlets, the architect must be influenced by the class of

structure he is dealing with, and also by the method of

lighting he is using. For this reason he should have a clear

idea of these general methods and what they mean.

There are three methods of lighting a room. The sim-
plest and the most efficient is the direct lighting. It was the

first to be used and is the least affected by the color of the

walls and the ceilings. A more recently developed method

is the indirect lighting. Here the source of light is hidden

from view by opaque reflectors, and the light which is utilized

is first thrown to the ceiling and walls and then reflected

onto the objects in the room to be illuminated. The effi-
ciency of this method of lighting is lower than the direct

method, but there is a restfulness about it which is pleasing

to the eye in that there is a total absence of glare. The

third method is the semi-indirect, which is half-way between

the two former. Here the light is thrown toward the ceiling

and then down, but it also permits a certain percentage of

it to pass through the reflector. The glare of direct lighting

is removed and the dark spot of the reflector, which is seen

in the indirect system, is relieved. Its efficiency is partly

between the two former methods.'

The direct-lighting system is the one most commonly
used in industrial buildings. It is not only the most eco-
nomical but it is the least affected by the color of the walls
and ceilings. The common practice in locating lights is to
place them as high as possible where the ceilings are low
and to drop them slightly when the ceilings are high. A
good rule is to make eight feet the minimum height and
consider ten or twelve as better if it can be secured. The
horizontal spacing ought to be such that there is the same
distance between lights as there is above the floor. No
areas of low intensity should be allowed to develop. Re-
flectors should be of such a character as to reduce any
visual glare or eye fatigue. The use of the semi-indirect
method of lighting is limited to room? where special effects
are desired and the ceilings are light. The horizontal spac-
ing of these lights may be twice as great as the distance from
the floor to the lamp. Unless the ceiling and the fixture-
reflector can be kept clear of dust considerable amount of
inefficiency will result.

The entrance-halls of this class of building should be
lighted brilliantly for advertising purposes. Semi-indirect
in this case is quite satisfactory. Side-brackets will also
enhance the effect at times, and the use of decorative globes
improves the artistic results of the decorations. The stairs
are an important part to keep well lighted, especially where
platforms end and steps begin. A light on every landing
and the avoidance of glary lights is a good rule to follow.

Extract from the National Electric Light Association salesman's handbook.

Example of Application. Find the number of watts
necessary to properly illuminate a 50 x 100-foot book-store
using semi-indirect lighting and considering that the walls
are dark. Then as our factor we would take 5 foot-candles,
and 5 x 50 x 100 x 0.37 would give us 9,250 watts necessary
to illumine it properly. To secure this with 100-watt l?mps
we would have to use 92 of them, or if we had 150-watt
lamps we would have to use 82 of them, etc.

It must be noticed that we considered these lamps to
have an efficiency of one watt to a candle-power. If the
lamps we are to use are of higher efficiency, we reduce the
number of lamps accordingly, and vice versa.

Now, in the "case of laying out a lighting system for the
home, the architect should make ample provision for all
the extra loads which may be placed upon the wires in the
way of auxiliary electrical devices, for these must be con-
sidered along with the lighting system. A liberal use of
switches not only makes for convenience but also invites
economy. A liberal distribution of baseboard outlets is al-
most a necessity for portable light attachments and elec-
trical apparatus. ,

The living-room should be provided with side outlets
and also a central outlet, and two or more baseboard re-
ceptacles for electroliers and additional fixtures. If the
room is long, it is best to have the lights at both ends con-
trolled by separate switches for convenience and economy.
A wall switch ought also to control the baseboard receptacle
where any electrical device like a vacuum cleaner may be
connected. If there is a library, the room should be lighted
with a general soft glow, and for reading purposes there
should be a number of baseboard outlets for connecting
portable reading-lamps without too long cord extensions.

The dining-room will require as much consideration for
auxiliary outlets as for light outlets. The central lighting

ARCHITECTURE

dome over the table ought to be controlled by a three-way
switch at the door from the pantry and by another at the
general door from the rest of the house into the dining-room.
Generally four lights of 50 watts each are satisfactory for
this central light. There ought also to be provided extra
side-wall brackets to go near sideboards and tables. A
special outlet near the centre of the floor should be pro-
vided for connecting electric cookers, toasters, egg-boilers,
percolators, etc. Another special wall outlet should be pro-
vided for heater, fan, or vacuum cleaner, and another near
the serving-table for serving-tray or drink-mixer.

The arrangement of lights in the halls should be such
that they can be turned on or off from each floor together or
independently. A similar control switch should be located
in the master bedroom independent of the other line.

Care should be taken in the bedrooms to place no light
so that the dresser will be between it and the window, for
shadows cast on the window-curtain at night are very an-
noying. This is especially to be avoided in bathrooms.
The side-wall brackets are the best for lighting the bedroom,
and they should be controlled by a switch at the entrance-
door, which can be worked from both sides of the partition.
Outlets for reading-lamp and desk-lamp ought also to be in-
cluded. Additional outlets may also be installed for con-
necting electrical apparatus. In both the bedrooms and the
bath turn-down lamps are very convenient. The usual
height satisfactory for fixtures in the bedrooms is five feet
and for switches four feet.

Due to the very easy effect upon the eye the use of the
semi-indirect or indirect system of lighting has been intro-
duced into the lighting of the home wherever possible. To
be successful, the ceilings must be white, cream, or light

buff colors, and the finish should be matt or satin rather
than glazed or varnished. The colors of the walls and hang-
ings must also be considered in selecting the proper light.
Dark greens, reds, or blues may reduce the light from 40 to
60 per cent. The elevation at which the bowls should be
hung depends largely upon the ceiling height. Where the
ceilings are eight feet, it is best to dispense with any attempt
to light them with the indirect method. If they are about
nine feet and the space to be lighted does not exceed 350
square feet, the bowl may be placed 6 feet 6 inches to 7 feet
3 inches above the floor, or if the ceiling height is ten feet,
7 feet 8 inches is a good location. This assumes the use of
bowls 10 inches to 18 inches in diameter for ceilings up to
eleven feet and 16 inches for ceilings from twelve to fifteen
feet. Another thing which determines the height is whether
the bowl diffuses the light broadly or focuses it closely. The
thing to secure is the overlapping of lighted ceiling areas
and reduction of any dark spaces to a minimum. The se-
lection of bowls depends mostly upon their appearance with
the furnishings and decorations of the rooms, but they
should always cover the light.

Of course the selection of the kind of glass and the type
of fixture is as much a part of the architect's duty as the
determination of what decorations are to be used. His
taste and personal likes and dislikes will enter into the
problem, and no general requirements can be laid down for
him. His taste has full play if he has built up the practical
foundation beforehand in the correct layout of his lighting
system and the right calculations for light requirements.
However, if he has failed to first build his practical skeleton,
he cannot expect to secure satisfying results with all the
artistic skill in the world.

Book Reviews

"SMALL COUNTRY HOUSES OF TO-DAY." Second series. By LAW-
RENCE WEAVER. Charles Scribner's Sons, New York.
A wholly new volume on the same lines as the author's former book,
containing the work of many architects here published for the first time.
"It is permissible to wonder what manner of houses will be illustrated in a
book similar to this published twenty years hence. Will the present up-
heaval of social life make an indelible mark on domestic architecture and
change the character of our country houses as it is changing our national
policies ?" We doubt it, for the English traditions of domestic architecture
have survived many changes, and the deep-seated admiration for them
that is becoming more and more evident even in so many of our own coun-
try houses will be a continuing influence. In this volume the author de-
votes a chapter each to houses in many parts of Great Britain, including a
number of examples of interesting alterations. The introductory chapter
dealing with "Client and Architect," "Fees and Services," "The Value of
Models," "Examples in Various Materials," "Architects and the Public,"
"The War and House Design," contains many ideas of interest to the pro-
fession everywhere. The volume is rich in its numerous photographs of
typical houses, various details and plans, and should prove of value to every
architect in studying the possibilities of variation of the English styles in
our own domestic architecture.

"WHERE THE GREAT CITY STANDS. A STUDY IN THE NEW
CIVICS." By C. R. ASHBEE. Charles Scribner's Sons, New York.

As stated by the author, this book is "An Appeal to the Practical
Idealist." In all idealism that is worth while, that has something behind
it beside vague dreams and undigested thought, is the element of the prac-
tical. More often than not it is to the practical idealist that we owe the
things that ultimately count the most in the public welfare. The book
might be called Town Planning, based upon something more enduring than
merely present material comfort. It is written in full sympathy with the
great need of, and the aspiration for, a wider expression of spiritual things
in our environment. We can hardly better give an idea of the author's
intention than by quoting some of the chapter headings. "The Idea Be-
hind the Arts and Crafts Movement," "What William Morris Stood For,"
"The Housing and Town Planning Movement," "The City Centre,"
"Zones, Lungs, and Spaces," "Dirt, Noise and the Menace of Mechanism,"
"Exhibition and Endowment in the Arts," "The Reaction of Town and
Country." Here is a plea for standards in town planning, life, and work-
manship. Among the illustrations are included the work of some American
architects.

A Great Architectural Library

THE largest architectural library in the western hemi-
sphere and probably the second or third largest in the
world, consisting of twenty-five thousand volumes relating
to architecture and the allied arts, has been definitely linked
with the School of Architecture of Columbia University by
the appointment of Mr. William B. Dinsmoor as librarian
and also as a member of the staff of the School of Architecture.
This library, located in Avery Hall on the campus of
Columbia University, was completed in 1912 as a memorial
of the late Samuel P. Avery and of his son, the late Henry
P. Avery. Although the School of Architecture has been
occupying three floors of this same building and been in
constant contact with this library, there has been no human
tie between them such as will now exist by the appoint-
ment of Mr. Dinsmoor to be librarian and also instructor in
the school. Mr. Dinsmoor holds a degree from the Archi-
tectural School of Harvard University, has specialized in the
history of architecture and art, and is the author of a num-
ber of articles and books on these subjects, and has made
extensive archaeological studies in Greece.

We have received a copy of the University of Kansas
Architectural Year-Book. It contains a number of interest-
ing drawings and is a credit to the teaching and ideals of the
university's fine school of architecture. Information regard-
ing the courses in architecture and architectural engineering
may be had by writing the registrar of the university.
Among the illustrations is one of the new Administration
Building.

ARCHITECTURE

Possible and Actual Savings in Building Expense

By Rossel Edward Mitchell

IN the October number of ARCHITECTURE is a splendid sug-
gestive article by Richard P. Wallis entitled "A Possible
Saving in Building Expense." After discussing the facts
leading to "the present high cost of building and consequent
slowing down of building operations, Mr. Wallis concludes
that "every effort should be made to discover a method that
will tend to diminish this reluctance to build."

He then suggests that one very evident way of saving
a considerable percentage of the cost of the building would
be the elimination of the unearned profit made by the gen-
eral contractor on the work of his various subcontractors.
"The general contractor has in a sense become the clearing-
house of building rather than the builder himself. He
rarely combines within himself all of the trades necessary to
turn out a completed building. Most likely in the'past he
has been a masonry contractor or a carpenter contractor who
has taken over to himself the handling and direction of the
other trades incidental to building."

Some further noteworthy truths brought out by Mr.
Wallis are:

The number of profits paid under the general-contract
system are three: one to the architect, one to the general
contractor, and one to the subcontractor.

The dissatisfaction of the subcontractors with the gen-
eral-contract method on account of the manipulation of bids
by the general contractor, together with the great credit
risks entailed by the subman, while the general contractor
has little to lose, the consequences of this condition being
that the owner's interests are militated against, and the
lowest bids cannot be obtained because frequently the gen-
eral contractors cannot get the lowest subbids.

Also, the general dissatisfaction caused by the employ-
ment of incompetent and unreliable subcontractors, making
the owner dissatisfied, getting the general contractor into
arguments with the owner, and making it impossible for the
architect to give satisfaction.

Mr. Wallis concludes from this that the logical solution
is to make the designing architect or engineer responsible for
the coherent prosecution of the work.

In this we most heartily agree. We would like to
have the entire discussion as set forth by Mr. Wallis framed
and hung up in the office of every architect in the United
States who is interested to know why the profession is being
pushed aside from major fields of building activity by men
far less competent, less thoroughly trained, less interested in
creditable building, and less disinterested from every stand-
point than is the architect.

The only addenda we would make to the able and prac-
ticable discussion by Mr. Wallis is to say that his conclusion
that his suggestions "could" be followed should be changed
to "are being" followed, and successfully, by numbers of
competent architects. This firm has been practising just
the methods outlined by Mr. Wallis for ten years. For the
benefit of the profession we take this means of summarizing
the results:

First, by eliminating the general contractor we have
come directly in touch with large numbers of subcontractors

and material-men, thus coming into intimate contact with
every phase of the building business.

We have been able to attain a position among the sub-
contractors characterized by confidence and eagerness to
submit bids.

We have entirely eliminated the vital credit risk which
exists with the subman when he bids to the general con-
tractor; consequently, we get the lowest bids possible at cash
prices.

By eliminating the general contractor we have been
able to build from 10 to 20 per cent cheaper, as evidenced
by bids occasionally submitted by general contractors who
wish to try their skill at bidding in competition with our
preferred methods.

We have gained complete control of our building opera-
tions; each subcontractor must come to us for his certificate,
and we are in a position to make him "walk chalk."

We have eliminated dual responsibility to the owner;
instead of the owner ricochetting between the general con-
tractor and the architect, he comes to us and to no one
else; the subman does not come in contact with the owner
at all.

We have been able to extend our office organization to
include expert estimators and superintendents.

We have been able to give our work better superinten-
dence than under the general-contract system, because we
secure a higher price for our services.

We have been able to give our clients greater satisfac-
tion, because they know the exact cost of every branch of
the work; consequently, have a fuller realization of what
they are getting for their money. We are able on small
buildings to put on a superintendent at the owner's expense,
because the owner knows he is paying no big general con-
tractor's profit.

We are able to pay the salary of a superintendent out
of our own charges for the larger class of work, because our
charges are sufficient to justify it.

Last, but not least, the general contractor is not backing
us off the stage; we have yet to find a business man who does
not see the advantage of our methods as soon as they are
explained to him; consequently, we are now doing investment
work which a few years ago in our local field was handled al-
most entirely by the general contractor.

In conclusion, we are very positive that our methods
are the only ones which will place the architect where he be-
longs at the head of the building profession. Under these
methods the client gladly pays us 10 per cent, whereas under
the general-contract method he frequently begrudges 6 per
cent, and sometimes eliminates the architect from the actual
construction work.

The architect, under this plan, is able to render a high
quality of service; he is able to build up an efficient organiza-
tion; he is enabled to build more cheaply and secure better
work. By rendering a greater service to his clients and an
obvious service, he secures the respect and good-will of the
client, and is able to put his calling on a strong financial
basis.

ARCHITECTURE

Stonewell Cottage

THE great chimney rises like a buttress at the south
corner, and the adjoining gable nestles down in the
hillside' as though the cottage sought protection in the
bosom of the hills (No. 1). No. 2 shows how swiftly the
ground slopes, and the plan (No. 3) marks how the building
twists to follow the contour of the site; yet, even so, seven
steps are needed between kitchen and sitting-room. The
entrance door brings us straight into the kitchen the soft
protection of a porch was scorned and a settle serves to
screen the hearth from the draught. The lintel over the fire-
place is an amazing bit of construction, a single gigantic slab
weighing a ton and a half, a rough shard of slate that had
lain neglected in an old quarry. To the right is a door to a
passage, with adjoining larder and an exit to a shed, or,
more properly, undercroft, where wood and the like may be
stored. In the north wall is a big window, giving ample
light, and to the left broad steps laid cornerwise lead to a
triangular landing. Here starts a winding stair in a circular

projection (shown in No. 2) that would take us to the bed-
room floor; but first we go to the left, up three steps, into a
sitting-room. To the left is a recess (that is in truth a chim-
ney-corner, for it is the internal result of the great stack
outside), and in the right-hand corner a steep and narrow
stone stair winds up in the thickness of the wall to the chief
bedroom. It is wholly in the sloping roof. From this room
we enter another there is, of course, no corridor from
which again we may, if we will, pass upward to another,
neatly named Olympus. Reference to No. 1 shows a tiny
window set high in the thatch. This it is that lights this
entertaining bedroom, which it is fair to say was an after-
thought, and is used only when the pressure of hospitality
demands an extra and unusual bed. There is yet another
bedroom over the northeast end of the cottage, which is
reached from the middle staircase.

From "Small Country Houses of To-Day," second series,
by Lawrence Weaver.

Modern Building Superintendence

By David B. Emerson

CHAPTER VI
SHEET METAL WORK, ORNAMENTAL IRON AND CARPENTER WORK

BEFORE the plastering was commenced the skylights on
the roof were set and glazed. They were constructed
of galvanized rust and corrosion-resisting sheet iron, which
is made up from a pure iron-ore base. The bars in skylights
were made up of No. 24 gauge metal, with condensation
gutters formed on the bars; they had wrought-iron stiffening
bars encased in the sheet metal. These bars were well
painted with red lead before the skylights were assembled.
The skylights had gutters around the eaves, into which
condensation gutters discharged, and were provided with
leaders to discharge all water onto the main roof. Wherever
the galvanized iron was brought down onto the skylight
curbs, it was kept away from the copper by means of a
three-eighths-inch wooden strip placed between the two
metals, to prevent electrolitic action. All skylights except
those over the elevators were glazed with wired glass; the
skylights over the elevators were glazed with rough plate
glass, one-eighth inch thick, and protected with heavy gal-
vanized wire netting guards, inside and outside, which is
one of the requirements of the National Board of Fire Un-
derwriters. While this work was being done, and the plas-
terers were still working, the ornamental ironworkers were
busy setting their work, the vault-light in the sidewalk
being set as soon as the construction was ready to receive
them. The vault-lights were constructed with reinforced
concrete frames, set with prismatic glass, and fitted with
abrasive metal buttons, to prevent pedestrians from slip-
ping, which is the cause of many serious accidents. The
coal-hole covers in sidewalk were placed as near to the
curb as practicable, and were of the flush safety-hopper
type, of abrasive metal with concreted hinges.

On the interior, work was commenced setting the orna-
mental railings for the staircase. All castings were in-
spected as previously described, and a few were found to
have sand-holes and to be defective, and were rejected. In
the setting of this work no exposed screw-heads were al-
lowed, all of the work having to be put together by means
of concealed screws and rivets, and had to be fitted without
breaks or shoulders. The elevator enclosures were made
up of cast-iron frames, glazed with polished plate wire glass.
The doors to enclosures were hung on ball-bearing, two-
speed hangers, made with an enclosed track, hung from an
angle iron bolted to the inside of the elevator enclosure; the
hangers had adjusting screws so that they might be quickly
adjusted at any time, and kept in perfect alignment. Ele-
vator-door saddles were grooved to hold doors in place, and
were made with a non-slipping surface, as the usual iron
elevator-door saddles become very slippery with use, and
are dangerous to passengers. The elevator doors were
equipped with combination liquid and spring checking and
closing devices, with positive electric interlocks which made
it impossible to open the doors until the car had stopped, or
to start the car until the door was closed. The doors were
opened by hand and closed by the action of the spring in
the closer; the piston descending through the liquid in the
cylinder checked the door in the last few inches of its travel,

and prevented slamming. The electric interlocks were con-
nected to the arm of the closer and were wired in series with
the elevator control circuit, so that when the door was closed
the circuit was closed, and when the door was opened the ele-
vator control circuit was opened, thus absolutely preventing
any movement of the elevator car while the door was open.

In each elevator there was installed an emergency release
switch, so that in case of fire or other emergency the inter-
lock was made inoperative. The setting of the window-
frames and sash was progressing during the time that the
other work was going on, and they were now all in place.
The windows in the first story on the street fronts were of
cast and wrought bronze, of a wind and weather tight con-
struction. The cast and wrought bronze was to be of even
color throughout. All of the wrought bronze was worked
through steel dies, and had to be carefully examined to see
that all mouldings were true and straight, and none was
allowed to be less than No. 10 standard American bronze
gauge in thickness. All cast bronze had the fireskin re-
moved, and all of the ornament was rechased. Castings
were all inspected for sand-holes and defects in finish. All
joints in frames and sash were brazed, and the work was put
together by means of concealed screws and rivets. The glass
stops and hardware were held in place by means of screws
of the same alloy and color as the rest of the work; brass
screws were positively not allowed to be used.

The frames and sash in the upper stories of the building
were made up of sound, thoroughly seasoned white pine,
and covered on all exposed surfaces with sixteen-ounce soft
rolled copper. The covering was carried into the glass
rebates of the sash. The frames and sash were inspected
to see that all metal was drawn down smooth over the wood,
and that it was free from kinks and buckles, also that it
was turned down over the wood at the intersections, and
that all joints were well soldered, so that no water could
reach the cores and cause decay. All sash were provided
with glass stops covered with twelve-ounce copper.

All of the glass in elevator enclosures, metal sash and
metal-covered sash was well bedded in self-hardening putty
before applying the glass stops. The putty was made up
in the proportions of 87 per cent pigment and 13 per cent
vehicle; the pigment was composed of 85 per cent whiting,
10 per cent pure white lead, and 5 per cent litharge or mon-
oxide of lead; the vehicle was pure raw linseed oil. This
putty was used, as the ordinary glazing putty, composed of
whiting, white lead, and oil will not harden on metal sur-
faces. The work of glazing the windows being completed,
and the plastering having thoroughly dried, the work of
setting the steel trim and hanging the doors was commenced.
All of this wprk was made up of furniture stock drawn steel,
which was patent levelled and finished in five coats of
enamel baked on. All joints in trim were made interlocking
and were electrically welded. The angle joints in all mould-
ings were formed by coping the vertical mouldings over the
ends of the horizontal mouldings, which gives the appear-
(Continued on page 54)

ARCHITECTURE

(Continued from page 52)

ance ot a perfect mitre, and imparts the greatest strength
to the joint. All of the work was erected and fastened by
means of concealed fasteners on the back of trim, so that
no nails or screws were exposed on the face of work. The
door-jambs were made up of No. 18 gauge metal, formed of
one piece, with moulded stops. The jambs were securely
fastened to the steel bucks. The doors were made up of
No. 18 gauge steel, with panels of one thickness of No. 12
gauge steel. The stiles and rails were formed from one
piece of metal brought together on the inside edge and
turned back upon itself, thereby forming a lip to receive the
panels, and then riveted together. The doors had iron
reinforcements on the inside to receive the hardware. All
of the hardware was of patterns especially designed for hol-
low metal construction. The transom lifters and door
checks were of the concealed type. Locks were of the unit
type, and were master-keyed and grand master-keyed.

The carpenter work on a building of this type is not a
very large item, but is nevertheless still a necessary item.
The carpenter makes all of the rough centres for the arches
and does whatever wood framing there may be to do through-
out the building. After the roof was covered the flagstaff
was set in the iron foot-block which was provided for it.
Although steel flagstaff's are made and are more fire re-
sisting than wood ones, the fire risk is so infinitesimally
small that it is better to use a wood staff, which can be
made far more graceful than a steel staff. The staff on our
building was figured to show forty-five feet above the cor-
nice, and to be nine inches in diameter at the base. It was
worked from a selected stick of Oregon fir. As no instruc-
tions had been given for tapering the staff, we gave orders
that the top diameter should be four and one-half inches,
which was one-half the lower diameter. The height of the
staff was then divided into four quarters, the diameter of
the first quarter above the roof was made fifteen-sixteenths
of the lower diameter, the second quarter was seven-eighths
of the lower diameter, and the third quarter was three-
quarters of the lower diameter. The flagstaff was finished
at the top with a lignum vitae truck with a hollow spun-
copper ball, eight inches in diameter, set on a galvanized
iron rod, one-half inch in diameter. The flagstaff was
painted two coats of white lead and oil before it was erected
and one coat after erection. The ball was gilded with leaf
gold. The carpenters had already commenced work in the
banking rooms while the metal trim was being set in the
building. The floor sleepers were laid on the concrete floor-
slabs; they set sixteen inches on centres and were nailed to
spot grounds set twenty-four inches apart and well bedded
in cement mortar, and carefully levelled up to receive the
sleepers. The sleepers were two-inch by four-inch, short-
leaf yellow pine, bevelled on both sides. The first load of
sleepers which were delivered at the building were only bev-
elled on one side, which is quite a saving to the contractor,
as a wide stick is run through the saw once and two sleepers
are the result, whereas to bevel both sides means running
each piece through the saw twice. We ordered these sleepers
removed from the building and sleepers bevelled according
to the specifications furnished in their place. All sleepers
were given a brush coat of creosote wood preservative before
laying. After the sleepers were in place they were filled
between with cinder concrete made up of one part Portland
cement, two parts clean, sharp sand, and ten parts clean
steam cinders. The cinders were well washed to remove
all sulphur and other foreign matter. After the 'cinder con-
crete had set, the under flooring was laid. The under floors
were of one and one-eighth inch, C-grade, square-edged

boards, laid with open. joints, not less than one-quarter of an
inch wide, and well mitred to every sleeper with two eight-
penny nails. By this time the finish for the director's room
and the president's had arrived and was being installed.
Care was taken as soon as the finish arrived at the building
to stack it so that it would not be damaged, and in a thor-
oughly dry place, so that it would not absorb moisture,
strict orders having been previously given to the cabinet-
maker not to deliver any finished material on damp nor
rainy days, as kiln-dried material absorbs moisture very
readily, and the result of the kiln drying is entirely lost if
the wood is allowed to become filled with moisture. We
made several visits to the cabinet shop to inspect the work
while it was being made up.

The finish in the director's |Yoom was specified to be of
first quality Honduras mahogany, all of the work to be
veneered. The face veneers for panels were cut one-twenty-
eighth of an inch thick, the veneers for stiles and cross-rails
and for doors were cut one-eighth inch thick, and the end
veneers of doors were one-half inch thick. All of the large
wall panels were veneered in four sections carefully matched,
using a crotch mahogany. All of the panels were built up
of what is known as five-ply laminated construction. The
cores for all of the work were made up of well-seasoned, C-
grade white pine, free from loose knots and shakes, care
being taken to see that all of the wood was old stock. It
was glued together in strips not more than three inches
wide. The work was glued up at least two weeks before
any of the cross veneering was done. The cores were all
carefully levelled up perfectly true, and brought to an even
thickness, and then veneered with a one-eighth inch white
wood veneer and then cross-veneered with the mahogany
veneers. The backs of all panels were veneered with the
same stock mahogany as the fronts, to prevent warping
and twisting. All doors were veneered on built-up cores and
were framed together with mortise and tenon; the tenons
were made with three-quarter-inch shoulders, and were
securely wedged and glued into the mortises. The stiles
and rails of the doors were grooved on the inner edge and
a five-eighths inch white-pine cleat was glued into the
grooves to receive the panel mouldings, so that the panels
would be loose. The woodwork was all built up and put
together at the factory, and was dowelled and fastened with
lay screws at the corners. The finish in the president's
room was of unselected birch, to be enamelled. This wood,
on account of its hard surface, density, and texture, takes
enamel particularly well. The back of all of the woodwork
was given a heavy coat of damp-proof paint before leaving
the factory. In erecting the woodwork at the building it
was all required to be back-fastened, as no face nailing or
screening was allowed.

Practically all that was now left to be done in this
portion of the building was the finishing of the woodwork
and the laying of the parquet floors, which was not done
until the woodwork was finished. Before applying any fin-
ish to the woodwork it was all carefully sandpapered with
the grain, and thoroughly dusted off and wiped clean. The
mahogany woodwork in the director's room was washed
with a mild potash solution to kill all sap, and to remove
any grease in the wood. It was then given a coat of acid
stain applied with a sponge, and then rubbed into the wood
with a cheese-cloth pad which distributes the stain evenly
over the surface of the wood; the work was then sanded
down with 00 sandpaper, and given another coat ot stain,
diluted with one-half water. It was then filled with a paste
wood-filler, which was allowed to set until a flat effect was
produced, when it was rubbed briskly across the grain with

ARCHITECTURE

a piece of burlap, and the surplus filler wiped off with a
clean rag. After that it was given three thin coats of pure
gum shellac, and sandpapered between each coat with 00
sandpaper, the final coat being rubbed down with pumice-
stone and water, and it was finally finished with two coats
of prepared beeswax. The woodwork in the president's
room was given a priming coat of pure white-lead reduced
with equal parts of linseed oil and spirits turpentine, then
two coats of special enamel undercoating and two coats of
an approved enamel were applied, each coat being allowed
to harden thoroughly before another coat was applied.
Each coat was sanded with 00 sandpaper, and the final coat
was rubbed to a dull finish with fine pumice-stone and
water. The painter was instructed to shellac and varnish
the bottom and top edges of all doors to prevent moisture
from entering the stiles, which is a frequent cause of swelling
and twisting of doors, with the consequent annoyance to
the occupants of the building. After the woodwork in the
director's room and president's room had been finished and
was thoroughly dry, the finished floors were laid. Before
laying the finished parquet flooring a levelling floor five-
eighths of an inch thick was 'laid on top of the under flooring
and running in the opposite direction. The parquet floor-
ing in the director's room and the president's room was of
Philippine teak, and that in the working space in the bank

was of clear white maple. The flooring was five-eighths of
an inch thick, in two-inch by eight-inch strips, tongued and
grooved, and laid herringbone pattern, with four-inch wall-
line borders. It was blind-nailed, with one and one-eighth
inch No. 15 cement-coated parquet-flooring nails, using two
nails to each strip. After the floors were laid, they were
hand scraped, the scraping being done with a shearing cut
lengthwise of the grain. They were then gone over thor-
oughly with No. \}/2 sandpaper, swept clean, and wiped with
a soft cloth until all of the dust was removed, and were then
ready for finishing. They were given a wax finish, after
first filling with wood alcohol and light-colored umber,
mixed to the consistency of thick cream, which was thor-
oughly rubbed into wood, followed with two coats of alco-
hol shellac, each coat being well rubbed when dry, then
one coat of linseed oil and pumice-stone, and one coat of
wood alcohol and turpentine in equal parts were applied,
and finally three coats of prepared floor wax, rubbed in
with hot irons. The work described in this chapter com-
pleted the general construction, and while it was in progress
the work of installing the plumbing, heating, electric wir-
ing, elevators, bank fixtures, and vaults was progressing,
and was now completed and will be described each in its

turn. (To be continued.)

Announcements

Dillon, McLellan & Beadel, architects, 149 Broadway,
Singer Building, New York City, wish to announce that Mr.
Arthur Dillon, having finished his work for the Federal
Division of Rehabilitation, has resumed the practice of
architecture.

Mr. A. A. Baerresen announces that Mr. Frederic
Hutchinson Porter, of Salem, Mass., is a member of the new
firm of Baerresen & Porter, with offices at 1821 Carey Avenue,
Cheyenne, Wyo. Manufacturers' catalogues and samples
are requested.

Miss Marian Coffin, landscape architect, Fellow
A. S. L. A., begs to announce that she has removed her office
to 830 Lexington Avenue and has associated with her Mr.
James M. Scheiner, architect, late of the 302d Engineers.

Jallade and Lindsay, architects and engineers, wish to
announce the association with them of Mr. Harry E. War-
ren, S.M., in the general practice of architecture and en-
gineering under the firm name of Jallade, Lindsay and
Warren, 37 Liberty Street, New York.

$300 in Prizes. The Chicago Brick Exchange calls the
attention of Chicago architects and draughtsmen to the new
variety common brick known as "Dearborn " brick. Chicago
architects and draughtsmen are asked to submit designs
for a fireplace, counter, and one or two more panels. The
Chicago Brick Exchange is the patron of the competition,
and offers the following prizes: First prize, $150; Second
prize, $100; Third prize, $50. Mr. Charles L. Frost, Mr.
Emery B. Jackson, Mr. I. K. Pond, and Mr. Howard Shaw
have very kindly consented to act as judges. Designs must
be in by Tuesday, February 17, 1920. Write, phone, or

call the Chicago Brick Exchange, 133 West Washington
Street, Chicago, Illinois, for complete programme and blue-
print showing dimensions of room. Phone, Main 2745 and
2746.

This competition has the approval of the committee on
competition of the Illinois Chapter of the American Institute
of Architects.

First Pan-American Exposition of Architecture. Archi-
tectural and professional institutions of the United States
are invited to send exhibits to the first Pan-American Ex-
position of Architecture, which will take place in the city of
Montevideo, Uruguay, from the 1st to the 7th of March.
1920. Copies of a preliminary programme of this meeting
in Spanish may be seen at the district and co-operative
offices of the Bureau of Foreign and Domestic Commerce.

Harold Laurence Young, 253 West 42d Street, New
York, has resumed the practice of architecture and will be
glad to receive catalogues and samples and prices on build-
ing materials.

The architects of the Overland Service Building, Bos-
ton, published in the December number, were Mills, Phines,
Bellman & Nordhoff.

William G. Herbst and Edwin O. Kuenzli take pleasure
in announcing their partnership for the practice of archi-
tecture. The firm, now known as Herbst & Kuenzli, archi-
tects, maintains offices at 721 and 722 Caswell Block, Mil-
waukee. Mr. Herbst was formerly associated with the late
William F. Hufschmidt. Mr. Kuenzli was a member of the
firm of Charlton & Kuenzli of Milwaukee, Wis., and Mar-
quette, Mich.

ARCHITECTURE

EXTERIOR.

BANKING-ROOM. Shampan & Shampan, Architects.

THE THRIFT BANK, DE KALB AVENUE CORNER RYERSON STREET, BROOKLYN, N. Y.

ARCHITECTURE

FgBBKgfliBilE mi ^ . .- . ji I.P ' i g

HE HR F

ENTRANCE DETAIL, THE THRIFT BANK, DE KALB AVENUE CORNER RYERSON STREET, BROOKLYN, N. Y. Shampan & Shampan, Architects.

ARCHITECTURE

SERVICE BUILDINGS NO. 1 AND NO. 2

BUILDING NO. 3.

Frederick A. Waldron, Engineer.

EDISON ELECTRIC ILLUMINATING CO., BOSTON, MASS.

ARCHITECTURE

DETAIL OF ORNAMENTAL CORNICE.

if.

PLAN.
Ballinger & Perrot, Architects and Engineers.

HUGO BILGRAM GEAR WORKS, PHILADELPHIA, PA.

ARCHITECTURE

Programme of Competition for Design of
Architect's Certificate

THE COMMONWEALTH OF PENNSYLVANIA
Purpose: The State Board of Examiners of Architects
are to issue certificates to all persons entitled to practice
architecture in the State of Pennsylvania and therefore
hereby institute a competition for the purpose of securing
a design for a certificate of a character and artistic quality
worthy of the profession. It is proposed that designers shall
have as much freedom as possible in working out their re-
spective solutions of the problem. It is suggested, however,
that inclusion in some form of the Pennsylvania State
coat of arms will be appropriate.

Competitors: All architects, draftsmen, or other de-
signers are eligible to enter the competition.

Text: The treatment of the lettering and placing of sig-
natures and seal shall be shown by each competitor using
the following text:

In the Name and by Authority of the
COMMONWEALTH OF PENNSYLVANIA
To all to whom these Presents shall come, Greeting:
KNOW YE THAT

of..

.., County of , State of..

Having given satisfactory evidence of the qualifications required by
law to practice as an Architect is hereby

ADMITTED TO PRACTICE ARCHITECTURE
IN THE STATE OF PENNSYLVANIA

this day of , 1920, and, therefore, is a

Registered Architect.

STATE BOARD OF EXAMINERS OF ARCHITECTS.

I Actual size of seal 2^1

[inches diameter.

President.

In witness whereof the Board of
Examiners of Architects issues this

Certificate No under

the seal of the State.

Secretary.

Medium: Certificate shall be designed for reproduction
from engraved steel plate, printed on parchment.

Size: Certificates are to be printed on 16 x 14 inch
sheets of parchment. Each design submitted shall be drawn
16 x 14 inches for the purpose of reduction to the final size
of 12 x 10 inches. The horizontal dimensions are given first.

Rendering: The design of each competitor shall be ren-
dered with a pen in Indian ink on white bond paper.

Anonymous Designs: Each design shall be submitted
without any distinguishing mark which would identify the
author. Each design shall be presented accompanied with
a plain sealed envelope containing the name and address of
the author.

Time and Place of Submission: Each design shall be
wrapped under seal and marked on the outside: "Com-
petition for design of architect's certificate," and delivered
on or before April 1, 1920, to Mr. M. I. Kast, 222 Market
Street, Harrisburg, Pennsylvania.

Jury: C. C. Zantzinger, Philadelphia; Edgar V. Seeler,
Philadelphia; Paul P. Cret, Philadelphia; Reinhardt Demp-
wolf, York; Frederick A. Russell, Pittsburgh. In the event
that any of the jurors are unable to act the vacancy or
vacancies will be filled by the State Board of Examiners of
Architects.

Prizes: Successful competitors will receive the follow-
ing cash prizes: first, $200; second, $100.

STATE BOARD OF EXAMINERS OF ARCHITECTS,
JOHN HALL RANKIN, President. CLARENCE W. BRAZER,
M. I. KAST, Secretary, EDWARD STOTZ,

EDWARD H. DAVIS.

A Competition for the Development of a Small
Country Property

A competition for the development of a small country
property will be held by the Own Your Home Exposition,
under the auspices of the New York Chapter of the American
Society of Landscape Architects, Mr. Geiffert, Jr., acting
as professional adviser to the exposition management.

The object of the competition is to secure the best
design for a plot located at the intersection of an avenue and
a street; 144 feet on the avenue and 270 feet on the street.
One side of the lot faces a sandy beach. The street runs
at right angles to the beach and ends at the high-water line.
The first prize design will be executed in miniature, one-
sixth full size, at the Own Your Home Exposition at the
Grand Central Palace during the week of May 1, 1920.
The residence, greenhouse, and garage at the same scale
are now being built. These three buildings are to be located
on the plan, and there must be a flower garden and a vege-
table garden. Any other features are left to the discretion
and judgment of the competitor. Any one who signifies his
intention to compete may ask questions of Mr. Geiffert in
regard to the work, and the answers to any such questions
will be sent to all competitors. No questions will be an-
swered after March 6th.

The first prize will be $125, the second $75, the third $50.

Three drawings are to be submitted:

1st. A general plan on mounted paper, rendered.
2d. A planting plan drawn in ink on tracing paper. 3d. A
drawing on mounted paper showing such details as the de-
signer wishes, to explain his work.

The scale of all drawings is to be that of the topographic
map. The size of the drawings is to be twenty-six inches by
thirty-eight inches. The general plan should show grades
by figures, no contours. No fences are permitted on the
boundary lines. Any medium may be used in rendering the
drawings; however, much more importance will be given to
the logical and artistic planning of the plot and the selection
of materials in regard to their fitness to local conditions and
their effective composition than to the presentation, which
shall not go beyond what is strictly necessary to make the
plans intelligent. Each set of drawings will be signed by a
nom de plume or device and accompanying the same shall
be a sealed envelope with the nom de plume or the device on
the exterior. The name and address of the contestant is to
be inside. No contestant shall be permitted to submit more
than one design alone or in association with other men.
The drawings are to be delivered at the office of the Own Your
Home Exposition, Grand Central Palace, Lexington Avenue
and 46th Street, not later than March 27th.

The jury appointed by the Chapter to judge these de-
signs is Charles Downing Lay, Gilmore D. Clarke, Noel
Chamberlin. The decision of the jury will be final. The
jury will send a copy of its report to each competitor, and
will reach its decision not later than April 3d. All designs
will be exhibited at the Own Your Home Exposition, at the
conclusion of which all except those receiving prizes will be
returned to. their authors.

The competition is open to all members of the New
York Chapter of the American Society of Landscape Archi-
tects, all draftsmen and junior draftsmen employed in
offices of practising members of the Chapter, and students
of landscape architecture at Cornell University.

Building's the Thing

By Colonel W. A. Starrett

T INES of congested traffic, cold winter evenings, crowds
-L' standing waiting for overcrowded street-cars that pass
without even stopping; women tired, bundles in their arms,
waiting expectantly at the curb, unable to obtain means
of transportation waiting patiently, doggedly; the lights
in rows upon rows of solidly built streets twinkle to the last
window, and the din of traffic aggravates the jaded nerves
of tired people, who feel the spirit of unrest. A thousand
reasons overwhelm the mind as to the cause, and the crowds,
in numb bewilderment, turn from one thing to another as
the reason for their discomfort, which of late years seems
to present an unbearable burden.

People gaze dully at the automobiles that rush past
in the evening gloom, bearing what seems to them the more
fortunate, who are able thus to own their own*transporta-
tion yet in those automobiles the same spirit of unrest
pervades; something's wrong. A subconscious feeling of
dissatisfaction is everywhere manifest. From soap-boxes
and cart-tails street-corner orators scream their favorite
doctrines to the restless groups around them. Everything
from Bolshevism to monarchy is hailed or accused, and with
it all the spirit of unrest remains.

Building's the thing. Throughout the length and
breadth of the land the cry for proper housing and shelter
goes up. Every big city is infected with the virus of un-
rest which arises from the physical discomfort of thousands
of people. The housing is inadequate. Many of those who
have homes are desirous of better ones; those less fortunate
desire any home at all; the very animals require better shel-
ter. And all the time, while the population is growing, the
country's building demand is constantly widening the gap
that lies between it and its supply.

Habitations of all kinds, for rich and poor alike, are
required yes, even demanded and fought for; and silently
the unconscious appeal, which expresses itself in unrest,
goes out through the nation for still more structures.

The war, with all its cruelties, inflicted unseen, and at
first unobserved, one of the greatest cruelties on civilization
by wrenching from its natural course the steady flow of
building construction, which had, almost from time im-
memorial, kept its pace with the demands of the human
race. Like the air we breathe and the water we drink, it
seemed to continue to fill its appointed place without effort
and in the natural course of events. For all time the human
race has been led on its path of civilization by its structures.
The shock of war caused the dissipation of this mighty cur-
rent of human necessity, and now we are faced with the
consequences of that interruption. To-day the cry through-
out the civilized world will not be stilled.

Human intelligence could not have started with any-
thing more fundamental. First, the cavemen must have
had among them artisans who were more skilful than others
in the removal of obstacles and the hewing out of hollows
in the hillsides. Special aptitude and knack in these then
prodigious tasks must certainly have been the first human
efforts in the division of labor, and men who were dexterous
at these things must have been in demand to continue at
their work, while others afforded them protection and
brought them food.

Down through the ages the path of civilization is

marked by the structures men have built. Archaeology
finds its greatest support in the remains of buildings, and
in the twilight of antiquity the records of ancient civiliza-
tion turn upon the remaining fragments. of their structures.

Italy and France in the Renaissance left the measure
of their cultural civilization in the useful and ingenious struc-
tures of their times, and the early dawn of modern times is
ushered in with the glorious heritage of the decorative skill
of the constructors who, upon first finding shelter, turned
their thoughts toward the gratification of their eyes in the
beautiful interpretations we now call the classics.

The magnificent cathedrals of the Middle Ages ex-
pressed structurally the spiritual unrest which was the only
escape the people of that era saw from oppression by a
vicious monarchical system. These structures remain to
tell the story so much more plainly than the whole literature
of that time to him who runs and reads.

Northern France and Belgium emerge from the hail
of war to find that their oppressors considered them most
vulnerable through the destruction of their structures, and
while we observe with loathing and repulsion the destruc-
tion of the great cathedrals at Rheims and Ypres, we realize
that they are after all only the blind stabs of fury the spir-
itual insults to the people but the deadly blight of Ger-
many laid its most ruthless hands upon the habitations of
the people. To destroy their homes and workshops was to
destroy them.

Through all the ages men in their spirit of unrest have
turned from one standard to another as the panacea for
their seeming greatest ills. Religions have come and gone;
isms and fads. The Jews moved from a mighty liberator
through all the gamut of forms of government to the judge-
ships, and then were themselves destroyed; and yet they
were the closest to happiness and the fulfilment of their
national aspirations when they had built the city of David.

Such temporary and ephemeral standards of value as
have come and gone through all ages have grouped them-
selves about the things that, in each time, seemed most im-
portant. Spain was overwhelmed by a love for gold; Hol-
land's fleeting maritime supremacy set its store on the same
theory of the domination by a fleet that led the Venetians
into the illusory sense of security that turned on the ques-
tion of the domination of the seas. And yet Holland's
greatest historic achievement turned out to be what seemed
the obscure performance of necessity. The building of the
dikes, probably the greatest engineering feat of all times,
measured in terms of human usefulness, was nothing but a
preamble to the building of the permanent structures which
are to-day the visible evidences of her standing.

In our modern complex economic system men's minds
cloy at the vast diversity of elements that go to make up
the sum total of human existence. In despair they turn
from one standard to another now it is gold now it is
copper now it is wheat. Of late generations it has been
thought that the index of human requirements could be
built upon iron and steel. These fundamentals, entering
as they do into almost every conceivable human activity,
must surely be the standards by which men may judge their
progress and their material advancement. Yet these things
are illusory, for back of it all lies the same fundamental re-

ARCHITECTURE

quirement shelter and habitations. The national index,
perhaps too profound ever to be brought out for clear com-
prehension by the masses, must nevertheless be founded,
when founded it is, upon the country's progress in building.
Structures of steel, more structures, habitations, offices, fac-
tories, hotels the whole human cry fundamentally goes up
for food and shelter; and yet, without shelter, food is not
possible. Squarely across the path of human civilization
lies its building programme.

The soap-box orators may be able to impose their vicious
propaganda upon a distraught and bewildered people. Mon-
archies may rise to rob nations of the fruits of their produc-
tive efforts on the spurious argument of centralized control;
but underlying all these, the yard-stick of civilization
changeth not.

Unless men build they will not progress; unless they
build they will retrogress, and the measure of their civiliza-
tion, whether under Bolshevism or monarchy, will be re-
corded for all ages in the adequacy of their structures.

Unrest, Bolshevism, Socialism, anarchy, perhaps mon-
archy; wages, hours of toil, production, government itself,
of whatever source, cannot escape the inevitable funda-
mental the measure of our progress from the delirium of
war and the convalescence of the post-war unrest will in-
evitably rest on the resolution of the people to turn from
their isms and apply themselves to the production of the
structures necessary for the continuance of their civiliza-
tion. Building's the thing.

SPECIFICATION WRITER

Additional man capable of handling
larger and more important class of
industrial and commercial work.

EXCELLENT OPPORTUNITY

Send complete information as well
as specimens of work if possible.

ALBERT KAHN, Architect

MARQUETTE BUILDING, DETROIT, MICHIGAN

HOWARD STUDIOS

(ftariwtt Kfurmture JHrmnriula

7 West 47th St., New York

Send 50 cents for Catalogue

400 Illustration:

Announcements

The Indiana Limestone Quarrymen's Association with
headquarters at Bedford, Indiana, in anticipation of a year
of unprecedented building, has recently been reorganized
and expanded with a view to increasing its facilities for ser-
ving the architectural profession. The association maintains
a staff of field representatives who, unhampered by the bias
of salesmen, are able to render valuable help in the solution
of problems connected with their industry.

The personnel of the association has been increased
and several important appointments made. Mr. H. S.
Brightly, formerly of Chicago, becomes secretary.

Mr. George B. McGrath has been transferred from
Washington, D. C., and is now in charge of the Metropolitan
Service Bureau at 489 Fifth Avenue, New York City. He
will also temporarily continue his activities as field repre-
sentative of the association in the Atlantic States.

Mr. C. Roland Yanson has been transferred from Bed-
ford, Indiana, and placed in charge of the Chicago Service
Bureau at 231 Insurance Exchange, Chicago. Mr. W. S.
Whyte with headquarters in Bedford will cover the Middle
States territory succeeding Mr. Yanson.

The association's activities in the Western field will con-
tinue under the able supervision of Mr. J. R. Sargent with
headquarters in Topeka, Kansas.

Mrs. C. L. Walters has been promoted to the position
of secretary of the Bedford Stone Club Auxiliary, and Mr.
C. H. Badgley, of Toronto, Canada, will act as manager of
the Canadian organization.

The attractive little booklet published by the Stanley
Works, New Britain, Conn., "Eight Garages and the Stan-
ley Hardware," will be sent free of cost to any one interested
in building a garage.

An Architectural Photograph Suitable for Framing

The New Yorlt Public Library by Moonlight

Sepia Prints mailed to any address

11x14 $5.00

14x17

16x20

7.50
10.00

Successful Architectural Photography

Composition, light and shade, a complete technical knowledge of the use of special
color plates, plus a sense of artistic fitness.

I doe Special Attention to copying works of Art for decorators,
artists, galleries, and to architect's sketches and drawings
either in black and white or color.

Work done in your office or at my Studio

MATTIE EDWARDS HEWITT

536 Fifth Avenue, New York

THE CONQUEROR A VICTORY WINDOW.

TRINITY PROTESTANT EPISCOPAL CHURCH, SYRACUSE, N. Y.

ARCHITECTVRE

THE PROFESSIONAL ARCHITECTURAL MONTHLY

VOL. XLI

MARCH, 1920

No. 3

The Conqueror A Victory Window

The original water-color of this Victory Window was lost in the fire that destroyed the Fine Arts Building, New York,
on the opening night of the Architectural League Exhibition.

pVESIGNED in 1916 by William Willet and Annie Lee
-L' Willet, and erected in 1919 as a thank offering for
the safe return of her two sons by Louise L. Smith, in the
Trinity Protestant Episcopal Church, Syracuse, N. Y., this
window depicts the World War with Germany.

In the predella is shown
a procession of the Allies ap-
proaching the sacrament be-
fore they enter the conflict
Belgian, French, British, Ital-
ian, Serbian, Russian, and
American; soldiers, sailors, and
aviators in their authentic na-
tional uniforms; suggested by
an .incident related of Mare-
chal Foch. Some one asked
him how the men had nerve
to hold out at Verdun. He
took them to a little under-
ground hut chapel, and showed
them a rude altar before a cru-
cifixion of Christ on Calvary,
saying: "This is where the
men came for strength to fight
and learned how to die."

In the upper tier are sym-
bolized the four riders of the
Apocalypse. In the centre the
Black Horse The Famine of
the Word of God. The rider,
a type of the higher-critic pro-
fessor of the German Univer-
sities wearing his emperor's
cross and trampling underfoot
the divine Christ.

On the left is War the
rider on the Red Horse. Hate

Amos (fragment). One of the clerestory l_ j 1. <A^:~U*.

windowsoftheU.S.MilitaryAcademy, IS hlS Creed; hlS mOttO iVllgnt

West Point, dedicated to the memory T* i ,, rr*t * __

of the departed alumni. is Right. The sky is aname

with liquid fire and the trumpets blast forth the warning.
Beneath are victims of the U-boats, a mother's arms are
holding her infant above the waves the periscope skulking
away. The scroll reads: "We have made a covenant with
death, and with hell are we at agreement." To the right
the Pale Horse and he that sat upon him Death holding his
scythe and encircled by demons. Beneath are three vul-
tures, symbolizing the enemy allies, Germany, Austria, and
Turkey they perch on skulls between which are the wooden
crosses that mark the field of death.

The extreme left lancet shows an Armenian martyr
crucified to the burning stake, one of the eight hundred
thousand Armenian women who perished rather than deny
the faith and desert the Allies when offered their freedom;
in exchange for non-resistance they sent not only their men
but all their boys to the trenches, two and one half million
dying, and by their death held off the German hordes who
would otherwise have succeeded at Verdun. Lurking in the
background is a German officer giving the suggestion to the
Turk.

The extreme right lancet shows the murder of Edith
Cavell the desecration of the Red Cross.

In the upper tier Heaven is typified; Christ on the White
Horse bears the scroll, "In me you might have peace,"
while in the side lancets the strong archangels Gabriel and
Raphael bring the souls of the maimed and slain children
to our Lord. St. George and St. Michael weigh the souls
of men the weakest believers who pray being heavier in
the scale of Heaven's justice than the most self-sufficient.
The text running across the upper portion of the window
is Christ's word as he drew near to Calvary, "Be of good
cheer, I have overcome the world."

The window is carried out in the spirit of the late
fifteenth-century perpendicular Gothic, and demonstrates
the possibility of rendering the modern realism of the
uniforms, etc., in strict conformity with the principles
and traditions of the ancient art of stained glass with
all its healing qualities of vibrant color and glorious
harmony.

ARCHITECTURE

ADMINISTRATION AND DINING HALLS. ^ Waddy B. Wood, Architect for U. S. Housing Corporation.

CAPITOL AND UNION STATION GROUPS, RESIDENCE HALLS FOR WOMEN, WASHINGTON, D. C.

ARCHITECTURE

Waddy B. Wood, Architect for U. S. Housing Corporation.
CAPITOL AND UNION STATION GROUPS, RESIDENCE HALLS FOR WOMEN, WASHINGTON, D. C.

ARCHITECTURE

COMMON ROOM.

SITTING-ROOM Waddy B. Wood, Architect for XJ. S. Housing Corporation.

CAPITOL AND UNION STATION GROUPS, RESIDENCE HALLS FOR WOMEN, WASHINGTON, D. C.

The Minnesota Historical Society Building

By Stirling Homer

FOR many years the work of the Minnesota Historical
Society has been hampered by the inadequacy of its
quarters in the basement of the Capitol. Thousands of
books and numberless pictures and museum articles have
had to be stored in boxes in the sub-basement or left in the
Old Capitol where they were in constant danger of destruc-
tion by fire, while members of the staff had to work in all
sorts of cubby-holes and dark corners. Finally, after much
earnest effort on the part of members of the society and

of others who believe in the
preservation of the mate-
rials for the history of the
State, the legislature passed
an act appropriating five
hundred thousand dollars
for the construction by the
State board of control of a
building for the society and
the supreme court. This
act provided for the ac-
ceptance by the State of a
donation of seventy-five
thousand dollars from the
private funds of the society
to be used in purchasing a
site for the building and in
equipping the part of it to
be occupied by the society.
The site selected had to
have the approval of both
the society and the board
of control. Many members
of the society favored the
so-called Lamprey site southeast of the Capitol on the corner
of Cedar Street and Central Avenue, where the building
would overlook the plaza in front of the Capitol and would
fit in with the plans worked out by Cass Gilbert for the de-
velopment of Capitol approaches. The board of control,
however, selected the Merriam site, a large tract- located
directly northeast of the Capitol, and the executive council
of the society finally approved of the selection and paid
over the money for its purchase.

In the meantime a still more serious difficulty arose.
The architect selected, Mr. Clarence H. Johnston, of St.
Paul, together with members of the supreme court and the
secretary of the society, visited buildings of a similar char-
acter in the neighboring States for the purpose of ascertain-
ing what was necessary in the construction of the proposed
building. After this and other investigations, it was found,
from estimates made by the architect, that a building suit-
able and adequate for both the society and the supreme
court could not be constructed within the limits of the ap-
propriation.

The site finally chosen for the new home of the society
is ideal. Flanking the Capitol on the right, it occupies an
important eminence, from which a commanding view may
be obtained of the city and its environs. The building may
be seen to best advantage by the visitor who approaches
it from the Capitol mall. The Roman Renaissance style
has in this instance been reduced to its simplest elements.
The strength of the principal facade, the west," resides in
the simple, clear, and thoroughly monumental articulation

Standard at entrance.

of all its parts. The central motive, an Ionic colonnade,
has a just degree of projection, and the recessed loggia with
its entrance portals and windows has been so designed as
to line and mass that, while sufficiently subordinated to
the colonnade, it is also sufficiently emphasized for its own
sake. So, likewise, the end masses with their breadth of
unbroken stonework have the proper accent but do not un-
duly assert themselves. It might be called a long, low edifice,
but the attic, looming up above the main cornice with just
a suggestion of the variegated tile and immense skylight
which roof the building, and the balustraded terraces flank-
ing the main fa9ade, provide the needed corrective. Out-
side the building as within, grave dignity rules, ornament
being sparsely used, the little of it that is introduced being
handled with severe taste. The warmth of the stone itself,
the note of color delicately struck in the bronze doors of
the main portal, in the window casings, and in the roof,
and the vivid tints of nature in the foreground all these
make more intimate, more humanly interesting the appeal
of this imposing edifice.

The architect may indeed be congratulated upon the
structure which was wrought under his guidance. It will
stand not alone as a monument to the pioneers of Minne-
sota and of the great Northwest and to its designer, but to
the materials used in its construction. It is in truth a Min-
nesota building. The warm gray granite of which the
exterior walls were built is from large quarries at Sauk
Rapids. The marble of the main staircase and of the floors
of the corridors and stack rooms was quarried at Kasota.
Brick and clay fireproofing tile are produced at Chaska and
Minneapolis respectively. The stone for the walls of the
vestibule and entrance on the first floor was quarried from
deposits at Frontenac.

An ideal plan is one in which utility and effect are both
accounted for in such manner that the point at which the
architect has changed his view-point from the one phase
of his subject to the other is not apparent. It is on the vir-
tue of such a scheme that the new home of the Minnesota
Historical Society rests. This can be demonstrated in a
few words. Let the layman who has little, if any, acquaint-
ance with architectural plans as they are drawn upon paper
imagine himself making a swift tour of the building from
the entrance colonnade on Cedar Street to the galleries and
museums which occupy the top floor. The portal itself with
its colonnaded loggia is simple and stately and of majestic
scale, but the actual entrance doorway is comparatively small.
This central motive of the main facade is sufficiently empha-
sized with its simply carved stone doorway and beautifully
modelled bronze doors, and a note of spaciousness, which would
befit only some great exposition building or place of public
entertainment, has been avoided. The entrance, in other
words, is precisely the key to an institution of learning.

The quality of restraint thus encountered on the very
threshold is felt throughout the building. Passing through
the vestibule (103), we enter directly the vaulted entrance
hall (104) the main artery of the building. In the centre,
on the east side, a generous marble staircase, with a decora-
tive bronze rail, gives access to the stories above and below.
On either side of the stairway are large, light courts which ex-
tend from the ground floor to the glass roof of the attic space,
serving to light the interior rooms. The north doorway

(Continued on page 70.)

ARCHITECTURE

READING-ROOM.

CORRIDOR.

Clarence H. Johnston, Architect.
THE MINNESOTA HISTORICAL SOCIETY BUILDING, ST. PAUL, MINN.

7 o

ARCHITECTURE

opens into the main reading-room (101), a room depending
largely upon carefully studied proportion and simple, un-
broken wall spaces for its effectiveness. The monotony is
relieved by bookshelves of oak which form a dado around
the room, and by a splendid ceiling of decorative plaster,
in which color is so disposed as to give beautiful play of
light and shade. The delivery desk and ample card cases
for the card catalogue of the library occupy the east end
of the room, convenient to readers and having direct com-
munication with the bookstacks. The room is furnished
with carefully designed, harmonious furniture. Cork floor-
ing minimizes the noise of moving occupants. Adjoining
the main reading-room at the front of the building and ac-
cessible from it as well as from the corridor is the newspaper
reading-room (102), which is connected by a stairway and
an automatic booklift with the newspaper stacks directly
below. The south pavilion, in which the auditorium was
to have been located, as well as the Cedar Street front at
the left of the entrance, including rooms 105-112 and 114,
is, for the present, assigned to the executive offices of the
State board of education.

On the second floor in the centre of the Cedar Street
front is located the manuscript room (209). Adjacent to
it is the superintendent's private office (208), which com-
municates directly with the general office (206). At the
north end of the main corridor is a small waiting-room (204)
for those wishing to transact business with the adminis-
trative officers of the society. Another office adjoining the
general office on the north will be available for an assistant
superintendent or librarian and adjacent to it on the north
front is a small room (202) given over to the use of typists
employed in cataloguing work. The cataloguing room (201)
occupies the northeast corner. It has direct access to the
stacks and is connected with the shipping and receiving
room on the ground floor by an automatic electric booklift.
By the same means new books, after being catalogued and
classified, may be conveyed to the proper stack floor. The
cataloguing-room is accessible from the main corridor through
the waiting-room and is directly connected with the general
office and typists room through a passage (203). The south
pavilion and several rooms on the front, including rooms
211-217 and 219, are given over to various bureaus affiliated
with the State department of education.

The third floor houses the extensive historical and
archeological museums of the society together with its large
collection of portraits and paintings. As much of this ma-
terial is not suitable for permanent exhibition, large store-
rooms are provided in which it can be so arranged as to be
available for special exhibits and for examination at any
time. The south museum room (308) will probably serve
on occasion as an assembly-room also until such time as
space may be available for the installation of an assembly-
room on the main floor. The east room (314) will be used
temporarily as a map room and a workroom for the classi-
fication of the State archives, these departments having
been crowded out of the second floor by the inclusion of the
department of education. The small electric elevator in
the corridor (317) gives direct communication to the stack
room below, in which the archives are to be stored. The
small offices (312, 316) flanking this gallery will be available
for members of the staff. The rooms on this floor are lighted
by the immense skylight which forms the upper half of the
roof. Ceiling lights of syenite glass, particularly designed
to diffuse light, will eliminate all glare and shadow on the
gallery walls. The artificial illumination of the galleries
and museums merited careful study, and so cleverly has
the architect solved this problem that the visitor to the gal-
lery in late afternoon will be unaware of the transition from

natural to artificial light. Electric reflectors disposed in
the attic space above the ceiling lights may be switched on
in units as they are needed until full strength is reached.

The entire rear portion of the building is devoted to
the main stack-room, a space eighty-two feet by twenty-
nine feet and extending through four full stories from base-
ment floor to second-story ceiling, a total height of sixty-
two feet. This immense room encloses an eight-tier,
enamelled steel, self-supporting bookstack which would
hold, if the shelves were completely filled, 383,500 volumes.
A part of this stack, however, will be used for the storage
of archives. An automatic booklift stopping at each stack
floor will minimize the labor incidental to the transfer of
volumes from stacks to delivery desk, cataloguing-room,
or shipping-room as the case may be. A small push-button
elevator for the use of stack attendants and the library staff
extends from the basement to the third floor, making the
entire stack-room readily accessible from any floor of the
building. At either end of each stack floor are small studies
where the research student or others using the library for
extensive study may withdraw from the confusion attendant
upon the routine stack work. Several small table-tops hinged
to the stack ends in the window bays on each stack floor
form convenient spots for casual inspection of volumes.

The newspaper stack (5) occupies the central portion
of the Cedar Street front in the basement and ground floors.
It is similar in construction to the main bookstack, is four
tiers in height, and has a capacity of 16,500 bound newspaper
volumes. It is directly accessible from the newspaper reading-
room and from the basement and ground floor corridors.

The north pavilion of the ground floor is given over to
the receiving and shipping room (1) of the historical society
and a staff room (3) with kitchenette and locker rooms ad-
joining. In the south pavilion is the workroom (9) of the^
Minnesota Public Library Commission with a small private
office (8) for the secretary of the commission. On the east
side of the corridor immediately below the light courts are
the public toilets (11, 12), a small room for the use of janitors
(10), and the photostat room (13), where direct photographic
reproductions of manuscripts, pictures, and even rare printed
material may be made. The small entrances to the right and
left of the steps leading to the main entrance will be largely
used by regular habitues of the building, the elevator and main
staircase being but a few steps distant from either entrance.

In the basement, immediately underneath the work-
room of the library commission and connected with it by
stairway, is the shipping-room of this department. A for-
tunate difference in the grades of Aurora Avenue and Cen-
tral Boulevard enabled the architect so to design the service
driveway in the rear of the building as to make the shipping-
rooms of the historical society and the library commission,
though located on different floors, readily accessible for in-
coming or outgoing packages.

The building is connected with the power plant of the
Capitol by a concrete tunnel extending under Aurora Avenue,
through which heat, light, and power are conducted to the
mechanical equipment-room in the basement and thence
distributed to the various parts of the structure. Six large
fans furnish washed, fresh air to each room, being connected
in such manner as to allow the various rooms to be heated
to different temperatures as may be desired. The latest
improvements in ingenious mechanical devices are provided
for the convenience of the public and the staff. These in-
clude a complete system of private telephones affording
communication between all departments of the society,
automatic time clocks in the important rooms, and a power-
ful vacuum-cleaning plant to facilitate the work of the care-
takers. The total cost of the work approximates $500,000.

ARCHITECTURE

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ARCHITECTURE

Editorial and Other Comment

Putting It Up to the Public

THERE are probably few ways of trying to arrive at
any decision concerning art matters less fruitful than
by a first appeal to the public. By this we don't mean to say
that the public may hot be a competent jury from the public
point of view. Far be it. We only wish to point out the
generally recognized fact that what is everybody's business
is usually nobody's business. In art matters, at least, it
does seem as if judgment should be based on some kind of
standards. And by and large, the public standard is de-
rived generally from some practitioner of the arts, or at
least some patron, and in these days largely from the movies !
The local sign-painter may be the country town's art critic,
and, by the way, very often he has proved a mighty good
one, for there are famous names in American art who painted
signs and striped buggy-tops in their apprentice days. The
chief trouble in the choice of the local memorial seems to
come not so much from the lack of good intentions or from
an altogether bad taste as from the multiplicity of bad ideas
put before local committees with limited funds to spend in
the form of stock monuments turned out by the hundreds.

In the recent "Exhibits in the Open Competition of
Ideas for New York City's Permanent Memorial" there
were many seekings for the big idea, some of them so big
that they seemed preposterously disproportioned and out
of key with the places they were to occupy. But on the
whole the exhibit was worth while even if with comparatively
few exceptions it failed to bring forth the ideas of a largely
representative number of architects, sculptors, or others who
occupy a leading place in the art world of the city. The
net result is still to be defined, and we shall watch with
particular interest the discussions that will follow and any
indication of some real progress toward a dignified and
worthy memorial.

We sincerely hope it will not be in the form of the
"highest apartment-house in the world," even if there is
in this towering idea something that touches intimately
what seems to be the idea of the average New Yorker's no-
tion of a home. There were a lot of other ideas that we
hope will not materialize, for they savor too much of a self-
ish desire for merely local comfort and transportation, and
too little of the thought of what the memorial should con-
note. We hope it will be something that will stir the emo-
tions, something that will give us pause, make us stop and
think of other things besides ourselves and the common-
places and littlenesses of the average daily routine of the
city man or woman. There is no evading the impression of
solemnity created in visiting the tomb of Napoleon in Paris,
nor standing with bared head in the place where our own
Grant lies. There should be something of solemnity, of
nobleness, something remindful of the dead, of their sacri-
fice, of the great debt to humanity they met and nobly paid.

The American Academy in Rome

THE American Academy in Rome has been established
for twenty-five years, and those years have been fruit-
ful years in the advancement of the highest ideals in the
arts, in the study and advancement of the classic spirit.

France has her Ecole des Beaux-Arts, her Prix de Rome, to
which no American student may aspire, and its fame is a
part of the world's knowledge a part of the world's record
in the progress of the arts. The American Academy should
have and will have a place as important in our national de-
velopment. A fellowship of the Academy will be the equiv-
alent of the Prix de Rome; it will signify to the world that
the recipient has been chosen among many, that he repre-
sents the best talent of his country. The Academy, be it
understood, is not "a school," as is the Beaux-Arts. "Its
beneficiaries are those who have already advanced far be-
yond the preliminary stage of their various callings; fre-
quently they may be those ready to embark, or who have
embarked, upon their professional careers."

The winner of the American Academy's Prize of
Rome, then, has the full equivalent of what France holds
out to her most brilliant students of art and not France
only, but other European nations Germany, Spain, Great
Britain, and Russia.

What is the Academy doing? Here are some of the
things it is doing:

" Nobody can fully realize who does not actually go among
them whoso does will have a veritable revelation. Not
merely Fellowships, but fellowship; constant discussion and
criticism of each other's different lines of work; talks about
how to tackle the collaborative problems set for them; a
painter illustrating his ideas by modelling a figure; archi-
tects, painters, sculptors, historians, and archaeologists going
about together to see works of art. An architect designs
and executes a fine decorative relief in color; a sculptor makes
such drawings of the minute detail of classic ornament as
the best architectural draftsman would be proud of; a
painter discovers the wonderful picturesqueness and interest
of ancient Cretan costume, and so goes to Crete, works as an
archaeologist, makes all sorts of notes, collects all sorts of
objects, and then embarks upon a huge mural figure-painting
in which he brings back to life this extraordinary, newly dis-
covered past. They go together to Greece and all over
Italy it is human and real and vital, and what is more, it
is pregnant with possibilities for the development of beauty
in American art, of capacity to handle in a masterly way the
tremendous problems that this growing country has in
store, beyond any present conception."

In this year marking its twenty-fifth anniversary the
Academy is asking for funds to carry on the work it has been
doing and to endow additional fellowships that will include
landscape-architecture and music. The money will be forth-
coming beyond a doubt.

Not Enough 'Copies to Go Around

IT is with both satisfaction and regret that we ask the in-
dulgence of some of our readers who have been unable
to get the extra copies of recent numbers for which they
have asked. We endeavor to print enough copies to meet
all current requirements, but, as ARCHITECTURE is a maga-
zine with a special appeal and its circulation one that is
more or less limited to regular subscribers, we are not always
able to anticipate unexpected demands. We printed an un-

ARCHITECTURE

usually large edition of the January number and increased
the printing order for February and we hope that we shall
be able to fill all requests for extra copies of that and future
issues. Our old subscribers will understand, we are sure,
that with the increased cost of production these days we do
not feel justified in making our editions larger than the im-
mediate demand calls for and the necessity of meeting the
needs of the increasingly large number of new subscribers.

The Art Students' League Scholarships

A SCHOLARSHIP competition open to all art students
-t~\ in the United States, with the exception of those in
New York City, will be held at the Art Students' League
of New York, on March 31, 1920.

Ten scholarships will be awarded to that work showing
the greatest promise. Work in any medium, from life, the
antique, portrait, etching, composition, also photographs
of sculpture, may be submitted. Work should be sent flat,
not rolled, and should be forwarded so as to reach the League
not later than March 27, and must be sent with return ex-
press or parcel post charges prepaid.

The scholarships so given will entitle the holder to free
tuition in any two classes of the League during the season
of 1920-1921.

The jury will consist of the following instructors of
the League: George B. Bridgman, Arthur Crisp, A. Stirling
Calder, Frank Vincent Dumond, Sidney Dickinson, Thomas
Fogarty, Frederic R. Gruger, Robert Henri, Hayley Lever,
Kenneth H. Miler, Boardman Robinson, John Sloan, Eu-
gene Speicher, Frank Van Sloun, Mahonri Young.

All students interested are cordially invited to enter
this competition.

Address all letters and packages: For Scholarship Com-
petition, Art Students' League of New York, 215 West 57th
Street, New York City.

Rome's New Suburbs

A!^ interesting feature of the new building programme at
Rome, according to the United States trade com-
missioner in that city, is provision for the immediate erec-
tion of two entirely new suburbs outside of the present city
limits, and for these suburbs an attractive type of small
cottage has been selected which resembles American or Eng-
lish design more than Italian.

One of the new "garden cities," as they are called, lo-
cated east of Rome, will have sufficient houses to accommo-
date several thousand families. More than two thousand
families, including many officials and employees of the State
Railway Administration, have already made application
for accommodations. Every effort will be made to render
the new suburbs as attractive and complete as possible.
Many thousands of shade trees will be planted, and schools,
churches, and other public buildings will be erected immedi-
ately. Within the city limits an extensive building pro-
gramme is being carried out, the housing problem in Rome
having reached an acute stage some time ago and many
thousands of people living in temporary and crowded quarters.

Government Needs Draftsmen, etc.

THE United States Civil Service Commission announces
that the government is in need of a large number of
draftsmen of various kinds. It is stated that fully 1,000
draftsmen were appointed in the government service during
the last calendar year. During this period of reconstruc-
tion technical men are especially needed. Besides drafts-
men there are openings for surveyors and computers, also

assistant and associate engineers, electrical, mechanical,
civil, chemical, and ceramic.

Further information and application blanks may be
obtained from the secretary of the U. S. Civil Service Board
at Boston, New York, Philadelphia, Atlanta, Cincinnati,
Chicago, St. Paul, St. Louis, New Orleans, Seattle, or San
Francisco, or from the U. S. Civil Service Commission,
Washington, D. C.

The Medal of Honor in Architecture

The Architectural League of New York has awarded the
Medal of Honor for 1920 to the firm of Delano & Aldrich,
for general work.

The work submitted to the jury included the residences
of Mrs. Willard Straight, New York City, and James A.
Burden, Syosset, Long Island.

ARCHITECTURE is pleased to present, in the plate section
of this issue, a selection of photographs of these two residences.

Book Reviews

"THE COUNTRY LIFE, BOOK OF COTTAGES," new edition, by

LAWRENCE WEAVER. Charles Scribner's Sons, New York.

Another very attractive volume by Lawrence Weaver, whose second
series of "Small Country Houses of To-day" was noticed in the February
number, is "The Country Life, Book of Cottages," new edition, a "re-
view of what has been done to produce types of true cottages, excluding the
country houses costing thousands which masquerade under the name of
cottages." Only a few of these shown have more than eight rooms. They
are essentially homes for people "of moderate means and refined taste,
whose permanent home must be built with severe regard to economy."
Full advantage has been taken in the building of these cottages of local
material as well as a wide variety of the materials of familiar general use.
Many of them are picturesque and charmingly adaptable to transplanting
to an American environment. There are abundant illustrations that in-
clude floor plans and details regarding various materials.
"THE CHEAP COTTAGE AND SMALL HOUSE," by GORDON ALLEN.

New and enlarged edition. Charles Scribner's Sons, New York. . *

By "cheapness is meant simple fitness, restraint, and perhaps efficiency,
as contrasted with elaboration or unneces_sary ornamentation." Mr.
Allen's purpose is more to show the possibilities in the building of houses
or groups of houses for the working classes and the middle classes and
for the improvement of congested housing conditions that are so prevalent
everywhere. Included in his discussion are such matters as "Site and
Water-Supply," "Sanitary Matters and Lighting," "Materials." Among
the many illustrations and plans we note those of "Cottages at Chapstow,
Hampstead, Gordon Suburb, Crayford Garden Village, Houses at Gretna,
Roe Green Garden Village, London County Council Cottages." Nowhere
have problems of this kind been more skilfully handled than in England.
This is a book based on practical service, and is full of valuable common
sense suggestions that are often so notably uncommon in application. Plans
and elevation are shown, and a number of plates giving the relation of
buildings to particular sites.
COLOUR SCHEMES FOR THE FLOWER GARDEN, by GERTRUDE

JEKYLL. Charles Scribner's Sons, New York.

The author's great book on " Garden Ornament " is known to all archi-
tects and landscape specialists as the most authoritative and complete work
on the subject. In this new and revised edition of the present volume will
be found practical suggestions for setting the garden palette, arranged with
a consideration of seasonable succession of various plantings. The many
charming illustrations from photographs of gardens together with the plot
plans should make it a useful and suggestive book for the landscape archi-
tect especially.
PROGRESSIVE STEPS IN ARCHITECTURAL DRAWING, by

GEORGE W. SEAMAN. ARCHITECTURAL DRAWING PLATES,

by FRANKLIN GEORGE ELWOOD. The Manual Arts Press, Peoria, 111.

Both of these books are addressed to and are for the student of archi-
tecture and they should prove useful aids in helping the beginner to greater
facility and a practical knowledge of methods in developing plans and
elevations and various details, such as cornices, windows, mouldings, etc.
The "Plates" present in compact form a collection of the common details
or elements which compose a house.
PICTORIAL PHOTOGRAPHY IN AMERICA, 1920. Tennant and

Ward, publishers.

A volume .made up of pictorial prints from photographers in various
parts of the country who have endeavored to render with the camera "per-
sonal impressions of nature or human life." It is the first attempt, accord-
ing to Clarence H. White, president of the Pictorial Photographers of
America, who writes the "Foreword" to give a comprehensive presentation
of the status of pictorial photography as illustrated by the product of many
of its best workers. The plates are charmingly printed and many of
them show a sense of composition and the value of carefully studied light
and shade.

MARCH, 1920.

ARCHITECTURE

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PLATE XXXHI.

STAIR HALL, RESIDENCE, MRS. WILLARD STRAIGHT, 1130 FIFTH AVENUE, NEW YORK. Delano & Aldrich, Architects.

MARCH, 1920

ARCHITECTURE

PlATE XXXIV.

MAIN HALL, FIRST FLOOR, LOOKING TOWARD DINING-ROOM. Delano & Aldrich, Architects

RESIDENCE, MRS. WILLARD STRAIGHT, 1130 FIFTH AVENUE, NEW YORK.

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MARCH, 1920.

ARCHITECTURE

PLATE XXXVIII. *V

&:..

SECOND-FLOOR PLAN.

FIRST-FLOOR PLAN. Delano & Aldrich, Architects.

RESIDENCE, MRS. WILLARD STRAIGHT, 1130 FIFTH AVENUE, NEW YORK.

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MARCH, 1920.

ARCHITECTURE

PLATE XLII.

HALL.

ARCADE IN CONNECTING WINGS.

RESIDENCE, JAMES A. BURDEN, SYOSSET, LONG ISLAND.

Delano & Aldrich, Architects.

W
Q

MARCH, 1920.

ARCHITECTURE

PLATE XLIV.

DINING-ROOM.

RESIDENCE, JAMES A. BURDEN, SYOSSET, LONG ISLAND.

Delano & Aldrich, Architects.

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MARCH, 1920.

ARCHITECTURE

PLATE XL VI.

BEDCHAMBER.

Delano & Aldrich, Architects.

RESIDENCE, JAMES A. BURDEN, SYOSSET, LONG ISLAND.

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Romanesque Portals Lombard and French

By C. R. Morey

THE earliest and by far the simplest account of the rise
of the architecture we call Romanesque is that given
' by Raoul Glaber, writing in the eleventh century, who says
that "about the third year after the year 1000 the holy
churches were rebuilt from bottom to top in almost all the
world, but especially in Italy and France." Romanesque
churches were not all built
"about the third year" after the
millennium, but that date may
serve as a terminus a quo for the
new style of architecture, and
for the extraordinary religious
movement that inspired it.
Due partly to the spread of the
reformed Benedictine orders of
Cluny and Citeaux, and in part
to the springs of piety loosened
at the approach of the millen-
nium, at which time the peoples
of mediaeval Europe very gener-
ally expected the second coming
of Christ and the end of the
world, this spiritual renaissance
found final expression in the
twelfth century on the one hand
in the Crusades, and on the other
in the plastic decoration of the
capitals and portals of the new
churches, reviving the art of
monumental sculpture in stone
which had been dead for eight
hundred years.

The new sculpture is quaint
and bizarre, but by no means
embryonic. Its beginnings are
evidently already far behind it;
with all its crudities there is
mingled a curious authority and
power. What is the secret of
this fresh maturity ? Where lies
concealed the long artistic evolu-
tion that it presupposes ? Why
is it that in the very act of
laughing at its absurdities we
feel ourselves gripped by the re-
alities of mediaeval faith, the
terror of its hell, and the ecstasy
of its heaven ?

Some answer may be found
for these questions if we keep in
mind the antithesis between
what mediaeval artists thought
on the one hand, and their mode
of expression on the other, and
if we learn how in the course of
time the expression, at first
controlled by the thought, be-
came more and more powerful
and original until in some phases

of Romanesque Sculpture it gets Ivory plaque. Berlin Museum.

out of hand entirely, and the thought is swamped in a burst
of mediaeval feeling. ,

It is in the Romanesque period, in fact, that the Middle
Ages first began to express itself. For centuries before this,
it had expressed not itself, but antiquity. The barbarians
Goths, Lombards, Franks, and Saxons who broke up

the Roman Empire and founded
the nations of mediaeval Europe,
became the humble pupils of the
civilization which they had over-
thrown. They took their relig-
ion from Rome, and became con-
verts to the Christianity which
had finally prevailed throughout
the Empire a century before its
fall. In Rome they saw the sym-
bol of order and reason, two
qualities sadly lacking in the
chaos succeeding the barbarian
conquest, and the efforts which
the new peoples made thereafter
to stabilize the polity and
thought of Europe always took
the form of renewed imitation
of Old Rome Rome la Grande,
the troubadours called it such
as the Holy Roman Empire, or
the temporal supremacy of the
Popes who had in the mediaeval
imagination succeeded to the
throne of the Caesars.

Thus the thought of the
Middle Ages was not of its own
thinking. When the mediaeval
man thought at all he thought
theology, and mediaeval theology
up to the middle of the twelfth
century, was the creation of the
Latin fathers Augustine, Am-
brose, Jerome, and Gregory the
Great excerpted, annotated, re-
arranged, but with scarcely a jot
or tittle of added original think-
ing during the course of five
hundred years.

Now the Latin fathers, like
ancient writers in general, ap-
pealed to the mind rather than
to the heart, and handed on to
the Middle Ages a religion that
was more dogma than faith, and
symbolic rather than concrete.
Early, or Latin, Christianity pro-
duced many theologians but few
poets. The final product of a
highly intellectual civilization,
Latin Christianity furnished a
striking contrast to the natural
concepts of new peoples, whose
ideas were literal rather than

7 6

ARCHITECTURE

abstract, and whose reactions involved the emotions rather
than the mind.

The reader will no doubt welcome a concrete illustra-
tion in the midst of so much generalizing. In the Berlin
Museum is an ivory plaque, carved about 400, and represent-
ing the final stage of classic style, which once formed part
of a larger plaque, prob-
ably a book-cover. This
original plaque was
copied about 800 by a
Carolingian artist, and
the copy is preserved to
us in the book-cover in
the Bodleian Library at
Oxford. The late classic
ivory has still the intel-
lectual quality of antique
style; the action is clear,
the figures self-poised
and impersonal, with an
air of dignity pervading
the whole. In the copy
on the other hand the
figures lack dignity and
poise, and can neither sit
nor stand in a convincing
manner. They are also
too much alike to reveal
the relative importance
and the function of each.
In short the copy is con-
fused and unprecise; it
reproduces faithfully the
antique conceptions but
fails to get the antique
style, relapsing instead
into vagueness.

Yet this very lack
of definition has a sug-
gestion of feeling about
it, and here we touch
upon the discrepancy
already noted between
the antique thought or
content of mediaeval art,
and the expression there-
of. There is already
faintly visible in the Bod-
leian plaque the charac-
teristic mediaeval ten-
dency to emotionalize the
ideas handed down from
antiquity, to poetize the
dogmas and symbols of

the fathers, to sing hymns where they had chanted creeds.
Hence even in the Carolingian period we can see the con-
flict beginning between idea and expression, and already in
the ninth century there is a general twofold division ob-
servable in the works of art, according as the style controls
the content, or the content controls the style.

In the pen-drawings of the Utrecht Psalter, to take an
extreme example, the style has run away with the subject.
These pages are swept by veritable hurricanes of emotion;
the figures pirouette and draperies swirl in violent reaction
to the mystic phrases of the Psalms. The draTtsman dis-
plays also a quaint literalness which is indispensable to such
lyric expression; consider, for example, his illustration of

Ivory book -cover. Bodleian library, Oxford.

"Awake, why sleepest Thou, O Lord," with the Lord in
bed, while angels strive to rouse Him !

Other manuscripts of the Carolingian period will, on
the other hand, retain a classicism that is almost Roman in
its sobriety, and after the final division of Charlemagne's
empire at the end of the ninth century, when France was

detached and Italy and
Germany together be-
came the patrimony of
the East-Frankish or
German Emperors, these
two extremes of mediaeval
style become localized in
East and West, the lyric
mode prevailing in
France and England,
while the classic manner
obtained in Germany,
and finally, as we shall
see, made its way into the
Romanesque sculpture of
the North Italian Lom-
bard school. It, too, be-
trays the working of the
mediaeval leaven, gather-
ing all the while a crude
realism that gives con-
crete, if sometimes comic,
force to its rendition of
the sacred subjects, but
holding true in the main
to classic sobriety and
avoidance of movemen-t.
This style, preserved
in the works of the Rhen-
ish illuminators of the
tenth and eleventh cen-
turies, emerges in North
Italy at the time of the
revival of sculpture, ini-
tiating what we call the
Lombard Romanesque.
In the reliefs which Gug-
lielmus, the earliest of
these Lombard sculptors,
carved upon the fa$ade
of Modena cathedral
about 1100, we find the
same wavy-haired,
bearded heads, the same
flapper feet, the same
halting action which
marked the figures in the
German manuscripts.

Guglielmus's style is crude, his faces have lost classic pro-
portion, and his figures have no beauty; they are rather
realizations of a barbaric -ideal of force, and a racial type
is seen in the bulging eyes and high cheek bones. But
there is still in his work a classic restraint that bespeaks
its distant origin, and gives his scenes a curious effect of
power.

The same latent power informs the sculpture of the
second school of Lombards, presided over by Benedetto
Antellami in the second half of the twelfth century. Here
we find greater refinement and a heightened sense of beauty
which we may attribute to the influence of France, the more
so because the subjects are conceived in a French manner.

ARCHITECTURE

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Illustrative drawing. Psalter in University library, Utrecht.

In Benedetto's Descent from the Cross, for example, he in-
troduces into what would otherwise be a Byzantine com-
position, the novel French motif of the Church which catches
the blood of Christ in her chalice, while to the right an angel
pushes off the crown of the defeated Synagogue. The par-
ticular French source from which Benedetto drew is revealed
by details like the "smocking" on the sleeves of the sol-
diers to the right of the Cross, and the very weedy acanthus
scroll which forms the upper border of the panel. These
features, at the time when Benedetto carved his Descent
from the Cross (the last quarter of the twelfth century),
were to be found together in only one school of French
Romanesque, namely Provence, the old Roman Provincia,
whose capital was Aries. This, the part of France nearest
to Lombardy, was a very nat-
ural source for the French in-
fluence on Antellami and his
school.

A late but characteristic
portal of this school of Pro-
vence is that of Saint-Trophime
at Aries, familiar to Bostonians
as the model of the facade of
Trinity Church, at Copley
Square. Here one can see the
two motifs borrowed in Antel-
lami's work, the "smocking"
above the elbow of the sleeve,
and the weedy acanthus with
which the carvers strove to imi-
tate the late Roman decoration
which they saw about them on
the ancient monuments in
which Provence is so rich.
They never tired of Roman
ornament, using classic mould-
ings, modillions to support
their cornices, and entablatures
en ressaut with columns en-
gaged, above which one sees
the characteristic Roman run-
ning frieze. At Saint-Trophime
this frieze represents on the
left the Elect going to Heaven,
and on the right the Damned,
marching away like a chain-
gang to Hell. Christ sits en-
throned in the tympanum, Transfiguration. Rhenish manuscript of c.

Illustrative dra

surrounded by the
four beasts sym-
bolic of the Evan-
gelists, and below
Him on the lintel
are the twelve
apostles. The
animals that serve
as pedestals are a
well-known Lom-
bard device, which
shows that the
masters of Pro-
vence received as
well as gave in
their relations to
Italy, and it is pro-
bably best to con-
sider the sculpture
of Saint-Trophime
and the works of
the Antellami
school as belonging
to a single group.
Dating in the last
quarter of the
twelfth century,
these grim and
heavy figures rep-
resent a belated phase of the plastic style, if we may give
that name to the classic manner whose vicissitudes we have
been tracing. Plastic it is in any case, for the values ob-
tained by these masters are
all of form rather than line;
movement is avoided to gain
instead a rugged force.

More interesting is the
history of the lyric style, with
which we became acquainted
in the drawings of the Utrecht
Psalter. The field of its de-
velopment was the West, mean-
ing by that the territory lying
in general west of a line drawn
through the Meuse, the Saone
and the Rhone. Here again
the evolution must be traced
in the illuminated manuscripts,
the chief medium of early
mediaeval art. Thus we find
it in French illumination of
the tenth and eleventh cen-
turies, but reaching its fullest
development in the ' English
drawing of the eleventh, of
which a good example may be
found in the Liber Vita; writ-
ten at Winchester. Nothing
could be more spirited than
this rendering of Saint Peter
at the gates of Heaven, or of
the same saint saving a soul
from the devil, whose face he
smashes with an enormous
key, or again the angel that
locks the gates of Hell.

In the early twelfth cen-

7 8

ARCHITECTURE

I Ed." Alinari i P.- 1.- N." 10654. MODENA - Facciata della Caltcdrale. Bassorilievo sopra 13 Porla a deslra con falti del Vecchio t Nuovo Tcstamento. (Niccolo e Cuglielroo. 1099. i

DEATH OF CAIN AND NOAH'S ARK. RELIEFS ON MODENA CATHEDRAL, BY GUGLIELMUS.

DESCENT FROM THE CROSS. RELIEF BY BENEDETTO ANTELLAM1, PARMA.

ARCHITECTURE

tury the style suddenly emerges in the stone sculpture of
Languedoc and Burgundy. There can be no doubt that
the sculptors drew from the manuscripts when one com-
pares the pirouetting prophets of Languedoc with such
figures as the angel locking the gates of Hell in the English
miniature. The resemblance is not one merely of posture

and clinging drapery; the
sculptor paints as he carves,
seeks values of line rather
than of mass, and even re-
produces the technique of
the painter's light and shade
in the nervous flying edges
of his drapery.

The masterpiece of the
school of Languedoc is the
portal of the abbey-church
of Moissac. Of this the
portal proper dates about
1130, and the sculptures of
the sides are later, done be-
tween 1130 and 1160. We
thus have a work of an
earlier generation than the
facade of Saint-Trophime,
and one notes also the ut-
terly different conception
of ornament, the classic mo-
tifs of Provence being here
replaced by decoration imi-
tating the stucco relief of
Moorish Spain. In the tym-
panum is the vision of the
Apocalypse, with Christ in
glory attended by two angels
and the four Evangelistic
beasts. Below and at the sides sit the four-and-twenty
Elders, their heads at times nearly twisted ofT in the sculp-
tor's effort to centre the interest on the figure of Christ.
The sides of the portal are restored in one compartment
(the Annunciation), but altogether their sculptures illus-
trate very well the submergence of traditional symbolism
in a riot of emotional expression.

The lower right hand panel on the left side is' an alle-
gory of the sin of Unchastity (Luxury was the mediaeval
term), and the rest of the arcade is devoted to an exposi-
tion of Avarice. It must not be forgotten that Romanesque
is a monastic art, which explains the constant singling out
by the sculptors of these two themes for their graphic in-
vectives in stone, the brethren of the monastery must be
reminded of the most deadly of the temptations which sur-
rounded them, and in the laity must be stimulated the habit
of cheerful giving to Mother Church.

So the miser sits in a chair, clutching his bag of gold
and tortured by the demon that sits astride his neck, while
another grinning demon urges forward a beggar. The men-
dicant's shrinking attitude foretells the refusal of alms,
whereby the miser is enticed into deeper sin. In the upper
lunette to the right we behold the miser's death chamber.
His wife kneels weeping beside the bed; from his mouth a
demon wrenches the manikin that represents his soul,
another devil flies off with a bag of gold, and the good angel
hovering above is about to turn away in disappointment.
The lunette to the left is badly damaged; it represented the
tortures of the unchaste and the avaricious.

The grotesque horror of these scenes is carried into the
heads that ornament the angles of the arches a grinning

Figure of prophet. Souillac.

hag, a beast crunching a human form in its jaws, and a re-
pulsive head with a goitre on its neck. In the frieze above
further point is given to the moral of generous giving by the
story of Dives and Lazarus. To the right the rich man is
feasting, with Lazarus the beggar lying outside his door.
The dogs are licking his sores with a realism that would
be disgusting were it not so comic, and above him bends
the angel that is to carry his soul to Heaven. Heaven is
symbolized in Early Christian fashion by a tree, and to the
left sits Father Abraham with Lazarus in his bosom, attended
by a prophet who points with an unmistakable air of "I-
told-you-so" to some apposite Scriptural text that once was
painted on his scroll.

On the right side the panels begin with the restored
Annunciation in the lower left hand corner, followed by the
Visitation to the right. Over-emphasis explains the oddity
of all these scenes; the prospective mothers of the Visita-
tion betray their emotion by contortion of body and gesture,
and the Wise Men in the Epiphany above hurry forward at
breakneck speed to the eager Virgin and Child. In the
frieze above is the Presentation, grotesque in its lyric ren-
dering of what is essentially a solemn scene, and next to it
an incident of the Flight into Egypt, drawn from the Apocry-
phal Gospels, which relate how the idols of the city of Heli-
opolis fell down at the approach of the Holy Family.

The portal of Moissac, with a change of subject to the
Last Judgment, was copied at Beaulieu, which belongs archi-
tecturally to the school of Auvergne. In fact the style of
Languedoc spread far beyond the borders of Languedoc
proper; we find it as far north as Poitiers, in the figures on
the fafade of Notre-Dame-la-Grande; there are reminiscences
of the style even in the sculpture of the west fafade of Char-
tres; and a very pronounced Languedoc influence is to be
seen in some of the work on a church that is essentially a
product of the school of Provence, namely Saint-Gilles
on the Rhone, just across from Aries. Here amid all the
features characteristic of Provence, and reminding us so
strongly of Saint-Trophime, we discover the heavy Lom-
bard figures pirouetting and twisting like the saints of
Moissac. A similar mixture of the two styles may be
found in the capitals from Saint-Guilhem-du-Desert, which
New Yorkers may examine in Mr. George Gray Barnard's
museum in the Bronx.

The style of Languedoc was thus the dominating ele-
ment in the Romanesque of Southern France, save where
the Lombard plastic manner had established itself in Prov-
ence. There were other local schools, such as that of Au-
vergne, with its peculiar five-sided lintel, and the "school"
of Saintonge-Poitou, chiefly remarkable in its preference for
an arcuated portal that omits the tympanum. But through-
out southwestern France one finds as the twelfth century
wears on a gradual adoption of the lyric style of Languedoc,
while toward the north and east, with occasional echoes
even in southern portals near the century's end, the sculp-
ture reveals the more robust genius of Ile-de-France and
Burgundy.

The Burgundian style has a very interesting early his-
tory, but we can here only look at it in its developed phase,
which first appears at Vezelay. This is a most interesting
abbey, formerly one of the richest foundations of the king-
dom, and sought by pilgrims from far and wide. Founded
about 860, it was only in the eleventh century that it emerged
from obscurity by the fortunate chance of having secured
some reputed bones of Saint Mary Magdalene. So popular
did this relic make the abbey that it was chosen by Saint
Bernard in 1147 as the spot where he would preach the
second crusade. The portals of the church are modern,

ARCHITECTURE

MOISSAC, ABBEY CHURCH, PORTAL (FROM CAST).

BH1H8MHIHI
SIDES OF PORTAL (FROM CAST).

MOISSAC, ABBEY CHURCH.

ARCHITECTURE

and the chief interest for us in the abbey lies in the doorway
of the narthex or porch, which was finished some ten or
twelve years after Saint Bernard's preaching.

No example illustrates better than Vezelay the obscurity
in which the emotional style enwraps the subject, for arch-
aeologists are still at odds as to the interpretation of this
famous portal. The tympanum surely represents the Send-
ing forth of the Apostles, for this is clearly indicated by the
rays of the Holy Ghost that radiate from Christ's hands to
their heads. The little compartments of the archivolt are
also usually interpreted in
the same sense as highly
imaginative renderings of
the various peoples to whom
the Gospl was preached.
The lintel is the greatest
puzzle, and we can probably
do no better than to suppose,
with Viollet-le-Duc, that it
represents in some way the
separation of the Elect from
the Wicked, the good souls
being shown in character-
istic fashion as bringing offer-
ings to the abbey, while the
Damned are conceived in
allegories Pride mounting
a horse (by means of a
ladder), Discord as a pair of
fighters, Anger as a quar-
relling family, Calumny fig-
ured in the curious group of
people with enormous ears
at the extreme right of the
frieze.

The style of Vezelay is
very close to the manuscript
illumination from which it
was derived, and far more
so than that of Moissac.
For here the drapery is done
in fine lines and swirls that
suggest the penman, and the
sculptor takes infinite pains
to get the pictorial effects of
the manuscripts, as for ex-
ample in the elaborate un-
dercutting of the characteristic Burgundian double fold. He
handles his stone as if it were so much black and white, with
utter disregard for his material, a keen sense of the emo-
tional value of coiling lines, and no plastic sense whatever.

The same style appears with some restraint of movement
and greater exaggeration of the slim figures in the portal of
the cathedral of Autun, which dates about 1140. The portal
is the victim of a "restoration" of the eighteenth century,
when many of the heads (notably that of Christ) were cut
off so that the "barbaric" sculpture of the tympanum might
be covered by an aesthetic coat of plaster, but enough is left
to make the scene, for all its impossibilities, perhaps the
most convincing rendering of the Last Judgment that we
have in art. The sculptor has signed the work his name
was Gislibertus and he intended to leave no doubt as to
the didactic rather than aesthetic intent of his creation, for
under the group of the Damned he has inscribed a Latin
couplet, reading: "Let this terror terrify whoever is bound
in terrestrial error, for the horror here depicted is sure wit-
ness of what shall come to pass."

Vezelay, abbey church, portal (from cast).

Christ sits enthroned in a glory supported by four
angels, of whom two are represented head downward in an
effort on the part of the sculptor to give the glory a floating
effect an effect neutralized by the lower pair, who stand
solidly on the ground. On the ledge beside Him sit on one
side a prophet, and on the other Mary and Saint John, in-
tercessors for the Damned. At Christ's right is the City of
Heaven, with all the walls and arcades of a Romanesque
town, into which an angel is "boosting" a soul through the
arches of the lower story. The entry of souls into Heaven

is superintended by Saint
Peter, who holds an enor-
mous key, while Saint Paul
further to the right leads a
throngof worshipping saints.
In the lower left hand corner
an angel sounds a trumpet,
with tremendous effect upon
the soul that cowers behind
him, and another in front,
who points with excited
gesture at the Heavenly
City. Another soul clings
to the angel that is afford-
ing, in so simple and direct a
fashion, the coveted entry
to Heaven; and Saint Peter
grasps the hand of yet an-
other, who seems to be wait-
ing his turn. All the souls
are sexless creatures, and
height is a matter of relative
importance, humanity mea-
suring half the stature of the-"
saints, and these half that of
Christ.

To the right is the
Psychostasis, the Weighing
of the Soul. We see an
angel holding an open book,
and the scales, on the beam
of which is perched the soul,
evidently in an agony of un-
certainty as to the outcome,
while in the pans below his
good and evil deeds are be-
ing weighed by a devil and

an angel. The good seems to triumph in spite of the efforts
of the devil to pull down his side of the beam. Little spirits
cower about the angel's feet; to the right a grinning fiend
clutches a toad as he watches the weighing; another above
him thrusts the Damned into the Pit of Hell, and from
the open gate below emerges the fish-like head of a monster
that vomits forth another devil, grasping in his claws a group
of shuddering sinners. A trumpeting angel completes the
composition.

The lintel shows us both the Resurrection of the Dead
and the Separation of the Elect from the Damned. An
angel on the left comforts the holy ones; another in the
centre drives away the Damned with a sword. Among the
Blest are two bishops and two pilgrims, with their scrips,
a monastic touch in contrast to the more popular view rep-
resented by Gothic Last Judgments, wherein the abbots
and bishops frequently appear among the Damned.

Ut terreat hie terror. The sculptor carved this motto
on his work, and certainly departed not from it. Save for
the obscure figures of the intercessors, Mary and John, there

ARCHITECTURE

Autun, cathedral, portal (from cast).

is scarcely^ note of pity in the whole composition. Infernal
hands grope for the resurrected dead, and even the Blest are
shaken by the catastrophe, displaying none of that smiling
complacency that marks their demeanor in the Gothic Judg-
ments of the thirteenth cen-
tury. The Dies Ira: of Autun
is grim and terrible, a terrify-
ing picture of eternal torment
that might have embroidered
the Lenten sermon of some
monastic preacher.

Jesus' description of the
Last Day was symbolic, a
parable, and so the scene was
understood throughout the
course of Early Christian art.
Here we see the antique con-
ception overborne by the
rising tide of barbarian emo-
tion; the vivid horror that
possessed the sculptor's mind
could brook no symbolism.
Concrete fact alone might
serve his theme, and out of
this he has constructed a

vision whose sheer sincerity convinces, transcending the in-
adequate technique. The symbolic tradition of Christian
art here breaks down; the mediaeval soul found no outlet for
its emotion in a parable, and must needs translate the age-
old types into terms of humanity.

The process of humanizing the antique content of Chris-
tianity, initiated by such works as the Last Judgment of

Chartrei, cathedral, detaili of west front.

Autun, was carried on by the last to appear of the Roman-
esque schools, and the most thoughtful of them all. We
have seen the work of the South and East of France; the
North was slow to take up the revival, but when its contribu-
tion appeared it was nothing
less than a new art, the first
stage of Gothic. The build-
ers of the twelfth century in
Ile-de-France and Normandy
were not satisfied with a mere
remodelling of the Latin basi-
lica, as were those of Langue-
doc and Burgundy; they
evolved a system of building
that was not only different
in structural principle, but
served a new aesthetic pur-
pose. So also in the sculp-
ture adorning these' proto-
Gothic cathedrals, the syn-
thesis between mediaeval
content and expression was
worked out to ultimate har-
mony, in that the content
became more human, and the style more universal.

The Romanesque of Ile-de-France is really Gothic, and
we have space for but one example, the west front of Char-
tres cathedral, whose sculptures date from about 1150. It
is easy to see even in the general view of the fafade the fun-
damental break from Romanesque; the figures are no longer
applique upon the building, but have become an integral

ARCHITECTURE

part of the construction. Their close adherence to the lines
of the cathedral lends them some of its sovereign dignity,
and yet how much more winning are their faces than the
savage masks of the saints and prophets of Languedoc !
The art of the Middle Ages has suddenly, as it were, grown
young; the angels invest the forms of childhood. Young
also and intensely human is the Christ that sits in the cen-
tral tympanum surrounded by His ancient symbols; the

significance of the figure is found no longer in them, but
comes rather from the kindly gaze that illumines the face,
transforming the Judge into the Saviour of Mankind. Thus
mediaeval sentiment has at.last come into its own; the Latin
dogma that it tried to animate with pathetic exaggeration is
now couched in unmistakable French. On the Christ of
Chartres there falls the first sunlight of the Gothic dawn.
Princeton University.

The American Academy in Rome Twenty-fifth Anniversary

THE history of the first twenty-five years of the life of
the American Academy in Rome, a most interesting
summary of which has been written by the secretary, C.
Grant La Farge, is a complete justification of the vision of
its founders.

"The building of the World's Fair at Chicago made
a turning-point in our artistic progress so marked that it
may well be termed an epoch. Its effect was profound and
far-reaching, strongly influencing our subsequent work
and point of view. It was the first occasion upon which
there were brought together, to work for a common result,
not only a number of architects, but also the practitioners
of the allied arts. The lessons learned were important:
the inestimable value of coherence and classic orderliness;
the individual freedom given to those who accept a common
restraint; greatest of all, perhaps, the meaning of collab-
oration : that the architect, the painter, the sculptor, if
each is to reach his highest expression, must work all together,
mind to mind and hand to hand, not as separate units for-
tuitously assembled, but as an intimately interwoven and
mutually comprehending team as men worked in every
great age of the past to make great works of art. Perhaps
the full lesson was not entirely grasped, perhaps it was too
vast for immediate complete realization; but at any rate
it bore some fruit promptly, and the American School of
Architecture in Rome was opened in 1894. It was in the
fertile brain of that most distinguished ornament of American
architecture, Charles F. McKim, that the idea was born;
under his fervor and enthusiasm, together with that of
Daniel Burnham, that it took shape; to their unswerving
devotion to this idea, their gifts to it of money and time;
to their inspiring example; to the years of Frank Millet's
unselfish service, ending only with his tragic death in that
very service; and to the adherence of such others as La
Farge and Saint-Gaudens, now gone, Mowbray, French,
and Blashfield, happily still with us, that this fruition was
due. Begun by two such princes of architecture as McKim
and Burnham, it naturally took at first an architectural
form, but the rest soon followed. In 1897 the scope was
enlarged by the founding of the American Academy in Rome,
for students of architecture, painting, and sculpture."

The men this institution has already sent forth, and
their influence in establishing high standards and in mould-
ing thought, both in the "arts of architecture, painting, and

sculpture, and in classical literature and archaeology, have
demonstrated its paramount importance to higher educa-
tion in America.

NEW DEPARTMENTS. The success already achieved
warrants the trustees in extending the field of its activities
to include the arts of musical composition and landscape
architecture and in opening its doors to the women as well
as the men of America.

In order to maintain the academy in its present state,
and in order to insure its growth in these directions, addi-
tional endowment is necessary.

France owes her pre-eminence in arts and letters to-day
to the establishment of the French Academy in Rome over
two hundred years ago. Spain, England, Belgium, Austria,
Germany, and. Russia have followed her example.

The trustees of the American Academy turn confidently
to the men and women of America, in the belief that their
support of this great national and patriotic institution will
not fail.

FUNDS. Funds for the expenses of this campaign for
the endowment of the American Academy in Rome have
been subscribed by friends of the academy, so that every
dollar received will go to the endowment fund.

The academy was in debt to the Morgan estate, $375,-
000. Mr. J. P. Morgan has made an offer to cancel a dollar
of this debt for every dollar subscribed to the endowment
up to that amount; thus every contribution will be doubled
by Mr. Morgan's munificent offer.

Many universities are already contributing colleges.
There should be many more to avail themselves of the privi-
leges which such annual subscriptions give. And those
privileges may be retained in perpetuity by any university
which shall capitalize its subscription by making a contri-
bution of five thousand dollars to the endowment of the
academy.

Liberty Bonds will be gladly received at their face
value.

Contributions to the academy may be deducted from
income on tax returns.

All contributions should be made to the order of and
mailed to

EDWARD P. MELLON,
Treasurer of Endowment Committee,
52 Vanderbilt Ave., New York City.

The Problem of the Small City Lot

By William Pitkin, Jr., Landscape Architect

THE development of the city lot having a frontage of
approximately one hundred feet is a problem worthy
of the most careful study and capable of many interesting
solutions.

Too often it is a problem left partly solved or wholly
unsolved by the average architect. The result is only too
apparent on any of our good residential streets where well-
designed houses show every evidence of having been aban-

Front, C. J. Butler house before planting.

doned by the architect after the purely architectural work
was completed.

It is difficult to appreciate the reasons for this neglect

Rear, C. J. Butler garden before planting.

on the part of the architects for they are most certainly de-
sirous of having every one of their works as successful as
possible, both as a matter of pride and of good business prin-
ciple. >*
An appropriate setting is as important to a house as to
a fine jewel. And by appropriate is not meant the haphazard
planting of the grounds, but a well-conceived, thoroughly-
studied scheme for the layout of the entire lot. Such a
scheme embraces not only the planting, but the location of
the house and garage, the arrangement of walks and drive,
the practical handling of such utilitarian features as laundry,
yard, coal delivery, and other service items, and finally the

(Continued on page 88.)

JL Zaftig

Plan, house and garden, C. J. Butler. Detroit, Mich.

BUTL.ER.

ARCHITECTURE

HOUSE AND SMALL CITY GARDEN.

Wm. Pitkin, Jr., Landscape Architect.

C. J. BUTLER, DETROIT, MICH.

ARCHITECTURE

design of the garden and its proper relation to the plan of
the house.

Co-operation between architect and landscape architect
is essential for the securing of such a practical, well-designed
scheme. It is as foolish for the architect unfamiliar with
planting material, to make the plan alone, as it is for the
landscape architect to attempt the development of the lot
without considering the architect, and recognizing the
motives which prompt his design, and the definite effects
which he is striving for.

Undoubtedlylome successful city places have resulted
from co-operation between architect and nurserymen, but
in general this relation is unsatisfactory because the nursery-
men do not understand design and have little appreciation
of form which is so much more important in planting ma-
terial than either color or horticultural interest.

Wherever possible the lot plan should be worked up
prior to starting building operations, in order that the house
plans (basement and first floor) may be studied with refer-
ence to the landscape architect's suggestions for walks,
drive, service features and garden connections.

In many cases it has been impossible to carry out the
ideal solution of the lot problem due to the fact that the
house was set too high, or located a few feet too far one way
or the other; the service portion was poorly arranged in
reference to the proposed scheme, or the important windows
and doors were placed in a poor relation to the garden. A
very common difficulty is the location of the coal-bins on the
wrong side of the house, necessitating a drive where the
garden or lawn are desired.

Many very interesting lot plans may be worked out
even after the house is built, which was the condition in all
of the three Detroit problems illustrated in this article.
However, in all of them there are difficulties which could
have been overcome had the lot plan been made along with
the house plans. For example, the garage turns are excep-
tionally poor in both the Butler and Kuhn plans, and might
have been improved by a slight change in the arrangement of
the garages or the service wings.

The residence of Mr. Charles J. Butler is located on a
hundred-foot lot in Indian Village, Detroit, and as the photo-
graphs indicate, has houses on each side standing close to the
property line.

The sun-room, dining-room, and terrace overlook the
rear lawn which has been given complete privacy by a wall
separating it from the street lawn, and enclosing it on the
property lines. A well-designed lattice screens the service-
yard and forms an interesting background for the planting
against it.

Back yard garden, C. J. Butler, Detroit, Mich. Wm. Pitkin, Jr., Landscape Architect.

ARCHITECTURE

House and small city garden. Robt. Kuhn, Detroit, Mich.

In this plan, as in the two accompanying plans, it has
been the intent to add apparently to the size of the property
by keeping all grass areas as large as possible, and unbroken
by planting. The house is large for the property, and the
generous expanse of street lawn gives it a setting more in
proportion to its size.

Similarly, the garden grass-plots have been made as
large as possible,
and the planting
entirely confined to
the borders, thus
securing the maxi-
mum open area for
play and for visual
enjoyment.

The garden
lawn is bordered by
planting composed
of flowering shrubs,
hardy perennials,
and a few choice
evergreens for con-
trast of foliage and
for winter value.

The cutting
garden at the rear
is separated by a
hedge of Spirea Van
Houttei which
gives it a desired
amount of mystery

Without apparently Plan, garden, Robt. Kuhn, Detroit, Mich. Wm. Pitkin, Jr.

-%"*> *w B^MO -I TL f t 1 *"- . ' ,-~ ~ ' V" .3 r w" 1 *

l : $*^mij^^

f'al'-lLl.**!- Juc~^ '. r S- - A* t."

cutting down the depth of the garden as the eye carries

over the hedge to the tall planting of evergreens against

the wall screening the alley.

The rose-covered arches provide interesting glimpses

of the garden, and repeat the note of the lattice all of which

are painted brown.

The little winter garden is designed for intimate inspec-
tion from the liv-
ing-room and ter-
race, and completes
an evergreen com-
position, of which
the tall cedars
form the back-
ground and com-
pletely screen the
service wing of the
neighboring house.
A marble bird-bath
in the centre of the
grass panel of the
winter garden
makes a high light
in the composition
and adds to the in-
terest.

For contrast
with the evergreen
planting, the gar-
den contairis a few
azaleas, narcissus,

Landscape Architect. and Darwin tulips

9 o

ARCHITECTURE

Planting at main entrance, RobL Kuhn, Detroit, Mich.

for spring flower; white phlox and lilies for summer, and
white anemones for fall, all carefully limited in quantity to
be in scale with its size.

The property of Mr. Robert Kuhn is very shallow, only
125 feet, but has a width of 200 feet. The house stands on
the north half, leaving a generous area on the south for lawn,
garden, and vegetable garden.

The plan provides a high hedge and a heavy screen of
planting along the street to screen the garden, but leaves an
adequate street lawn in front of the house. A low untrimmed
hedge of Japanese barberry is planted on top of the 18-inch
south and west terraces and gives the house a snug architec-
tural setting.

The planting against the house and porch is composed
of a very few plants carefully grouped which give the re-
quired setting as well as privacy. This garden also consists
of a large central grass panel with straight lined borders of
flowering perennials backed up by heavy shrub borders.
The walks between flowers and shrubs are of grass and serve
as practical ways of getting about, as well as forming very
attractive vistas terminated by the white figures set among
the planting at the south ends.

The small rose-garden has an intimate relation to the
living-room and porch, and is securely enclosed by the heavy
hedge of cedars on the north, and the hibiscus on the south
and east. Its grass walks and panel make a good back-
ground of green for the roses. The bird-bath and garden-
seat are fine Italian marble, and are worthy terminals of the
two main axes.

The vegetable garden, while well screened by planting
is an interesting feature of the place as an excellent example
of intensive farming.

(Continued on page 92.)

The back yard garden, Robt. Kuhn, Detroit, Mich. Wm. Pitkin, Jr., Landscape Architect.

ARCHITECTURE

FRONT.

HOUSE AND SMALL CITY GARDEN.

PLAN, Wm. Pitkin, Jr., Landscape Architect.

MRS. A. C. ANGELL, DETROIT, MICH.

ARCHITECTURE

The grounds about the residence of Mrs. A. C. Angell,
also in Indian Village, Detroit, again illustrate the value of
open lawn areas for a house which is very wide in proportion
to the lot.

The maximum grass panel is again secured in the garden
and the line of the planting borders are straight in recogni-
tion of the lines of the enclosing fences and lattice.

A little mystery is introduced by separating the panel
and grass walk portion of the garden by planting of inter-
mediate height, which also makes a frame for the view from
the hall windows.

The planting against all these houses is composed of
shrubs and evergreens chosen primarily for their form,
either as specimens or in groups, and is arranged to recognize
the architectural design, and to properly emphasize both the
vertical and horizontal lines. The sky-line of the planting is
considered as of great importance, and as the photographs
show the masses are arranged so as to reveal the architecture
instead of burying it, as is so often the case. The result is
an appropriate setting into which the house fits pleasingly and
harmoniously.

The use of good-sized nursery stock instead of the usual
small plants is justified by the immediate effects secured,

and the difference in cost is surprisingly little when the buyer
is familiar with the quality of the material grown by different
concerns. In the photographs shown, all the material was
good sized and made a very satisfactory showing at the end
of the first year, which is a result pleasing alike to client,
architect, and landscape-architect.

Architects often feel that the cost of securing such a
setting for their houses is out of proportion to the size of the
property, but the truth is that the cost is very little, in that
the work is necessarily so limited by the restricted space.
On the class of city residences ordinarily built on 100-
foot lots, the cost can be estimated as low as 4% of the
cost of the house, and will seldom exceed 10% even for the
most pretentious scheme. This will include material and
labor, and the professional services of the landscape-ar-
chitect.

Surely where nature has so little opportunity as on the
city lot, it is doubly imperative that human skill should
be employed to soften the hard conditions, and to give shade
and green foliage around our homes. And to accomplish this
in an orderly manner, with proper appreciation of the de-
mands of good design, convenience and amenity, is indeed
well worth the consideration of the serious architect.

Modern Building Superintendence

By David B. Emerson

CHAPTER VII
PLUMBING AND DRAINAGE

IN an earlier chapter, we mentioned that the plumber in-
stalled the soil, waste, vent, and leader lines close behind
the steel erectors, so that when the frame was up and the
floor slabs set, the lines were all in and most of the roughing
for the fixtures was already done. All of the stacks were
specified to be of galvanized wrought-iron pipe; this was
done after a careful study of conditions. There is no ques-
tion but that cast-iron pipe is far more corrosion-resisting
than wrought iron, in fact it seems to last indefinitely under
almost all conditions, but there is one great objection to
cast-iron pipe, especially in tall buildings, and that is, the
joints. The unequal expansion of lead and iron is some-
thing which cannot be overcome, and the joints in tall stacks
of cast-iron pipe are always liable to leak, whereas the screw
joints in wrought-iron pipe are steam, gas, and water tight,
and under almost all conditions remain so. The only point
is to be careful to get a genuine puddled wrought-iron pipe,
and not a steel pipe. All of the pipe used throughout the
building was standard weight lap welded pipe, and the fittings
were recessed, screw jointed, galvanized cast-iron drainage
fittings. The ends of all pipe were reamed out to remove
the burr caused in cutting. All pipe and fittings were screwed
together, and made perfectly tight without the use of red
lead or pipe cement. The soil stacks were five inches in di-
ameter, which is ample for a building of any height,
and with any number of fixtures; the waste stacks for
the lavatories in the offices were all three inches in di-
ameter; and the leaders were proportioned so that they had
one inch of sectional area of pipe to every two hundred and
fifty square feet of roof area drained. In this instance, the
area of the surface drained by each leader was about seventy-
five hundred square feet, so six-inch leaders were sufficiently

large for the purpose. All of the stacks were supported at
their base by means of iron pipe rests placed directly under
the stack, and they were supported at each floor by means of
iron hangers securely fastened to the floor beams. Venting
was done by the circuit system of venting, using the yoke
type of vent for all batteries of fixtures in the toilet-rooms
on the various floors. The vent stacks were four inches in
diameter, and were carried up through the roof in all cases.
The house drains and house sewers were laid with a pitch
of one-half inch to each foot of horizontal run, and as the
total roof area was about thirty thousand feet, two lines
nine inches in diameter were required. The house drains
were hung from the steel floor beams by means of heavy
wrought-iron hinged pipe hangers, and where they ran under
the basement floor, they were run in concrete trenches and
were set upon brick piers placed every ten feet in the length
of the pipes. Brass screw cap clean-outs were placed in the
lines at points where they could be easily rodded to remove
obstruction. The house sewers were of salt glazed earthen-
ware pipe, ten inches in diameter, with joints made by means
of oakum gaskets, and one to one portland cement mortar,
and connected with the city sewers in the streets. As the
plumbing fixtures in the sub-basement were located below
the sewer level, a cast-iron sewage receiver was installed,
fitted with a duplex ejector consisting of two centrifugal
pumps operating in a dry pit, and driven by vertical electric
motors mou'nted on the extended receiver cover, and equipped
with automatic controllers operated by a simple float mech-
anism, which started one of the motors when the sewage
reached a certain level in the receptacle. The adjustment
of tappets on the float rod was such that in case of the failure
of one pump to start, a further inflow of sewage would cause

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the other unit to start. The sewage was discharged into the
receiver, forced out by the ejector, and discharged into the
sewer. In case the dry pit became flooded from any cause,
the ejecting pumps were fitted with auxiliary valves to pump
out the pit. For the handling of seepage water, leaks, etc.,
a sump pit was located in the sub-basement fitted with a
grated top. In this pit was installed a water ejector, fitted
with a float which, when it reached a certain point due to
the rise of water, automatically opened the valves in the
water-supply pipe, which threw a jet of water into the ex-
haust line, and by creating a partial vacuum sucked out the
water. The ejector, although of small size, having only a
one-inch supply, would lift eight hundred gallons of water
an hour on a twelve-foot head. When the lines were all
in and ready for the fixtures, the system was thoroughly
water tested; the testing being done in sections to avoid
excessive pressure, on account of the height of the stacks.
The testing was begun at the upper part of the system, and
the several sections were tested down to and including the
house drain. The ends of the pipe were closed with testing
. stoppers, and the stacks were filled from the bottom, letting
the water rise slowly to the top. Any leaky joints that were
found were made tight.

The water-supply was taken from the mains in both
streets, so that in the event of one main being temporarily
out of service, the building would not be left totally with-
out water-supply. Each supply line was five inches in di-
ameter, of extra heavy galvanized wrought-iron pipe; the
connections to the street mains were made by means of special
connections. Each line had a gate valve at the curb, with
a cast-iron service box, and a T-handle operating rod, so
that the supply could be cut off at the street if necessary.
The supply lines were cross connected before being connected
to the meter. A fish-trap was installed in the line directly
in front of the meter. From the meter the lines ran to the
filters, which were of the vertical pressure type, built with
cast-iron shells. The filters set upon concrete bases, and
had waste funnels which connected with the house drain.
After leaving the filters, the house main had branches to
the boiler feed-pump in sub-basement, the cold-water air-
drum for supplying the lower three stories of the building,
the hot-water tank which supplied the three lower floors,
and to the suction tank; two other branches were connected
directly to the suction pipes of the two pumps, so that in
an emergency they could pump directly from the city mains.
The house pumps were six stage, turbine pumps, with a ca-
pacity of one hundred and fifty gallons per minute, operated
by twenty-five hp. electric motors. The suction pipes of
the pumps were connected to the suction tank, and were
provided with strainers at the tank to prevent foreign matter
from entering the pump. The suction tank was constructed
of wrought-iron plates, with the seams riveted and caulked,
and had a capacity of two thousand gallons. The supply
pipe to the suction tank had a reducmg manifold header,
fitted with four ball cocks. A two-and-one-half inch pipe
was taken from the pumps up to the house tank on the roof;
this tank was made of cypress, with a frost-proof cover, and
had a capacity of five thousand gallons. All supply pipes
to the tank were thoroughly insulated to prevent freezing.
The overflow from the tank and the emptying pipe dis-
charged onto the roof. The tank was equipped with an
automatic float switch, which started the pump motors when
the supply of water in the tank was lowered, and stopped
them when the tank was filled again. The distributing main
from the tank was carried down through the building and
distributing branches were taken off" at each floor to supply
the fixtures on that floor. The main terminated in the base-

ment, and was connected to the hot-water drum which
supplied the upper stories of the building. The supply line
had a check valve in the basement, to prevent the water
from running back to the street mains. The hot-water
system consisted of two steel drums fitted with a series of
U bends of copper tubing, mounted in parallel, and having
steam connections from an auxiliary boiler which heated
the Turkish bath during the summer months, and from the
main heating system during the winter months. The hot-
water drums were provided with heat regulators which,
when the water had reached a temperature of two hundred
degrees Fahrenheit, cut off the steam supply from the coils,
and as soon as the temperature of the water in the drum fell,
the valve opened and the steam was again admitted. This
prevented overheating the water, which causes steaming at
the faucet, and the unpleasant sputtering which accom-
panies it. The distributing mains were taken off the dis-
tributing manifolds, and were carried through the building
to supply the fixtures and had circulating pipes running
back to the circulating manifolds, and then back into the
drums. The hot water risers and the circulation pipes had
expansion loops eight feet long, at the sixth and the thir-
teenth floors, to take care of the expansion and contraction
of the pipes. The pipes were fastened midway between
the loops and allowed to expand both upward and down-
ward. All lines, both for hot and cold water supply, were
valved, just above the manifolds, and all of the branch lines
were valved so that any line or branch could be cut off with-
out affecting the rest of the system. The valves on all ver-
tical lines were soft seat globe valves, and gate valves were
used on all horizontal lines. The ice-water system was oper-
ated by means of an automatic refrigerating machine installed
in the basement and operated by an electric motor, con-
trolled by an automatic starter with a thermostatic control.
The cooling was done in a cooling tank having a capacity
of seven hundred gallons, a constant level being maintained
by means of a float valve. The cooling coils were so placed
that the lower pipes were submerged in the water and the
return circulation sprayed over the upper pipes. The ther-
mostat, which controlled the temperature of the water, was
submerged in the water, and the operation of the ammonia
compressor was automatically controlled by the rise and
fall of the temperature of the water. The supply to the
tank was taken from the descending main from the house
tank. From the cooling tank, a main supply line one and
one-half inches in diameter was carried up through the build-
ing; branches were taken off at each floor to supply the
offices, and the drinking fountains in the corridors on each
floor. The system was arranged so that there would be no
dead ends, and a circulating pipe returned the water to the
cooling tank. The cooling tank and all of the pipes were in-
sulated with cork covering made from pure granulated cork
pressed into moulds, baked, and then coated with a water-
proof finish. When the construction had advanced suf-
ficiently, and the tile floors were laid, the work of installing
the fixtures was commenced. The Turkish bath in the base-
ment was fitted with the necessary shampoos, needles,
showers, and hydrotherapeutic apparatus; and the building
was also equipped with stand-pipes, hose-reels, fire-pumps,
and other fire protective devices, all of which will be fully
described in a later chapter. The water-closets in the clerks'
toilet-rooms in the bank and in the general toilet-rooms
throughout the building were of the suspended syphon
jet wall type closets, with extended front lips. The closets
were supported on cast-iron chair hangers which were set
before the tile floors were laid, and the closets were bolted
to them through the slabs at the back of the enclosures.

ARCHITECTURE

The connection between the closets and the branch soil
lines was made by means of long lead bends, which gave a
flexible connection between the closet and the pipe, and
prevented any damage from settlement. This type of closet
is undoubtedly the best for use in fireproof buildings, as
all piping is kept above the floor slabs, also the closets are
entirely free from the floor, so that they may be easily cleaned
under. The seats were of the saddle hole, open front and
back type. The flushing of the closets was done by means
of push-button valves, concealed in the floor, which is one
of the most satisfactory methods of flushing fixtures, as
the user does not have to touch levers, push buttons or pulls
with the hand. All of the urinals were of porcelain with
interlocking fronts, which did away with all partitions, and
made practically a single unit out of each battery of urinals.
The flushing was done by means of push-button flush valves,
the same as used in the water-closets. The lavatories
throughout the building were of heavy vitreous china, with
integral backs eight inches high, secured to the walls by
means of concealed iron wall supports, and having vitreous
china standards. The lavatories had "pop up" waste fit-
tings, which are as near fool-proof as can be made. The
supplies on the lavatories had crown handle, self-closing,
ball-bearing basin cocks. It is always a good practice in
public and semipublic buildings to use self-closing cocks, as
they prevent the waste of water, also the damage which might
be caused by leaving the cocks open, overflowing the basin
and flooding the room. The crown handle is about the best
type of cock for this class of work, as it is practically impos-
sible to fasten it open as can be done with arm, lever, tee,
or rabbit-ear handles. The ice-water cocks were of the push-
button type, and were set in the backs of the lavatories,

which were specially drilled to receive them. The traps
for all lavatories were of the non-syphon type as the city
ordinances allowed the use of approved traps of this pattern.
The particular trap selected for this work had been thor-
oughly tested and proven satisfactory, so was installed.
Non-syphon traps, which are positive in their seal, are un-
doubtedly far better than any system of venting as in most
cases the vents get closed up at their opening, and do not
work after a few months, also the venting of a large number
of fixtures makes a maze of concealed pipes, which may
eventually corrode out and become a nuisance instead of
a benefit. All of the porcelain and vitreous ware was in-
spected to see that no warped, cracked, crazed, nor discolored
pieces were included in the shipments, and one or two being
found they were ordered sent back to the manufacturers,
and perfect pieces sent to replace them. All of the brass
pipe for supplies and waste was specified to be iron pipe
size; that is, the diameters were to be inside diameters and
not outside diameters, as is the rule with brass tubing. All
were to be solid drawn tubing of the standard thickness.
When the fixtures were all installed and the plumbing system
was complete, the entire system was smoke tested. Smoke
testing was done by closing the tops of all of the stacks at
the roof, and pumping the system full of a dense pungent
smoke produced by burning oakum or oily waste, and forc-
ing it through a rubber hose into the lower part of the sys-
tem. If there are any leaky or imperfect joints, or any cracks
in the pipes, or fittings, or defective seals in the traps, it is
easily detected by the smoke issuing from it. The system
tested out perfectly and was accepted, and our work was
now practically completed, except for finishing up a few
items which will be taken up later.

Origin of " Watch Your Step"

FROM an analysis of nearly ten thousand accidents re-
cently reported by manufacturers, chiefly electrical, in
the United States, the highest percentage of those that oc-
curred outside the companies' premises were attributed to
slipping, tripping, and falling, hence the origin of "Watch
Your Step." This means that the greatest danger lying in
wait for a man in his hours of leisure is the pavement be-
neath his feet. The highest percentage of falls came from
those occurring on the level, while others came in the follow-
ing order of seriousness: from elevations, from ladders, over
obstructions, on stairs, from poles, into excavations, from
temporary supports, and from scaffolds.

On the companies' premises "handling material" comes
first. Accidents from electric current from shock, burns,
eye-flash rank fourth in a list of eighteen classes of acci-
dents. Only .7 per cent of all the accidents reported were
due to exhaustion from heat, which seems strange one
imagines that more suffer from heat prostration than is
actually recorded. From a general consideration injuries
to fingers were highest, eyes next, and ears last in a classi-
fication of thirty-five anatomical locations. From the
standpoint of occupation linemen ranked first and carpenters
lowest.

Perhaps the most interesting classification is that which
considered the length of service. Of all the accidents re-
ported 25.9 per cent, or the highest single percentage, had
all been in the employ of the companies less than six months.
Those veterans of over twenty years' service contributed
only 1.1 per cent to the casualty list. To determine the
seriousness of the various causes of accidents by considera-

tion of the number only resulting from each cause is mislead-
ing. While only 8.3 per cent were injured by electric cur-
rent, these accidents were responsible for over 70 per cent
of the total lost time and 70 per cent of the serious and fatal
accidents. The fact is, however, and it is encouraging, that
75 per cent of this class of accidents are preventable when
the proper safety devices, such as enclosed switches, rubber
gloves, etc., are installed, while falling will continue as long
as man fails to "Watch His Step."

Indiana Limestone in the Movies

BUILDING stone may seem a cold, hard proposition,
but the motion-picture camera has found human in-
terest in the Oolitic Limestone Quarries of southern In-
diana. A three-reel film which has been completed for
the Indiana Limestone Quarrymen's Association by the
Rothacker Film Manufacturing Company presents a novel
industrial romance. It pictures the wonderful machine
methods employed in quarrying and the large modern fac-
tory system used in connection with the preparation of In-
diana limestone for the market.

The Story of Brick

We take pleasure in acknowledging the receipt of a very
attractive and suggestively illustrated booklet, " The Story
of Brick The Permanence, Beauty and Economy of the
Face Brick House." Published by The American Face
Brick Association, Chicago.

ARCHITECTURE

Harold McGill Davis

HAROLD McGILL DAVIS was born in Jerseyville, III.,
on August 26, 1860, and was the son of Samuel W.
and Mary J. McGill Davis. His early boyhood was spent
in Kansas, where his father held the office of treasurer of
the town of Paola, to which he was elected thirteen con-
secutive years. Harry, as he was called by his friends, had
a public-school education, finishing in the St. Louis High
School, after which he obtained the position of office boy
in a lead and oil factory. While in high school, a cadet
corps was organized and afterward mustered into the Second
Regiment of the National Guard of Missouri. He became
a second lieutenant and was a member of a picked squad
which gave exhibition drills and fancy evolutions. After
several years with the lead and oil company, he resigned and
was appointed chief clerk of the St. Louis U. S. Assay Office,
receiving the appointment from President Chester A.
Arthur. A government position was too slow and uncer-
tain for an ambitious boy, so he came to New York to
study architecture. Being active in church work, he was
elected president of the Brooklyn Christian Endeavor
Union in 1901, an organization numbering some six thou-
sand members, and the following year was made chairman
of the printing committee in connection with the Christian
Endeavor Convention, held in Madison Square Garden,
with a total attendance of sixty thousand delegates. The
financial panic of 1893 offered him a chance to get into the
advertising profession, in which he had some experience
while in St. Louis as a writer and designer. Afterward he
became connected with an advertising agency, thus broad-
ening his experience and fitting himself for his final position as
manager of the advertising department of the Sprague Elec-
tric Works of the General Electric Company, which he ob-
tained in December, 1899.

His ability as a writer and designer gave him an advan-
tage over other solicitors which publishers were quick to
recognize and resulted in the formation in leading publish-
ing plants of what is now known as the service department.

Aside from his advertising, he frequently contributed to
the papers poems, both religious and humorous, and articles
of description.

An Industrial Arts Council

npHE Industrial Arts Council has recently been organized
A to develop ways and means for establishing a practical
method of educating American designers and craftsmen.
At the first meeting, held in February, twenty-nine industrial,
art, and educational organizations were represented by dele-
gates. W. Frank Purdy, of the Gorham Company, was
elected chairman, and John Clyde Oswald, editor of the
American Printer, vice-chairman.

The organizations represented included: Association of
National Advertisers, Architectural League of New York,
Art Alliance of America, Chamber of Commerce of the
State of New York, Association of Commercial Artists,
Paper Cover Manufacturing Association, National Society of
Craftsmen, National Society of Decorative Arts and Indus-
tries, Dress and Waist Association, National Retail Dress
and Goods Association, Association of Manufacturers of
Decorative Furniture, National Ornamental Glass Manu-
facturers Association, American Institute of Graphic Arts,
Greeting Card Association, Society of Interior Decorators,
Jewelry Crafts Association, National Society of Manu-
facturers of U. S., Millinery Chamber of Commerce, Monu-

mental Crafts Association, Municipal Art Society, National
Arts Club, Public Education Association, School Art League,
School Crafts Club, Silk Association of America, Sterling
Silverware Manufacturers, -Society of Illustrators, Toy
Manufacturers, LIpholstery Association of America, and Wall
Paper Manufacturers' Association of the U. S.

Mobilizing our forces is necessary, and the Industrial
Arts Council can do much to bring this about. Every manu-
facturer should feel it his duty and his privilege to aid in this
movement. Further details can be secured from the officp
of the Council at 10 East 47th Street.

Labor Costs

TABOR is more efficient than a good many post-war croakers
L' make it out to be. That, at any rate, seems to be the
conclusion to be drawn from recent cost computations made

by the Aberthaw Construction Company.
SOME CHEER- "It is too early to venture any broad

ING NEWS generalizations," says Dan Patch, statisti-
cian of the company, who has been making
these computations. "Yet I feel justified in saying a word
of what should be encouragement to those who see only
gloom in the labor situation.

"The Aberthaw Company keeps very carefully tabu-
lated data of unit costs on different jobs. These it uses to
establish averages that shall be available in checking the
relative efficiency of subsequent undertakings. In figur-
ing labor costs per unit of accomplishment, it is, of course
necessary to adjust the wage rate to a common standard.
Hence, the computation really expresses itself in terms of
labor hours expended on a given unit.

"During the war, labor costs, both relative and absolute,
went alarmingly skyward. How much of this was due to
dilution of the trades through the injection of vast numbers
of unskilled workers, how much to sheer war demoraliza-
tion, and how much to profiteering through shirking, no
man can say. The fact remains that costs were high.

"Now they are coming down again. That is to say,
carpenters, masons, painters, and glaziers appear to be
turning out as much work in an hour as they did before the
war. In certain of our jobs, even, there are faint indica-
tions of improvement over earlier averages. To be sure,
the men are not accomplishing as much in a week even
with overtime added as they did under a longer working
day: forty-eight hours have not been made as productive
as were fifty-four hours. Nevertheless, there is satisfaction
in possessing statistical evidence that during the hours
when labor is supposed to be at work it is actually working."

HOUSE heating with gas which enables the owner to
heat his home automatically from October to May
without any of the annoyance of attending to a furnace or
boiler at a cost comparable with coal is described
HEATING in detail in a special number of The Gas Age,
WITH GAS 52 Vanderbilt Avenue, New York, N. Y., re-
cently issued. Gas for fuel may be used in any
standard system of heating such as steam, hot water, vapor
vacuum, and warm air. Installations of each kind are de-
scribed and illustrated and the accompanying data gives
the necessary engineering data and costs. Often compara-
tive costs with coal are given. In addition to this, the vari-
ous systems by which gas is sold in the United States, such
as block rates, secondary rates, special rates, and regular
rates are described. With the exception of the latter, all
make it possible to heat a house with gas as cheaply or only
slightly more expensive than with coal. Installations with

9 6

ARCHITECTURE

actual consumption figures under each method of selling
gas are described and illustrated.

Necessity for Careful Chimney Construction

THE charred remains of one year's fires in the United
States would line both sides of a highway 1,000 miles
long, and yet 80 per cent of this is preventable, says a recent
issue of the Bulletin of the State Fire Marshal of Minnesota.

A summary of the fire causes in various States shows
that fires attributable to chimneys amount annually to
from 10 to 26 per cent of the total number, and in winter
the percentage has reached as high as 50 per cent. Espe-
cially in rural districts where there are no organized fire-
fighting agencies, builders should give unusual attention to
the construction of chimneys that they may be made as
nearly fireproof as possible.

Chimneys should not be built on brackets; they should
extend a sufficient distance above the roof, their walls should
be at least eight inches thick, flues should not be less than
sixty-four square inches, the flue-holes should never be filled
with inflammable material, and good flue-linings of fire clay
or terra-cotta should be provided. The cost of such lining
in an ordinary two-story residence would be nominal.

With the present tremendous demand for new build-
ings and the consequent speeding up of work, especial care
should be taken to prevent carelessness in chimney con-
struction.

Along the same lines the National Fire Protective As-
sociation is pushing a vigorous campaign, emphasizing the
present need of dwellings and the extreme necessity of
protecting from fire the homes we already have. It ad-
vocates care about matches, smoking, lighting and heating
apparatus, and gasolene, and urges a clearing out of rub-
bish, inspection of flues, and cleaning of chimneys, that
sparks may not fall on combustible roofs.

Chicago Our Greatest Lumber Market

/^HICAGO continues to maintain its position as the
^-S world's greatest lumber-distributing market, says a
prominent lumberman in the Chicago Daily News. The year
1919 represents the most varied conditions in the history
of the business. After the signing of the armistice there
was a hesitancy in every line of trade, and especially in the
lumber industry. March brought improvement over the
sluggish demand of January and February, and as the spring
advanced the shortage of homes became more apparent,
and with the "Own Your Home" propaganda conducted
by many agencies there came a keen demand for lumber
in May, which has been increasing ever since.

The building strike during the summer resulted in a
practical tie-up of all construction work. Not only did a
heavy loss fall upon employees because of stoppage of wages
and did the public suffer because of lack of homes, but the
city witnessed the postponement, in some cases indefinitely,
of construction of many manufacturing and other substan-
tial buildings.

Prospects for a big building year in 1920 are excep-
tionally good, especially if the expected replenishment of
cars and railroad construction by the Railroad Administra-
tion is realized. The indications are for a firm market, con-
tinues this lumber authority, adding: "When the public
accepts the idea that there will be no material decline in
lumber prices, and dismisses the thought that; before long
it may be able to build as cheaply as in pre-war days, build-
ing will not be delayed."

Large stocks are still available in the various lumber-
yards of the city, and the prospects for the future are bright,
both for the lumber business and for the public which is in
great need of additional housing facilities.

A National Zoning Committee

A NATIONAL Zoning Committee to watch the progress
of zoning throughout the country, with power to take
measures to sustain building regulations, was appointed by
the American City Planning Institute at its convention
at Niagara Falls and Buffalo at the end of May. The com-
mittee consists of Lawson Purdy of New York, president
of the National Municipal League and vice-president of
the American City Planning Institute, chairman; Charles
H. Cheney of San Francisco and Berkeley, California, vice-
chairman; Herbert S. Swan, executive secretary of the New
York Zoning Committee, secretary, 277 Broadway, New
York City; Edward M. Bassett, Esq., president of the Zon-
ing Commission of New York City; Mr. Stephens of San
Francisco; Andrew Wright Crawford, Philadelphia; Doc-
tor Robert H. Whitten, consultant of the Cleveland City
Planning Commission, and Harland Bartholomew, con-
sultant of the St. Louis City Planning Commission.

The National Zoning Committee may be consulted with
regard to the form of city planning ordinances and especially
with regard to measures necessary to sustain them when they
have been enacted.

ARCH1TKTVRE

THE PROFESSIONAL ARCHITECTURAL MONTHLY

VOL. XLI

APRIL, 1920

No. 4

The English Chapter-House

From a Lecture Delivered at the Metropolitan Museum of Art, New York, January 10, 1920

By Albert C. Phelps, A.I. A.

Professor of Architecture, Cornell University

Lincoln Cathedral.

IN the English chapter-house we find some of the most
excellent qualities of mediaeval design and a work pe-
culiarly and essentially English.

English architecture of the later Romanesque and early
Gothic periods was strongly monastic. Influenced by Con-
tinental monastic work, it, however, developed much in-
dividuality and originality.

The early monasteries of the European continent, such
as that at Montecassino in Italy, founded by Saint Bene-
dict himself, have been greatly transformed or have utterly
disappeared. The most important early document dealing
exclusively with the architecture of a complete monastery
is the plan of St. Gall in Switzerland, drawn in the early
ninth century upon two sheets of parchment (measuring
about two and one-half by three and one-half feet) and pre-
served in the library of the present monastery.

The chapter-house, along with the other usual features
of the monastic group, was introduced into England and
eventually became not only an essential part of the monas-
teries, but was added to nearly all the great secular cathe-
drals.

The original purpose of the chapter-house was to pro-
vide a meeting-place for the chapter of the monastery. Its
convenience recommended it to the secular clergy and it
became a common feature in the group of cathedral build-
ings in all parts of the kingdom. In it the meetings of the
canons of the cathedral were held and secular deliberative
assemblies were not excluded. Its picturesqueness and
oftentimes artistic form added greatly to the architectural
effect of the cathedral or abbey church to which it was at-
tached, and in the development of its vaulting the highest
type of Gothic structural art was reached.

The earliest chapter-houses of importance in England
were built during the twelfth century. That at Durham
was erected about 1150, but has been almost entirely re-
constructed on its original lines. It terminates in an
eastern apse and has simple groin-ribbed vaults about
thirty-five feet in span.

The destruction of the original chapter-house at Durham
is a marked instance of the unsympathetic attitude (to put
it mildly) of the architect and clergy toward the preservation
of these great mediaeval works in the late eighteenth century.

ARCHITECTURE

Salisbury Cathedral chapter-house.

James Wyatt, who did so much damage at Salisbury and
elsewhere in the name of restoration, declared the chapter-
house at Durham to be in a ruinous condition and advised
its demolition. In November, 1795, the work of destruction
was begun by knocking out the keystones of the vaulting
and allowing the roof to fall in. The eastern half of the
building was then altogether removed and the remaining
portion enclosed by a wall. Its interior was faced with lath
and plaster, a plaster ceiling and a board floor being added.
Fortunately, authentic records of the original appearance
of the building remain in the form of drawings made in 1795
for the Society of Antiquaries, and these proved of great
value in the restoration of the building late in the nine-
teenth century.

Gloucester Cathedral still retains its square-ended
chapter-house, covered by a pointed barrel-vault with trans-
verse ribs. The eastern bay is perpendicular, and it seems
likely that the original termination was apsidal, as at
Durham. Walter de Lacy was buried with great pomp in
this chapter-house in 1085, at which time the building must
have been practically completed.

Winchester had a rectangular chapter-house of the
twelfth century measuring forty by ninety feet, of which
but fragments remain. That at Canterbury was rebuilt
and greatly modified in the late thirteenth century and
again in the fifteenth. The interior was restored about 1897.
As it stands now, it is chiefly a perpendicular structure, some
thirty-five by ninety feet in plan, and has enormous win-
dows at either end. After the Reformation it was used for
a time as a sermon-house.

Bristol chapter-house is another with the oblong plan,
but with groin-vaulting definitely pointed and having bays
twenty-one by twenty-seven feet. The style is, of course,
still the Norman Romanesque with the wall-arcades, inter-
lacing arches, and chevron mouldings. This interior has
been called by more than one competent authority "the
most beautiful Norman chamber in England."

In these chapter-houses we see the widest vaulted spans
of the first half of the twelfth century in England and a
considerable development toward the Gothic vault of the
thirteenth century.

In general, the Benedictine chapter-house, as it took
form in England, was an oblong room about twice as long
as wide, set parallel with the axis of the church and, as dic-
tated by convenience with relation to the cloister, either
north or south of the transept, from which it was separated
by a narrow passage or chamber called a "slype." It usually

terminated in an eastern apse, by the windows of which it
was lighted, while the entrance from the cloister was by a
great round archway flanked on either side by round-arched,
double-lighted windows.

The Benedictine dormitory usually lay beyond or outside
the immediate neighborhood of the transept, so that the
chapter-house could rise to full height, there being no neces-
sity for a story above to keep down its ceiling.

The Augustinians and Cistercians, however, with their
stricter habit of night service, for convenience had the dor-
mitory immediately abutting the transept, into which it
descended by the night stair. So their chapter-houses,
though following the traditional Benedictine position, had
their western vestibules lower, so that the passageway from
the dormitory might pass over them. The Benedictines of
Chester adopted this arrangement in rebuilding their chapter-
house in the thirteenth century, and it remains excellently
preserved internally.

In the Chester chapter-house the vestibule opens di-
rectly from the north transept, without any slype, and its
three aisles, each comprising three bays, are vaulted to four
central piers, the ribs rising from the ground and are pro-
vided with no capitals. The triple openings into the cloister
show the Norman tradition, refined and pointed, and to the
east, separating the vestibule from the chapter-room, is a
similar screen. This vestibule is entirely worthy of the
beautiful room to which it forms the entrance and is a fea-
ture of rare distinction.

The Chester chapter-room is about thirty feet high,
fifty feet long, and twenty-eight feet wide. It is vaulted in
three rectangular bays, the vaulting being sharply pointed,
and the ribs rest upon clustered shafts against the walls.
The windows, triple lancets on the sides, completely fill the_
space between the piers, and five lancet windows occupy
the end wall. We have then in this chapter-house at Chester
a room on a smaller scale, it is true, but quite as completely
Gothic in the application of structural principles as its con-
temporary, the celebrated Saint Chapelle of Paris. Indeed,
these two rooms illustrate most vividly the contrast be-
tween the English and the Gallic ideals; the one broad,
comparatively low and sturdy, in spite of the suppression
of the wall surface; the other light, lofty, brilliant, almost
sprightly in its expression.

But it was in the hands of the Cistercians that the
chapter-house had its most English development. All of
their monasteries being abbeys, with a system of visitation
from the mother house to the daughters, considerable ac-

Salisbury Cathedral chapter-house porch.

ARCHITECTURE

Salisbury Cathedral roof of chapter-house.

commodation was needed for their assemblages. In the
north of England, especially, rooms of great dignity were
built with triple aisles of three or four bays. Few of these
rectangular Cistercian chapter-houses remain, except in
scanty ruins.

Furness Abbey in Westmoreland, just south of Carlisle,
is a fine example of what was one of the most extensive
establishments of the sort in England. The abbey was at
one time exceedingly rich and the abbot exercised almost
regal sway over the surrounding country. The ruins of the
early English chapter-house with its entrance are especially
fine. Built after the church, when the austerities of the first
Cistercian style had been tempered by the passion for build-
ing, it had steep four-part vaults upon slender clustered
piers, which, with their delicate carving and elaborate
mouldings, represent the earliest advance of the rich North
England Gothic.

Many chapter-houses of this same type were built,
following the Romanesque disposition as it had been at
Bristol. Later in the thirteenth century this aisled planning
of the chapter-house was taken south to Netley.

But generally, except in the Yorkshire district, the
earliest Cistercian houses seem to have followed the Bene-
dictine arrangement of a plain rectangular vaulted room
square-ended, however, instead of apsed.

In the west there arose another very distinctive form,
seemingly in Cistercian hands, although the earliest example
known is at Worcester, built about 1140. Here the chapter-
house is circular internally, externally a decagon, nearly
sixty feet in diameter, and is vaulted with ten ribs to a cen-
tral pier. Originally the building was circular externally,

but about 1400 the exterior was refaced, made decagonal,
and provided with angle buttresses, the better to resist the
thrust of the vault.

Margam Abbey in South Wales, built by the Cister-
cians about 1147 and now in ruins, had a chapter-house cir-
cular internally and twelve-sided without. It was about
fifty feet in diameter and had twelve main vaulting ribs
radiating from a central pier.

In the thirteenth century the idea of the polygonal
chapter-house passed to the secular canons at Lincoln, where
the ten-sided building, about sixty feet across, may possibly
have been laid out by St. Hugh before 1200, though vaulted
some thirty years later, when the deeply projecting flying
buttresses that gave it so distinctive an exterior were added.
With its accompanying arcaded passage this secular chapter-
house of Lincoln Cathedral is to be regarded as a great
chamber of state, a palatial appendage designed to enhance
collegiate dignity and make it compete with monastic im-
portance, and as such Lincoln seems to have led the way.

At Beverly Minster, about 1230, what was apparently
the first octagon was built, which thereafter remained the
accepted type of plan. There it was in two stories and, al-
though now entirely destroyed, its office of state and dis-
tinction is to be seen in the elegant staircase that led from
the north side of the canons' choir. The structure was,
however, comparatively small, being but about thirty-one
feet in diameter.

At Lichfield, about 1240, a chapter-house was built in
the form of an elongated octagon, twenty-eight by forty
feet, with a central pier to support the vault. The scheme
is interesting, but not altogether happy, and apparently the
experiment was not repeated. Above the chapter-room is
a low chamber that now serves as a library. What its original
purpose was is not certainly known.

The chapter-house at Westminster is in the form .of a

Wells Cathedral chapter-house.

100

ARCHITECTURE

state apartment, octagonal, some sixty-two feet in diam-
eter. It was built about 1250, superseding the original
Benedictine hall and one side of the old penthouse cloister,
the king requiring it to be designed magnificently as an
adjunct for his palace as well as for the uses of the monas-
tery, and from the time of its erection till 1282 it served as
the official meeting-place of the House of Commons.

This chapter-house, like that at Lincoln, is provided
with flying buttresses, which, however, project less widely.

Salisbury, too, although of secular foundation, received
the idea and added a splendid cloister as well as a chapter-
house; the latter being built about 1260. This is octagonal
with a central pier and is about the same size as the chapter-
house at Westminster (about sixty-two feet in diameter).
Salisbury has less of the English power as seen in the chapter-
house of Lincoln, but internally the charm is fully that of
Westminster.

In the spandrils of the arcade of the chapter-house be-
neath the windows is a very remarkable series of bas-reliefs
representing the Creation and Early History of Man, ac-
cording to the -Biblical account, Scenes from the Life of
Joseph, etc. Although considerably restored, they retain
much of the naive quality of the early mediaeval sculpture
and are greatly superior to the mass of contemporaneous
English work.

The chapter-house of Wells Cathedral was erected be-
tween 1260 and 1290. It, too, is octagonal and is about
fifty-six feet in diameter. It is built in two stories on the
north side of the cathedral, the cloister being on the south
side. The upper room, which is the hall of state, is reached
by a monumental staircase. Approaching Wells chapter-
house, we find that it is an ideal building of its class, exhib-
iting the essence and quality of the English Gothic style.
The under croft or crypt served as a treasury, where the
vestments, ornaments, registers, and other precious things,
both of the bishop and chapter, were kept. Passing into
the upper hall from the picturesque staircase, we note how
its canopied arcades, wide windows with the lancet traceries
of central England, and richly ribbed vault sum up the
tendencies of the central phase of English Gothic.

The octagonal chapter-house built in connection with
the old cathedral of St. Paul's, London, was in two stories
and was approached from the upper floor of a two-storied
cloister. It is said to have been about forty feet in diam-
eter and its vault was supported by the usual central pier.

This chapter-house was modified considerably in the
Perpendicular period and was destroyed by the great London
fire of the seventeenth century.

Elgin Cathedral in Scotland had an unusually beauti-
ful octagonal chapter-house, built about 1280. While it
displayed the national characteristics in tracery and dec-
orative detail, its general composition followed English
models.

The chapter-houses in connection with Southwell
Minster and York Cathedral are the only polygonal struc-
tures of this class to be built without a central support.
The one at Southwell was erected about 1280 and is octagonal
in plan, measuring thirty-five feet in diameter.

Although less grand than Lincoln, Westminster, and
Salisbury, it is especially charming in its decorative detail.
Naturalism is perhaps pushed further than is desirable in
architectural ornament, but the work is still spontaneous
and some of it is not lacking in functional expression.

The chapter-house at York, begun in 1290, may be
looked upon as the culmination of the polygonal structure.
It is octagonal, nearly sixty feet in internal diameter, and
with no central pier to support its vaulting.

The result is a spacious interior of great dignity. The
tracery and canopy details, although lacking the great
charm of Wells, are effective, and the structural logic ap-
proaches that of the best French work.

The vault, which approximates more closely than any
other Gothic effort outside of Italy and Spain to a real dome,
arouses admiration, but aesthetically is perhaps less satisfying
than some of the earlier examples where the central pier is
retained. And, although the fact that reasons of economy
and speed led the architect to employ timber rather than
stone for his vault has offended some critics of sensitive
taste, there is no mechanical reason why masonry might not
be substituted.

The chapter-room is approached by a fine vestibule,
and, in spite of minor defects, York chapter-house in pic-
turesqueness of massing and in spaciousness and dignity is
unsurpassed. Unlike most of the English chapter-houses,
York still retains much of its splendid mediaeval window-
glass.

It may be of interest to consider the two lines of rea-
soning followed in the treatment of the polygonal vault with
the central pier as employed in the chapter-houses.

In the one the vault was assumed to span from the sides
of the polygon to the central pier; in the other from the
angles to the pier. The former appears at first to be the
more natural, but has the disadvantages of breaking the
principal side of the vaulting compartment that rises from
the corners into a resalient angle, and also making the main
ribs from these angles across to the central pier in half their
length transverse ribs and in the other diagonals; and of
making one half represent a receding and the other a pro-
jecting angle, while the angle ribs of the outer half meet the
transverse ribs of the inner half of the vault. The outer
vault is cloistered, the inner groined.

These objections are entirely obviated by supposing the
main vaults to run directly from the angle to the pier. In
either case the ridge that surrounds that half of the vault
which springs from the central pier takes the form of an
inner octagon. In the first case the sides of this are parallel
to the walls, while in the second they take an intermediate
direction, the angles of the inner octagon being opposite
the centres of the outer one. The vaulting compartments
that rise from the angles of the great octagon are exactly
like those that rise from the central pier, and the ribs that
rise from the angles to the pier are throughout transverse
ribs, while the angle ribs from each side regularly meet one
another.

This latter method of vaulting was the one adopted in
nearly all the finer structures, as Westminster, Salisbury,
Lincoln, and Wells, while at York the inner octagon is
parallel with the outer one, but the difficulties are avoided
by dispensing with the central pier.

I think most of us will agree with Sir Gilbert Scott, who
declared that few forms in any style of architecture present
such beauties as an octagon vaulted in this manner.

(Continued on page 102.)

ARCHITECTURE

101

WELLS CATHEDRAL, SHOWING CHAPTER-HOUSE.

WORCESTER CATHEDRAL, RUINS OF GREAT HALL. CHAPTER-HOUSE AT RIGHT.

IO2

ARCHITECTURE

(Continued from page IOO.)

Although built as adjuncts of greater structures, and in
a measure overshadowed by the greater glories of the
churches to which these chapter-houses are attached, there
is a unity and directness of purpose about them rarely found
in the larger buildings. And in spite of the fact that some
of them, such as Lincoln, Westminster, and Salisbury, have

been so far subjected to restoration as to lose much of their
ancient charm, there is still in the character of this broad
English designing evidence of the native vigor of the middle
thirteenth-century ideal.

England has produced greater structural works and
more imposing architectural monuments, but nothing more
unique and spontaneous than her chapter-houses.

Big Building Has Right of Way

A Forecast for 1920
By Perley F. Ayer

Chief Planner for the Aberthew Construction Company

RECESSIONS in business, with accompanying recessions
in prices, have recently been predicted in some quarters.
Hope has been expressed of sagging demand for building
materials and labor, with consequent reduced costs of
construction, for whose advent owners are being advised to
wait.

If, however, the figures recording past experiences are
to be trusted, such advice is pretty poor; unless, indeed,
owners are prepared to put their plans in their pockets, to
be kept there not for two months but for two years. In
short, 1920 promises to be, both relatively and absolutely,
the greatest building period that the United States has ever
known.

History has a way of repeating itself. The volume of
contracts let in the early months of any one year constitutes
a pretty reliable index of the total volume that will be
booked during the entire twelve months. The F. W. Dodge
reports issued for that part of the United States east of the
Missouri and north of the Ohio Rivers record the percent-
age of the year's contracts which have been awarded in
each month of the twelve during the past ten years, 1910-
1919. They are as follows:

January 5.4 per cent

February 5.7 per cent

March 7.2 per cent

April 8.6 per cent

May 9.6 per cent

June 11.9 per cent

July 9.7 per cent

August 9.3 per cent

September 8.1 per cent

October 10.0 per cent

November 7.7 per cent

December 6.6 per cent

If these percentages hold, as they should, during the
coming months the Dodge reports for January should sup-
ply the prophetic finger with which to write in advance the
total for 1920.

It so happens that January's awarded contracts are
reported at $235,000,000. In order to keep on the side of
conservatism, let it be assumed that this will prove to be
6.5 per cent of the year's total, rather than the 5.4 per cent
of the ten-year average. The result still indicates that the
stupendous sum of $3,620,000,000 is to be spent on con-
struction during 1920.

To be sure, these billions of dollars are really billions
of fifty-cent pieces, and offer no immediate basis for com-
parison with the actual volume of construction- in previous
years. But, again, the Dodge reports come to the rescue
with a table showing increase in building costs since 1910.

Setting the costs of 1910 at 100 per cent, the Dodge table
shows unchanging percentages through 1915. In subse-
quent years the climb proceeds as follows:

1916 117 per cent

1917 139 per cent

1918 '. 159 per cent

1919 190 per cent

Brought to a common denominator of dollar-value
building, volume since 1915 would appear thus:

VALUE IN

DOLLARS

1915 $ 940,090,000

1916 1,356,990,000

1917 1,618,157,000

1918 1,689,242,000

1919 2,559,625,000

1920* 3,620,000,000

DISCOUNT VALUE, 1
OR TRUE VOLUME

$ 940,090,000 .

1,158,000,000

1,165,000,000

1,055,000,000

1,350,000,000

1,905,000,000

The upshot of these figures is that instead of approach-
ing a recession in building we are, apparently, on the verge
of a construction demand 40 per cent in excess of anything
previously encountered.

Whether or not this volume of construction will be ac-
complished is a question whose answer is to be found not
at all in pressure of demand, but exclusively in means of
supply. Here exists a serious problem. During 1919 the
shortage of materials and the uncertainty of their delivery,
the insufficiency of labor, and the disorganization of trans-
portation constituted the most serious impediments to the
fulfilment of contracts within reasonable limits of time
and price.

There is no sufficient reason to anticipate improve-
ment in any of these particulars during 1920. A good many
organizations, already creaking under existing strains, are
likely to crack under the added burdens which will begin
to blossom with the spring, and will grow and ripen with
the expanding year. Not all projects launched will be
brought to- a triumphant conclusion.

In so far as these notes constitute a warning, however,
they are not to be interpreted as a warning against under-
taking building in general, but only against attempting cer-
tain kinds.

* Potential business based on January awards.

Colors Employed in Egyptian, Greek, and Gothic Architecture

By Albert M. Kreider

THE Egyptians were a people highly civilized, skilled in
all the arts as far back as 6000 B. C., particularly in the
employment of colors in architecture. They used various
colors, such as red, yellow, blue, green, and white to decorate
their monuments. Long-disused types of capital were re-
vived and others greatly elaborated; and the symmetry
rather Greek than Egyptian. With the exception of a few
useful vaulted structures, all Egyptian architecture was
based on the principle of the lintel. Artistic splendor de-
pended upon the use of painted and carved pictures and the
decorative treatment of piers and columns produced in halls
like those of Karnak, of the Ramesseum, or of Denderah,
having a stupendous effect by their height, massiveness,
number, and colored decorations. The simplest piers were
plain shifts; others, more elaborate, had lotus flowers or heads
of Hathor carved upon them. Every part of the column was
richly decorated in color. Lotus leaves or petals swathed the
swelling lower part of the shaft, which elsewhere was covered
with bands of carved pictures and hieroglyphics. The capi-
tal was similarly covered with carved and painted ornament,
usually of lotus flowers, or leaves and papyrus.

The Greek mind, compared with the Egyptian, was more
highly intellectual, full of logic and symmetry, and the com-
munication of the Greeks with the Egyptians may have in-
duced them to imitate the latter in the application of colors
to ornaments. It seems to be a taste for colors and not the
intention of rendering the different parts of a building more
distinct from each other and substituting painted ornaments
for ornaments in relief. The fact that Greek temples were
colored on the exterior was a remarkable discovery, for the
application of colors to their external decoration seemed to
be rejected entirely.

It has been proven after many years of debating that all
these parts, so severe and dignified in their simplicity of
form, received a rich decoration of color. It is impossible at
this day not to admit that it was among these people that
the alliance of colors with architecture was made, and at a
period when monuments were erected in the best style; while
the precise shades and tones employed cannot be predicted
with certainty, it is established that triglyphs were painted
blue and the metopes red, and all the mouldings were dec-
orated with leaf ornaments such as "egg and darts" and
frets in red, green, blue, and gold.

The walls and columns were also colored, probably with
pale tints of yellow or buff to reduce the glare of fresh marble
or the stucco-covered surfaces of masoYiry. The outlines
against the sky in the clear Greek atmosphere, the Greek
temple must have presented a rich aspect of sparkling gayety.
In fact, the ruins of colored temples that were discovered by
the excavations made in Greece, Italy, and Sicily have this
characteristic in a remarkable degree. In the colored draw-
ings of Greek monuments which you may have seen, you
may not only notice the number of colors employed in these
monuments white, black, red, yellow, green, and blue but
also the use which has been made of them under the relation
of variety and purity of tint, of distinct view of the parts,
and of the harmony of the whole.

For instance, the principal lines, as the fillets of the
architecture and of the cornice, are red; the mutules blue,

and their guttae white; the triglyphs blue, their channels
black, and their gutter white; and the more extended parts
of the frieze and the cornice, as well as the architrave, are of
light yellow. We see that the greater part of the principal
lines is indicated by a brilliant red, and the association of blue
with black in the triglyphs and their channels formed a
harmonious and distinct union of the neighboring parts;
also light yellow, the dominant color, produced a much better
effect than if the most intense or sombre colors had pre-
dominated. After all, the colors were distributed in the most
intelligent manner possible, 'without being motley. It pre-
sented a variety and lightness in the tints with easy separa-
tion of parts.

In the great Gothic churches, color has rarely been em-
ployed on the exterior, except in a few cases, and always
without injury to the general harmony and in a restrained
manner. The color in the niches and on porches were of very
little importance in this point of view, and in almost every
case it was added long after the erection of the structure on
which it is found. One thing to be admired in these vast
edifices is the art or luck with which they have succeeded
without color, having recourse to architecture and sculpture
only in presenting to the exterior of the structure a variety
which in no respect destroys the imposing and natural effect
of the whole.

Speaking now of the interior of these churches, the
ethereal colors of stained windows will complete the enjoy-
ments which seem to strengthen the power of religious senti-
ment in all those who enter these edifices to impart their
prayers to God.

An author of a work full of research, whom I have in
mind, thinks that the ceilings of Gothic churches ought to
represent the celestial vault, and be painted blue, studded
with gilt stars. It is a fact that painting has, from the very
beginning, really concurred with architecture, and even with
painted sculpture in the interior decoration of Gothic
churches; it was only on the system of flat tints and in a sec-
ondary degree from the time it was decided to use windows
of stained glass; for not any painting that was applied upon
an opaque body, such as stone, wood, etc., could sustain itself
beside the brilliant colored light transmitted by the glass.
According to the rules of chiaroscuro, if this painting had
been graduated, all its merit would have disappeared for
want of crystal and white light, the one kind suitable for il-
luminating it. As an effect of harmony, one might say that
the vicinity of stained glass requires painting on the contigu-
ous walls. Without deciding altogether in favor of the neg-
ative, I confess that after reflecting upon the deep impres-
sions that you receive in great Gothic churches, where the
walls present only the simple effects of light and shade upon
a uniform surface of stone, when there are no colors except
those transmitted by the stained glass, I will say that the
sight of more varied effects would have appeared to me an
error against the principle of good quality. This opinion was
especially strengthened after seeing the fine vault of the an-
cient cathedral at Rheims, which had been painted for the
coronation of Charles X. It was a field of blue, sprinkled
with fleurs-de-lis. This beautiful example leaves a deep
impression on you.

103

IO4

ARCHITECTURE

Jk .

DESIGN FOR HOUSE AT GERMANTOWN, PA.

Edmund B. Gilchrist, Architect.

ARCHITECTURE

DESIGN FOR HOUSE AT GERMANTOWN, PA.

Edmund B. Gilchrist, Architect.

io6

ARCHITECTURE

SWIMMING-POOL FOR ROBERT E. BREWSTER, AT MT. KISCO, N. Y.

Delano & Aldrich, Architects.

Our Architecture as History

NONE of the arts are more closely identified and expressive
of the civilizations that gave them birth than architec-
ture. It needs no words to suggest the significance of Greek
culture as manifested in the Parthenon, nor is there any
doubt of the character of the races that built the pyramids
and the great Egyptian temples. In England and France
the cathedral builders wrote the thoughts of the times in
the wonderful and beautiful structures that have made
Gothic a symbol of worship and a manifestation of the
spiritual mood of the time. The marvellous church of St.
Sophia at Constantinople embodied the best culture of the
East when Byzantium was a world power, and so on through
the whole gamut of the ages.

What will the future generations think of the American
architecture of our time ? How will they relate it to our
civilization, how interpret the meaning of the sky-scraper in
terms of human endeavor and thought. Will our steel
cages last long enough to become historic exhibits ? Our
Georgian or Colonial period will have become a thing of the
past, for the old houses are now fast disappearing and there
is nothing so individual and distinctive to take their place.
There will be little doubt of a realization of the fact that in
our cities we lived and worked as bees in the hive. Some
of our great business palaces will show how crowded we
were in working hours, and that some of them must have
held the population of a small city. There will be manifest
the need of building toward the sky in lieu of the obvious
lack of space for basic expansion, and as we look upon the
great blocks of the pyramids, the columns of Luxor, so maybe
will the future at our high buildings. They will wonder
at the skill and splendid courage, the enterprise, the daring
and assurance that made them possible, even if only here
and there they find notable evidences of the things that are
called art, the refining arrangement even of big things, design
in keeping with the money lavished and the opportunities
offered to men of genius. It would be interesting to read
their comment on such structures, say, as the Flat Iron
Building, when they come to discover the great masses of
steel at the angles that were put in it to enable it to resist
the tremendous strains to which it must be subjected. We
shall be thought of at least as a people of wonderful engi-
neering knowledge and commercial enterprise. Our high
buildings and the remains of the great bridges throughout the
country will leave no doubt of this.

Without a Home

WE have been writing from time to time of housing con-
ditions. As 'a matter of fact, the subject has long
since passed the theoretical stages, the state of discussion in
general terms. There is no more vital topic before us, nor
one that calls for a more immediate practical solution. Our
cities have grown in population with tremendous strides,

while the building of places where people may live has been
at a standstill. The result is a constant advancement in
rentals with an equally constant inability on the part of
hundreds to meet these advances. The owner of property
is governed by the demand and rents his space to the
highest bidder. The tenant, who for years has met his obli-
gations, who has remained in spite of the offer of other
agents of newer and better quarters at a like or even a less
rental, receives no more consideration than the tenant of
yesterday. Pay the advance or get out is the answer. This
condition has ceased to be one of merely ordinary business.
In many cases it has and will continue to create a state bor-
dering on panic. Thousands who are employed in our cities
whose incomes are fixed are unable to meet the competition of
those who have made money by the war, and they are con-
fronted with the fate of those subject peoples who have been
driven from thei-r homes by a marching horde of conquerors.

We present the following significant figures compiled by
Mr. Wharton Clay, Commissioner of the Associated Metal
Lath Manufacturers:

"With a conservative estimate of 27,900,000 families
in 1925 the great housing shortage will continue unless
building in all parts of the country increases to an extent
unparalleled in the history of the construction business.

"If only the current number of homes are constructed
each year for the next five years 409,500 homes must be
built, and the congestion will reach 129.6 families per hun-
dred homes or 2 families in every fourth house.

"Merely to keep up with the increasing number of
families and in no way alleviate the present congestion
2,139,000 homes have to be constructed before 1926, while
a return to the pre-war conditions of 115 families per 100
homes means the building of 3,340,000 dwellings in that
period. When it is considered that in a town of 25,000 this
construction programme means 475 and 750 homes in five
years respectively, the stability of the building industry
becomes apparent.

"The following table shows how, for the last three
decades, the number of families in the country has exceeded
the number of dwellings:

FAMILIES

1890 12,690,152

1900 16,187,715

1910 20,255,555

I9IS 22,786,499

I9l6 23,292,887

1917 23,799,275

I9l8 ' 24,305,662

1919 24,872,051

1920 25,319,443

DWELLINGS
11,483,318
14,430,145
I7,89S,845
19,853,517

2O,672,O5I
20,808,562
2O,829,O39
20,9OO,OOO

Concrete Housing

THE recent National Conference on Concrete Construc-
tion in Chicago brought out a great deal of helpful
and practical discussion. None of the papers read seems
to us more to the point from the architect's point of view

107

io8

ARCHITECTURE

than that by Irving K. Pond. There is no question of the
almost immeasurable usefulness of concrete construction.

"My first item of advice, if I may be permitted to
offer advice to a body of men interested in the development
of or handling a comparatively new and altogether worthy
building material, is to treat the product with respect, to
shun and scorn imitations, to recognize limitations, which
attach to all materials, as well as to all men, and to work
within those limitations. This is not saying that because a
thing has been done, and frequently and appropriately done,
in one material it shall not be done in another or a new
material which may be employed with equal propriety;
however, the new material should not employ forms which
are purely distinctive of the old, but should develop forms
which inherently characterize the new.

We are of the opinion that there are few better ways
of quickly meeting some of the present housing needs, than
by a wide use of concrete. With an architect to design and
give attractive form to the houses that may be constructed,
there are charming possibilities. In France they are build-
ing some most attractive little houses of concrete slabs,
some of them with surprising rapidity a matter of only
two or three days.

Concrete is a material which lends itself to many
kinds of manipulation. It can be cast, poured, pressed,
assembled in the shop or on the job; it can be applied in
liquid or in solid form to the work immediately in hand.
So many are the possible methods of its application such
a diversity of means may be employed toward its legitimate
ends, that some of its enthusiastic sponsors see in it a pan-
acea for structural ills and possibly for aesthetic building ills,
a substitute for all previously employed building materials
excepting, possibly, door hinges and a perfect end in itself."

provide young artists of proved talent with studios and
materials to perfect their art.

Circulars of information may be had by addressing the
Institute at 126 East 75th St., New York.

Beaux-Arts Institute of Design

Board of Trustees : Thomas Hastings, Chairman ;
Laurence F. Peck, Vice-chairman ; Henry R. Sedgwick,
Secretary ; Lloyd Warren, Treasurer ; William F. Lamb,
William Lawrence Bottomley, James Otis Post, Walter E.
Maynard, Frederick A. Godley.

Director of the Institute : Lloyd Warren.

Directors of Departments Architecture : William F.
Lamb; Sculpture: John Gregory; Mural Painting : Ernest
C. Peixotto; Interior Decoration : Ernest F. Tyler.

Free courses in instruction in architectural design,
sculpture in all its branches, mural paintings, and interior
decoration. In the course of architectural design, there
is a registration fee of $2.00 per annum required; in the other
courses there are no fees of any kind.

PURPOSES OF THE INSTITUTE

To furnish instruction in the arts of design at a mini-
mum cost to students. To bring art students under the
criticism of artists who are engaged in active practice. To
carry students beyond the academic study of the arts into
the province of their application and practice. To bring
about co-operation among the various art schools of the
country. For this purpose it is desired that students,
whether studying at other art or architectural schools, or
organized in clubs or working independently, take part in
the competitive work laid out for them, and that the instruc-
tors of such classes take part in the juries of award. To
provide young artists of proved talent with studios and
materials to perfect their art. To allow art students to
study throughout the year uninterrupted by holidays. To

Book Reviews

"A HISTORY OF THE METROPOLITAN MUSEUM OF ART."
Published by the Museum.

" The History of the Metropolitan Museum of Art," written by Miss
Winifred E. Howe, is a volume of medium octavo size with xvi+36i pages,
and numerous portraits, views of buildings, plans, and facsimiles. It
contains, besides the history proper, an introductory note by the president,
Robert W. de Forest, and an Introduction on the Early Institutions of
Art in New York, including the American Academy of the Fine Arts (1802-
1841); the New York Historical Society (established in 1804); the Na-
tional Academy of Design (established in 1826); the Apollo Association
(1839-1853); the New York Gallery of the Fine Arts (1844-1858); the
Cooper Union (chartered in 1859); and several institutions of minor im-
portance, such as the American Museum of John Scudder, Peale's Museum,
Browere's Gallery of Busts and Statues, Old Paff's Gallery, John Vander-
lyn's Panoramas, the Old Sketch Club, the Dusseldorf Gallery, and the
Crystal Palace Exhibition.

The history proper is divided into seven chapters dealing in order with
the period of organization, from 1869-1871, the Museum in the Dodworth
Building during the years 1871-1873, in the Douglas Mansion from 1873-
1879, the first years in Central Park from 1880 to 1888, the first addition
to the Park building, 1888 to 1894, and its continued extension in 1895 to
1905, and the period under the presidency of J. Pierpont Morgan beginning
in 1905.

"To write the life story of an institution requires exercise of that
bravery which is proverbially assumed to be especially favored by fortune.
Biography has the prop at least of some one striking personality with
which to support the interest, too often limp and apathetic, of the general
public, but the long corporate existence of an institution, though it may
plead with any individual a precarious infancy and a youth of noble strug-
gle, demands a special talent in its historian if the narrative is to win de-
served recognition. Such sympathy and understanding are brought by
Miss Winifred E. Howe to her ' History of the Metropolitan Museum of
Art' (the Metropolitan Musuem of Art, New York). She has added fur-
ther a chapter on the art institutions in old New York, which, as it were,
gives the reader the ancestral tree of this now famous gallery."

"MODERN FARM BUILDING." New and enlarged edition. By
ALFRED HOPKINS, A.A.I.A. Robert M. McBride & Co., New York.

Mr. Hopkins needs no introduction to architects or any qualified com-
ment upon either his authority or his wide and special knowledge of his
subject. He has specialized in this field for a number of years, and his book
is the outcome of practical experience as well as a theoretical knowledge of
architecture. The volume includes farm buildings from the smallest es-
tablishment to that of the large estates. All types of construction are shown
and buildings for various kinds of stock. It is up-to-date and in keeping
with the best modern ideas of farm management.

"ESTIMATING CONCRETE BUILDINGS." By CLAYTON W. MAYERS.
Published by The Aberthaw Construction Co.

Estimating the cost of constructing concrete buildings is a process
concerning which most architects, engineers, and contractors have still
much to learn. Indeed, in so far as is known Mr. Mayers' modest volume
is the first to be published on this subject.

Pioneer though it is, "Estimating Concrete Buildings" is an extemely
clear and well-arranged treatise. Starting with the most elementary con-
siderations, it explains each successive step in estimating a building, part
by part. The sum of the parts constitutes a complete estimate, which is
reproduced in facsimile. An additional section discusses methods of es-
tablishing unit costs.

"A HISTORY OF EVERY-DAY THINGS IN ENGLAND. DONE IN
TWO PARTS OF WHICH THIS IS THE SECOND. 1500-1799."
Written and Illustrated by MAR;ORIE and C. H. B. QUENNELL. Charles
Scribner's Sons, New York. London, B. T. Batsford.

Primarily written for young people, this interesting book contains
much information both entertaining and instructive for grown-ups. It
has a good deal to say about the development of architecture and the cus-
toms and ways of living of the people who lived in the types of buildings
shown, and there are a series of drawings that give details of the develop-
ment of ships 'from the time of the Mediterranean galley to the days of
the famous tea-clippers. The plates of costumes 'should prove of value to
those interested in designing clothes of a particular period. The book
contains the kind of every-day information that is often difficult to find
with an admirable series of line drawings that add much to its usefulness
and interest. Both of these volumes contain many architectural drawings
and details of household furniture. They take one into the homes of the
people from the time of Elizabeth to the Georgian period.

APRIL, 1920.

ARCHITECTURE

LIX.

MANTEL AND FIREPLACE IN LOBBY, JOHN LEVY GALLERIES, .559 FIFTH AVENUE, NEW YORK.

Rouse & Goldstone, Architects.

h- 1

APRIL, 1920.

ARCHITECTURE

PLATE LI.

LOBBY.

TYPICAL PICTURE GALLERY. Rouse & Goldstone, Architects.

JOHN LEVY GALLERIES, 559 FIFTH AVENUE, NEW YORK.

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APRIL, 1920.

ARCHITECTURE

PLATE LV.

ENTRANCE FRONT.

IBHBH

GARDEN.

HOUSE, EGERTON L. WINTHROP, SYOSSET, LONG ISLAND.

Delano & Aldrich, Architects.

APRIL, 1920.

ARCHITECTURE

PLATE LVI.

LIBRARY.

DRAWING-ROOM Delano & Aldrich, Architects.

HOUSE, EGKRTON L. WINTHROP, SYOSSET, LONG ISLAND.

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APRIL, 1920.

ARCHITECTURE

PLATE LX.

OFFICE AND LIBRARY.

RESIDENCE, LEWIS C. HUMPHREY, LOUISVILLE, KY.

George Herbert Gray, Herman Wischmeyer, Architects.

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New Offices of W. R. Grace & Co., Lima, Peru

James Wm. O'Connor, Architect

is the first steel-frame building to be erected in
Lima, and also the first building having modern equip-
ment in the way of plumbing fixtures and fittings, the con-
cealing of all telephone and lighting wires in conduits, and
the electrical operation of clocks from a central master
clock. The construction work was done largely under

Main entrance to new offices, W. R. Grace & Co., Lima, Peru.

pioneering conditions, and the men employed were for the
most part untrained Cholo Indian laborers. All of the ma-
terial was delivered at the site in three-mule two-wheeled
carts, and this transportation system, leaves quite a little
to be desired. However, the work was carried through suc-
cessfully, and as a result Lima has made a long step forward
toward good architecture and permanent construction.

The exterior, which is reminiscent of the French Renais-
sance, has been executed in granite and white cement
stucco, the granite having come from the nearby quarries
of Amancaes, and conveys at once a dignified and massive
appearance. The iron and bronze work of the doors and
window grilles, all of which was made in New York City,
are particularly pleasing.

The arrangement of the interior consists of a large
general office, which is entered directly from the street.

The office is 120 feet long, 70 feet wide, and 40 feet from
floor to ceiling. In it are located the cash and cable depart-
ments directly opposite the entrance, the steamship, execu-
tive and indent departments to the left, and the general
merchandise and engineering departments to the right.
This room is in the Tuscan order, and its great size and the
harmony of its design and color make it very impressive.
The ceiling, which is of stucco heavily ornamented, is sup-
ported by eight columns. The columns and walls are of
Caen Stone Cement. Between the columns the ceiling is
carried up twelve feet above the general level in a farola
that' is surrounded with windows, giving light and ventila-
tion. The cash and cable department enclosure is of Bot-
ticino marble, and the balustrade surrounding the public
waiting space is of the same. The floor is of pink Tennessee
marble tile, excepting that portion occupied by the cash
and cable departments, which is of cork tile. This general
office is virtually a copy of the main room of the Grace
office, Hanover Square, New York City.

Directly below the cash department are two vaults,
each of which has a heavy manganese steel, fire-proof door.
The walls of these vaults are of massive concrete heavily
embedded with -steel rails and bars. At the left of the main
office is a two-story section containing, on the ground floor,
the manager's private office, the board room, and the mail
department, and on the upper floor, the mail-order, sample,
and catalogue rooms.

The basement is served by an electrically operated
elevator, which has a lifting capacity of 3,000 pounds. The
roof is finished with an impermeable felt and asphalt com-
position, and forms an attractive promenade. From it can
be obtained an excellent view of the city of Lima, and also
in the distance the Pacific Ocean.

The general appointments and equipment of the build-
ing are modern in every detail. Every office room is equipped
with an electric clock, each of which is operated from a master
clock located in the mail room. There are ten secondary
clocks and with this system a uniform time is maintained
throughout the building. The central telephone switchboard
is also located in the mail room, which thus becomes the
centre of all mail, telephone and time communication.

The furniture throughout the building is finished to the
color of mahogany, and has been purchased or especially de-
signed. In this way there is uniformity of equipment
throughout. The desks, tables, and cabinets are all of
Nicaragua cedar and have been made in Lima factories.

The floors of all the offices, except the main office, are
covered with a heavy battleship linoleum, a material which
is very resilient and comfortable to walk upon, and which
silences all footsteps.

Work of construction was begun on December 11,
1916. The erection of the steel frame began March 16 and
was finished June 15, 1917. The building was completed
March 1, 1919. The frame of the building consists of struc-
tural steel columns and beams, and the walls, floors, and
roof are reinforced concrete. The architect is Mr. James
W. O'Connor, of New York, and the resident engineer in
charge of the construction is Mr. F. Lynn Palmer, also of
New York.

109

ARCHITECTURE

ELEVATION ON NUfeZ.

LEVATION-ON BANCO-DEL- MEBDADOE.-

IONQITUJ5IMAL- .SECTION- IHD'BANCO-rtL-HEEBADO-'

James Wm. O'Connor, Architect.
ELEVATION AND LONGITUDINAL SECTION, NEW OFFICES, W. R. GRACE & CO., LIMA, PERU.

ARCHITECTURE

James Wm. O'Connor, Architect.

SECTIONS AND PLAN, NEW OFFICES, W. R. GRACE & CO., LIMA, PERU.

An Accounting System for an Architect's Office

By H. P. Fan Arsdall

Of Samuel Hannaford & Sons, Architects, Cincinnati, Ohio

FOR a great many years the architectural profession has
been groping in the dark, and endeavoring to find some
logical and accurate method of keeping accounts. The
writer, after ten years' experience, has attempted to for-
mulate a system which, he believes, will be accurate and
simple.

The architectural business is operated somewhat on
similar lines to a doctor's or a lawyer's office it is strictly
a professional service. It contemplates the furnishing of
plans and specifications and the supervision of the actual
construction of buildings. Frequently no supervision is
performed. This especially applies to out-of-town work.

The American Institute of Architects has established
a scale of fees to which we are obliged to strictly adhere.
These fees are charged, regardless of whether or not we
make or lose money on a particular job. The fee is a per-
centage, based upon the cost of the completed structure.
There are cases where a flat charge is made for consulting
service.

Unfortunately, plans and specifications are frequently
made for a proposed building, and, on account of some un-
foreseen obstacle, the work is abandoned. In this case it
becomes necessary to charge your client for the cost of
preparing the drawings, plus a reasonable margin of profit.
Often this leads to serious controversy, due to the ineffi-
cient cost system that is now in vogue, and it has been this,
more than anything else, that has led the writer to devise
the following system of accounting.

It might be well to mention the fact that the great ma-
jority of architects have kept their records on the Receipt
and Disbursement basis. This system is entirely inade-
quate, and violates all principles of accounting.

The general records, as designed, contemplate keeping
the books on the so-called Accrual System.

The following Classification of Accounts is recom-
mended for a small or large office. It can be expanded or
contracted in order to meet individual needs.

CLASSIFICATION OF ACCOUNTS
i. ASSETS:

11. FIXED ASSETS:

111. Office Furniture and Fixtures.

112. Books.
113.

114.
115.

12. CURRENT ASSETS:

121. Imprest Fund.

122. Cash in Bank.

123. Accounts Receivable. (Controlling.)

A.
B.
C.

124. Sundry Debtors. (Controlling.)

A.
B.
C.

125. Investment. (Bonds.)

126. Materials and Supplies on hand.

1261. Printing and Stationery Materials.

1262. Drawing Materials.
127.

128.
129.

13. PREPAID ACCOUNTS:

131. Prepaid Insurance.

132. Advances.

14. WORKING:

141. Work in Process. (Controlling.)
142.

143-

15. EXPENSES:

151. Drafting-room Salaries. (To be distributed.)

152. Engineering Expense. (To be distributed.)

153. Superintendents' Salaries. (To be distributed.)

154. Undistributed Expense. (Overhead.)

(Accounts 151,152, 153, and 154 are all controlling accounts.)

1541. Non-chargeable time of principal.

1542. Non-chargeable time of Draftsmen.

1543. Non-chargeable time of Engineers.

1544. Non-chargeable time of Superintendent.

1545. Overtime allowance.

1546. Lost time, vacations, etc.

1547. Office Salaries. (Controlling.)

A.
B.
C.

1548. Rent.

1549. Printing and Stationery.

1550. Drawing Material.

1551. Telephone and Telegraph.

1552. Membership and Dues.

1553. Donations.

1554. Light.

1555. Insurance.

1556. Travelling.

1557. Periodicals.

1558. Legal and Accounting.

1559. Taxes.

1560. Depreciation of Equipment.

1561. Bad Debts.

1562. Miscellaneous Office.

2. LIABILITIES:

21. FIXED LIABILITIES:

22. CURRENT LIABILITIES:

221. Accounts Payable.

222. Notes Payable.

223. Salaries Payable.

224. Sundry Creditors. (Controlling.)

225. Variations and Undistributed Expense.

226. Reserve for Depreciation.

227. Reserve for Bad Debts.

228. Accrued Expenses.

229. Reserve for Lost Time, Vacations, etc.

3. PROPRIETARY INTEREST:

31. Capital Investment. (Controlling.)

A.
B.

32. Surplus.

33. Profit and Loss.

4. OPERATION PROFIT AND Loss:

41. Cost of Completed Work. (Controlling.)

A.
B.
C.

42. Fees.

5. INCIDENTAL PROFIT AND Loss:

51. Incidental Income.

52. Incidental Expense.
521. Interest.

522.

In order to more fully explain the working of this
Accounting System, the writer feels that it is necessary to
state the nature and purpose of all accounts under the
Classification.

I. ASSETS. Asset Accounts represent values owned.

II. FIXED ASSETS. Fixed Assets are properties owned that are neces-
sary in the operation of the business. These assets, of course,
are not to be sold. The subsidiary accounts under Fixed Assets
are:
III. Office Furniture and Fixtures.

112

ARCHITECTURE

112. Books.

To these accounts is charged all new equipment and
books that are purchased and have a life beyond one
year's time. These accounts should be depreciated quar-
terly, and the depreciation figured on a 10 per cent annual
basis. At no time should you reduce the original book
value of the asset, but on your balance-sheet deduct the
allowance for depreciation in order that the original
value will not be disturbed until it is completely wiped
out.

12. CURRENT ASSETS. Current Assets represent values owned that

are constantly changing in value. The following accounts come
under Current Assets:

121. Imprest Fund.

At the beginning of operation this account is debited
with a certain sum (say, $25.00), and cash credited. This
sum is placed in the cash box and is to be used for paying
small current bills. When the fund is nearly consumed
a check is drawn for the amount of bills paid during the
period, restoring the fund to its original amount, and the
various bills are charged to their proper accounts.

122. CASH IN BANK. Cash in Bank should represent at all times

the amount of cash owned (not including Imprest Fund).
All cash receipts should be deposited in the Bank, intact,
and all disbursements made by check.

123. ACCOUNTS RECEIVABLE. This is a controlling account and

receives only the monthly totals from the Journal. The
subsidiary accounts controlled by Accounts Receivable
represents all moneys owing by clients. When these ac-
counts are debited with fees, Account No. 42 should be
credited.

Advances paid out for clients in the way of Building
and Water permits, etc., are to be charged direct to these
accounts.

124. SUNDRY DEBTORS. This is a controlling account. The

accounts that are controlled are the Drawing accounts of
firm members and other accounts of this nature.

125. INVESTMENTS. This account shows at all times any Bonds,

Stocks, etc., owned by the firm. It is credited when the
Stocks, Bonds, etc., are sold.

126. MATERIALS AND SUPPLIES ON HAND. This account is

charged with all materials and supplies purchased, and is
credited monthly with all supplies used. The correspond-
ing charge is made to one of the various expense accounts.

13. PREPAID ACCOUNTS. The subsidiary accounts are such items as:
131. PREPAID INSURANCE. This account is charged with all in-
surance premiums paid during the year and credited
monthly with & of the total, and the corresponding charge
is made to Account 1555.

14. WORKING ASSETS. This account represents the work passing

through the office. The subsidiary account is:
141. WORK IN PROCESS. To it is charged all Drafting-room ex-
pense, Engineering and Superintendents' time, and the
total of the undistributed expense. This is taken from
the Time Distribution Sheet and Overhead Distribution,
monthly. When work is completed, this account is cred-
ited and cost of completed work debited.

15. EXPENSES. The subsidiary accounts are:

151- DRAFTING-ROOM SALARIES ACCOUNT. This account is
charged with all Drafting-room salaries, and at the end
of the month is credited, and the amounts debited to
proper jobs in Work in Process.

152. ENGINEERING EXPENSE. This is treated the same as Ac-

count 151.

153. SUPERINTENDENTS' SALARIES. -This is treated the same as

Account 151.

154. UNDISTRIBUTED EXPENSE. This account controls the fol-

lowing subsidiary accounts:

1541. NON-CHARGEABLE TIME OF PRINCIPAL. All time of

firm members, not actually chargeable to jobs,
is debited to this account.

1542. NON-CHARGEABLE TIME OF DRAFTSMEN.

1543. NON-CHARGEABLE TIME OF*ENGINEERS.

1544. NON-CHARGEABLE TIME OF SUPERINTENDENTS.

These three accounts are treated the same as
Account 1541.

1545. OVERTIME ALLOWANCE. To this is charged any in-

creased rate of pay that is paid to draftsmen on
account of overtime work. It is not just that
any particular job should be burdened with this
expense on account of it having been the par-
ticular job to rush through the office.

1546. LOST TIME, VACATIONS, ETC. (Draftsmen, Engi-

neers and Superintendents.)

This account is debited monthly with ^z of
the annual amount set up in Reserve Account
(229). A Reserve account for Lost Time, vaca-
tions, etc., will be set up, and the accrued expense
shown as a credit each month and the same amount
should be debited to this account.

When the actual money is paid out for the lost
time, cash is credited, and the Reserve Account
debited.

1547. OFFICE SALARIES. This account is charged with

the Salaries of the principal, the office business
manager, stenographer, and office boy.

1548. RENT. This, is paid monthly and is charged as a

regular monthly expense. Credit cash and debit
rent when it is paid.

1549. PRINTING AND STATIONERY. Charge this account

each month with the amount of materials used
and credit Account 1261.

1550. DRAWING MATERIAL. Treat same as Account 1549.

1551. TELEPHONE AND TELEGRAPH. Treat same as Ac-

count 1548.

1552. MEMBERSHIP AND DUES. This account is charged

with all dues, membership fees, etc. If any one
month should be overly burdened, then a prepaid
account should be set up and the expense distrib-
uted over the twelve months.

1553. DONATIONS. Treat same as Account 1548.

1554. LIGHT. Treat same as Account 1548.

1555. INSURANCE. This account is charged monthly with

fa of the total prepaid insurance and credit is
made to Prepaid Insurance Account.

1556. TRAVELLING. Debit this account with all Travel-

ling expenses, when it is not directly chargeable
to a job.

1557. PERIODICALS. Debit with all magazines, papers, etc.

1558. LEGAL AND ACCOUNTING. Charge with all attorney

and accountant fees.

1559. TAXES. An architect's taxes are usually small, and

it is not necessary to distribute the sum over the
entire year. When taxes are paid, debit this ac-
count and credit cash.

1560. DEPRECIATION OF EQUIPMENT. Debit this account,

monthly, with i\ of depreciation charge and credit
the Reserve Account.

1561. BAD DEBTS. Handle same as Account 1560.

1562. MISCELLANEOUS, OFFICE. Expenses of all other

kinds are charged to this account (small).

LIABILITIES. Liabilities are all values owed.

21. FIXED LIABILITIES. Liabilities of a fixed nature, only, are cred-

ited to this account. Ordinarily, an architect has no fixed
Liabilities, unless they have issued bonds or stocks.

22. CURRENT LIABILITIES. These are Liabilities that are alive, and

are constantly changing in value. This is a controlling account,
and has the following subsidiary accounts:

221. ACCOUNTS PAYABLE.- All accounts due and payable are

credited to this account.

222. NOTES PAYABLE. Treat same as Account 221.

223. SALARIES PAYABLE. This account will be credited at time

of closing books or when the end of the month falls in the
middle of the week, with all accrued salaries up to date.
When salaries are paid, cash is credited and this account
debited.

224. SUNDRY CREDITORS. This account will be credited with all

items not included under Accounts Payable.

225. VARIATIONS AND UNDISTRIBUTED EXPENSE. Any balance

at end of period remaining in Account 154, is absorbed by
this Account.

226. RESERVE FOR DEPRECIATION. This account is credited

monthly with the regular amounts of depreciation fixed
upon;

227. RESERVE FOR BAD DEBTS. This account is credited with

the approximate or estimated allowance for bad debts
and is charged monthly.

228. ACCRUED EXPENSES. At the end of any accounting period,

any expenses not as yet paid, but accrued, are credited to
this account.

229. RESERVE FOR LOST TIME, VACATIONS, ETC. This account

is credited monthly with h of the annual estimated lost
time, etc., and the corresponding debit made to Account
1546.

PROPRIETARY INTEREST. This account represents the net worth of the
business. The subsidiary accounts are as follows:

31. CAPITAL INVESTMENT. This is a controlling account, and has the

following subsidiary accounts in alphabetical order, which show
the original investment at start of business and represents the
amounts paid in by the firm members.

32. SURPLUS. All profit or loss at end of year is debited or credited

to this account, as the case may be. Any dividends paid are
debited to this account.

33. PROFIT AND Loss. All trading or operating accounts are closed

into this account at the closing period, or once a year.

OPERATION PROFIT AND Loss. This is a controlling account and has
the following subsidiary accounts:

41. COST OF COMPLETED WORK. This account is also a controlling

account, and controls all jobs that have been completed. These
are listed in alphabetical order, and on the completion of any
job, Work in Process is credited and this account debited.

42. FEES. When Accounts Receivable is debited with a fee, this ac-

count is credited.

ARCHITECTURE

SAMUEL HANNAFORD a SONS

ARCHITECTS
CINCINNATI. OHIO

DAILY TIME CARD

INCIDENTAL PROFIT AND Loss. This is also a controlling account, and

has the following subsidiary accounts:

5'- INCIDENTAL INCOME. This account records any earnings received
outside of the regular order of business, such as money paid for
renting a portion of the office to an outside person.
52. INCIDENTAL EXPENSE. This is a controlling account and has the

following subsidiary ac-

counts :

521. INTEREST.
This account is debited
with any interest paid out.
Interest cannot be charged
as an Overhead Expense,
as it shows that your col-
lection department has
been lax and sufficient
funds have not been pro-
vided. It, therefore, be-
comes an Incidental Ex-
pense.

The forms pre-
sented for the proper
operation of the sys-
tem are designed to
show the distribu-
tion of productive
time spent on indi-
vidual engagements.
The procedure
is as follows:

The daily time-
card (Form No. 1) is
arranged in half-hour
divisions, and it is a
simple matter for a
draftsman to indi-
cate on the card just what particular work is performed
during the day. A white card is used for productive work,
and a blue card for non-productive work. It is not neces-
sary, but advisable, that a separate card be used for each
job worked on during the day, since this permits of the
filing of all cards together that show time for one job.
Cards are gathered up daily and are entered on the monthly
individual time summaries (Form No. 2).

On Form No. 2, time for the various jobs that have
been worked on during the month is listed in the columns
indicated. Also, all the time that is non-chargeable to
jobs is listed, and at the end of the month the total hours
for each job is inserted in the "Total Hours" column, and
the adjoining Amount Column contains the cost in dollars.

The monthly time summary for each employee is then
taken and distributed on the Time Distribution Sheet
(Form No. 3) to the proper jobs. You will note there is a
space for each employee's account number (the account
number is used instead of writing out the name), and just
below it, in the corresponding column, is the total time, in
dollars, for the month, opposite its particular job. The
horizontal extension of this time is placed in drafting, engi-
neering and superintending, or non-chargeable time space,
as provided. These totals are then debited to Work in
Process and Undistributed Expense, respectively.

At the bottom of the Time Distribution Sheet the totals
of the individual columns under employees' names are
credited to the individual salaries accounts. This is done
on account of charging the regular pay-roll to Salary Ac-
counts in the ledger. When this is done it becomes neces-
sary to credit these accounts and place these salaries into
Work in Process. The reason for this is to have a record
showing all salaries paid. You then enter on the journal
(Form No. 5) the charges to Work in Process and charges
to non-chargeable time, and credit the Individua'l Salary
accounts.

You are now ready to distribute the Overhead Expense
(Form No. 3). Since the man-hour basis for distribution
is being used, we enter productive time opposite the vari-
ous jobs in the columns for the various employees, and
carry the total horizontally over its proper space on the
right-hand side of the sheet. Since we know the total
productive man-hours for the month, and the overhead
for the month, the rate can be found by dividing the total
man-hours into the total overhead.

When the rate has been determined, this figure is used

(Continued on page 116.)

JOURNAL ENTRIES

.192

ARCHITECTURE

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ARCHITECTURE

(Continued from page 114.)

for arriving at the overhead for each particular job during
the month. Entries are then made to the journal and the
various jobs charged. The total of the overhead column
is then credited to Undistributed Expense, which places
all of your time and overhead during the month in the
proper Work in Process account.

In designing the Journal it was thought best to use
one book instead of having separate journals for cash re-
ceipts, cash disbursements, and so on.

You will note that all accounts that are used fre-
quently have been allotted special columns. Those that
are infrequently used will be handled through the Other
Accounts column, and be designated by their proper num-
bers. The necessary columns have been provided for work
in process, and a single column for Cost of Completed Work.

The other forms, No. 4 and No. 6, are self-explanatory,
and need no further discussion.

The forms as shown are bound in books and filed as
follows:

Form No. 1, the Daily Time Cards, are filed in medium
weight envelopes 5 inches by 7y inches. These are placed
in the ordinary standard alphabetical wood file-case.

Forms No. 2 are kept in a loose-leaf binder 9 inches
by 11^2 inches.

Form No. 3, Time Distribution Sheet, may be folded
and kept in any available file, where they are safe from
fire.

Form No. 4, Job Cost Sheet, and Form No. 6, Ledger
Page, compose one book, and are bound in a single binder.
This binder is loose leaf, size 8 inches by \\ l /2 inches.

Form No. 5, Journal, is a regular bound book, size
inches by \5^ inches.

The measurements given are the over-all dimensions
of the binders containing the pages.

Announcements

W. R. Hill, manager of Builders' Hardware Sales for
the Yale & Towne Manufacturing Company, of Stamford,
Connecticut, resigned his position with that company on
March 1. Mr. Hill is taking up a new line of work, in charge
of sales and advertising for the Isko Company, of Chicago,
Illinois. In his new field he is undertaking a line of work in
which he has long been interested. The Isko Company
manufacture electrically driven and automatically controlled
refrigerating machines for domestic and commercial use.

Frederick Meisler has opened an office on Washington
Avenue, Little Ferry, New Jersey, to practise architecture.
Manufacturers' samples and catalogues requested.

The firm of Nolan & Torre, architects and engineers,
with offices in the Hennen Building, New Orleans, have re-
cently opened a branch office in Jennings, Louisiana, with C.
Sedgwick Moss in charge.

Cyrus Thurston Johnston, mechanical and electrical
engineer, eldest son of Clarence H. Johnston, architect, died
at his home in St. Paul, Wednesday, February 25, after a
brief illness. Mr. Johnston was a graduate of the Massa-
chusetts Institute of Technology, class of '09, and" at the
time of his death had entire charge of the heating, plumbing,
and ventilating work in his father's office. His career was
one of brilliant promise, and his untimely passing is lamented
by a host of friends.

J. L. Theo. Tillack, architect, wishes to announce that he
has opened an office in the McFadden 'Building, Hackensack,
N. J., and will be pleased to receive literature, samples, etc.

W. Whitehill, architect, announces the removal of his
office to 12 Elm Street, New York City.

Edgar and Verna Cook Salomonsky beg to announce that
they have opened offices for the practise of architecture at
368 Lexington Avenue, New York.

Changes in Personnel at Square D Company. Several
additions and changes in the sales and advertising depart-
ments of the Square D Company of Detroit, Michigan, be-
came effective February 1. E. A. Printz, formerly district
sales manager of the Chicago territory, was made sales
manager, A MacLachlan continuing in the capacity of
secretary and director of distribution. D. M. Stone, for-
merly district sales manager of the Pittsburgh territory, was
made district sales manager of the Detroit territory. J. A.
Jaques, formerly in charge of the New York territory as

district sales manager, was given the district sales man-
agership of the Pittsburgh territory, and H. W. Spahn,
district sales manager of the Buffalo territory, was placed in
charge of New York. D. H. Colcord, formerly of the depart-
ment of publicity of the Westinghouse Air Brake Company of
Pittsburgh, was appointed director of research engineering.

Not raising prices but increasing production is the way
the Batchelder-Wilson Co., tile manufacturers of Cali-
fornia, believe is the right way to meet present conditions.

"We invite your attention to our catalogue and price
list as something unique in the present era of price raising'
We have made no change in our prices, with one or two
minor exceptions, from the lists established in 1918. This
applies to both plain material and catalogue pieces.

"We have as many plausible excuses for raising the
price of our product as any other industry. We have been
steadily advancing our wage scale during the past year and
a half; our raw materials and new equipment subject us to
increased costs of production; our factory is crowded to
the roof with orders.

"We are meeting these increased costs by the construc-
tion of a plant, new from end to end, designed to fit the re-
quirements peculiar to our work. In the planning and build-
ing of this plant we have given much thought to the
articulation of our various processes, to the installation of
labor-saving devices, and to the elimination of wastes in
both management and production."

The following recent changes have been made in the
organization of the Western Electric Company:

M. A. Buehler, formerly sales manager at the Omaha
house, has been made sales manager at the Minneapolis
office. Mr. Buehler joined the Western Electric Company's
organization in the early part of 1915 and became sales
manager at Omaha during the fall of 1917.

Eliot Lum has been promoted to the position of sales
manager at the Omaha office, to succeed Mr. Buehler. Mr.
Lum entered the employ of the Western Electric Company
as a student in the educational courses in 1905, directly
after his graduation from college. In 1907 he became a
member of the Telephone Engineering Department at
Chicago, and in 1909 was transferred to the sales depart-
ment of the Minneapolis house, joining the Omaha organiza-
tion in the same capacity in the winter of 1912.

(Continued on page 126.)

ARCHITECTURE

117

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'LIVING E.OOM

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DESIGNS FOR MODEL TENEMENT. Andrew J. Thomas, Architect.

One of the interesting plans of the year is the five-story tenement-house which is from designs by Andrew J. Thomas, architect, and is now about to be constructed
at the southeast corner of Morris Avenue and 191st Street, Bronx, by Henry F. Keil, owner. This plan is unique in many respects, not the least of which is that only
about sixty-two per cent of the ground area of the plot is covered with the structure. This is far short of the legal maximum, and still the tenants will obtain larger,
lighter, and better-ventilated rooms than are to be foundin houses which cover a larger ground space.

ARCHITECTURE

HOUSE AND PLANS, J. B. QUINN, EIELDSTON, RIVERDALE-ON-HUDSON, N. Y.

Dwight James Baum, Architect.

ARCHITECTURE

119

Modern Building Superintendence

By David B. Emerson

CHAPTER VIII
ELECTRIC WIRING AND ELEVATORS

THE electric wiring conduit was installed as soon as the
reinforcing for the floor slabs was in place, and before
the concrete was poured. This included the conduit for
telephone, bell wiring, vault signals, fire alarms, etc., as
well as that for the light wiring. All of the conduit was
galvanized mild, steel tubing, which was especially selected
with reference to the uniformity of thickness, and each
length was required to have the manufacturer's name
stamped in the metal and to bear the underwriter's label.
No conduit smaller than ^6-inch inside diameter was al-
lowed to be used. We were particularly careful to check up
all of the dimensions on the plans, to be sure that all of the
ceiling outlets were properly located in their relation to the
rooms in which they were to occur, and that the conduit
for wall brackets and switches would come in the partitions
instead of out in the rooms, as sometimes happens. All
cutting of conduit was done with hack saws, and after it was
threaded it was reamed out to remove all burr caused by the
cutting.

Bends and offsets in the conduit were avoided as much
as possible, and no bends were allowed which had an in-
side radius of less than 3^ inches. Once or twice we found
the electricians bending pipes in a vise; this was ordered
stopped at once, and the crushed pipe was ordered to be re-
moved from the building, and all bending of conduit was
thereafter done by means of the conduit bending machines
and hickeys, which were provided for that purpose. All
conduit was put together by means of standard couplings,
no running threads being allowed, and where standard
couplings could not be used condulet unions were required
to be used, and all joints were made tight with white lead.
All mains were run in the pipe shaft which was provided
for that purpose, and they were secured to the steel beams
by means of pipe straps.

Distributing panels were located on each floor, and the
conduit runs all started at the panels and had junction or
pull boxes located where necessary. Panels were of black
enamelled slate, with thirty ampere knife switches and en-
closed fuses mounted in two vertical rows, and cross con-
nected by means of metal strips to polished copper bus-bars
running up the centre of the panel. These bus-bars were
fitted with lugs at their ends, to which the mains were con-
nected. Panel was surrounded with a one-half-inch thick
slate frame, or barrier, with opening through which the cir-
cuit wires passed to connect with the branch switches. The
panels were mounted in cabinet boxes, made from one piece
of No. 10 gauge sheet steel, lapped and riveted at the four
corners, with a J^-inch flange turned inwardly all around
the outside edge. The cabinet boxes had a 4-inch gutter
space, in which the circuit wires were carried from the
switches to the ends of the conduit, which terminated in the
boxes. The boxes had No. 10 gauge steel doors, lined with
slate, and provided with locks to prevent unauthorized per-
sons tampering with the fuses or switches.

The junction, outlet, and switch boxes were of galvan-
ized pressed steel, No. 14 gauge, with knockouts to provide
holes for the entrance of conduits. Conduit was secured to
the boxes by means of lock nuts and bushings. All of the out-

lets for lighting fixtures were fitted with insulated fixture studs
of malleable iron to screw into the boxes, and the large fix-
tures in the main corridor had fixture hangers which were
independent of the box. All conduit was properly grounded.
Grounding was done by bonding all of the separate sections
of conduit together, and then grounding the entire system
to the water supply on the street side of the meter. This
was done by means of grounding clamps, secured to the
pipes, and ground wires attached to these clamps. The
ground wires were of copper No. 10 B. & S. gauge, where
the largest wire contained in the conduit was not greater
than No. B. & S. gauge, and No. 4 B. & S. gauge when the
largest wire contained in conduit was greater than No.
B. & S. gauge. The grounded pipes were carefully cleaned
of all rust, scale, etc., at the point of attachment before
putting on the ground clamps. The conduit for telephone
wires was installed on all floors, running from each office to
the pipe shaft, up which the telephone company was to run
its cables. Also conduit was run under the floors in the
various offices with wall outlet, so that bell wiring might be
installed by the tenants as desired. The conduit for the
vault signals and the vault lighting was installed in the
walls of the bank and safe-deposit vaults before the concrete
was poured. All of the conduit were plugged as soon as they'
were installed, to prevent water or dirt entering them during
the progress of the work before the wires were drawn.

The current furnished by the local lighting company was,
as is almost universal throughout the country, alternating
current: 220 volt, three phase, sixty cycle, for power, and
110-220 volt, single phase, for lighting; wired three wires
220 volts on positive and negative and 110 volts on the neu-
tral. Two services were provided, one for the lighting circuits
and the other for the power circuits. The transformer
vault was constructed entirely of brick and concrete, with
a ventilator through the sidewalk, and provided with a tin-
covered fireproof door large enough to take transformers
through in case of renewals. Iron sleeves were built into
the walls for the conduit to pass through. The feeders
were run from the transformers to the switchboard, which
was located in the basement in close proximity to the pumps,
etc., and handy to the boiler-room, so that the mechanical
control was well centralized. The switchboard was made up
in two units, one for the lighting circuits and the other for
the power circuits.

The switchboard was placed so as to reduce the danger
of communicating fire to any combustible material to a
minimum. It was set out three feet from the wall, so as
to be thoroughly accessible from the back, and was designed
so that the top of the board was three feet below the ceil-
ing. The board was made up of marbleized slate, one and
one-half inches thick. Slate was carefully examined to see
that it was entirely free from metallic veins, which might
cause short circuits and other trouble. It was mounted in a
pipe frame, which was securely fastened to the floor, and
braced back to the wall by means of pipe braces, which held
it perfectly rigid. The meters were mounted on the switch-
board, and it was equipped with all the necessary main switches
and circuit switches. All of the switches were three pole knife

1 20

ARCHITECTURE

121

switches. Light outlets were located on each board, so that
the instrument might be plainly seen at all times.

As direct current was required for the motors for the
passenger elevators, two motor generator sets, one light and
one heavy, for rectifying the current were provided. They
were located in the basement convenient to the switch-
board, and the feeders were run to them and then run up
to the pent-houses on the roof, where the elevator machin-
ery was located. As the freight elevator and sidewalk hoist
used alternating current, the feeders were run directly from
the switchboard to the motor outlet for these machines.
Feeders were also run from the power switchboard to all of
the other motor outlets, and terminated in the starting-boxes
which were provided for each motor.

The building now being almost completed, and all con-
structive work finished, the wires were drawn into the con-
duit. All wire was the best quality annealed copper wire,
tinned, insulated with a 30 to 33 per cent rubber covering,
and then covered with a protecting braid. No wire smaller
than No. 14 B. & S. gauge was allowed to be used, and all
wire of No. 8 B. & S. gauge or larger was required to be
stranded. All splices in wire were made in the outlet boxes.
The splicing was done by stripping the insulation and braid
off the ends of the wires, scraping them clean, and twist-
ing the ends together, making them mechanically and elec-
trically secure without the use of solder, then they were
soldered for protection from corrosion, and thoroughly
taped with rubber and friction tape. The stranded wire
was connected by means of solderless cable connectors and
then covered with an insulation equal in thickness to that on
the wires. The fire-alarm system was included in the equip-
ment of the building. Fire-alarm boxes were finished in fire-
alarm red and bronze, of the break-glass type, and were located
in the corridors on every floor. They were connected to the
city fire-alarm system by the fire department.

When the interior finish had been put up and the fin-
ished floors were laid, the switches, base receptacles, and
floor receptacles were installed. The switches in the cor-
ridors and other parts of the building which were open to
the public were lock switches; all other switches were
three-way or single-pole tumbler -switches. The outlets for
the base receptacles were wired for a capacity of 300 watts,
and the receptacles were of the double type, so that two
plugs could be inserted and two fixtures served. The floor
boxes were of the water-tight, adjustable type, with gal-
vanized cast-iron box bodies fitted with rubber gaskets
and water-tight brass covers. When the installation of the
wires was entirely completed, each circuit was tested out
with a meggar. The testing was done by connecting a wire
on one side of the circuit to the binding-post of the meggar,
marked "Line," and with another piece of wire connecting
a water pipe to the "Earth" binding-post of the meggar,
then turning the generator handle on the meggar, and the
resistance of the insulation in ohms was shown on the dial
of the instrument. The resistance, in all cases, was found
to meet with the requirements of the National Electric Code
and the city rules, and the system was accepted.

An intercommunicating telephone system, arranged for
selective ringing and selective talking, was installed in the
bank. It was equipped with an automatic switchboard,,
with stations located in the offices, safe-deposit vaults, and
all cages and desks throughout the banking room. The
wiring for the telephone system was run in conduits, as
before stated, and the wires were stranded cables contain-
ing one pair of No. 22 B. & S. gauge conductors and one pair
of No. 16 B. & S. gauge conductors for talking and ringing
batteries respectively. Each pair of wires was twisted and

all wires were twisted around each other to eliminate cross
talk and induction noise^. The wires were of annealed
copper, insulated with silk and covered with beeswax as a
moisture repellant, and then covered with a lead sheath
TsV-inch thick; and each pair of wires was of a different
color so as to be easily distinguished. The cables were
fanned out and properly laced in an orderly manner and
secured to the connecting terminals, one of which was pro-
vided for each wire. The batteries were storage batteries,
equipped with an automatic charging device, taking current
from the light service. The bank and safe-deposit vault
were wired for an electric-alarm service, which will be de-
scribed in the coming chapter.

The building had twelve passenger elevators of the
one-to-one gearless traction type, one freight elevator of
the single screw, worm-geared traction type, and an elec-
tric sidewalk hoist running from the sub-basement to the
sidewalk. The passenger elevators had a speed of 450 feet
per minute for the local cars, and 600 feet per minute for
the express cars. The freight elevator had a speed of 350
feet per minute and a lifting capacity of 4,000 pounds, and
ran from the sub-basement to the roof.

The machinery for both the passenger and freight ele-
vators was located in the pent-houses on the roof, directly
over the cars, with a clearance of eight feet between the
supporting beams and the top of the cars. The machines
for the passenger elevators consisted essentially of the
motor, the traction driving-sheave, and the magnetically
released spring applied brake, grouped together and mounted
on a continuous heavy cast-iron bed. The motors were
slow speed, shunt-wound motors, specially designed for
this service, the brake-pulleys and driving-sheaves were
mounted on the armature-shafts which were of high tensile
steel and supported the loads. The controllers were lo-
cated as close to the machines as possible, but allowing
enough space between them to work around them.

The machine for the freight elevator was of an entirely
different type, having a multi-groove driving-sheave and a
non-vibrating idler; the car and counter-balance weight
hanging directly from the driving-sheave. Drive was ob-
tained by means of right and left hand worm-gears, coupled
directly to the electric motor, running submerged in oil, and
meshing with two large gear wheels which mesh with each
other, thus giving a three-point drive. Machine was also
provided with extra gears, which doubled the lifting capacity
and at the same time reduced the speed to one-half, to be
used when required for lifting safes or other heavy loads.
Heavy iron clips were fastened to the main guides at each
floor, which, when tightened up, held the car level at the
floor when taking on or taking off heavy loads. The cast-
iron brackets for supporting the guides for cars and counter-
weights were put in place as soon as the steel frame was
erected, and the guides were then installed. The main
guides were planed steel, tees, 5 x 3^ x ^i inches, reinforced
with 7-inch channels, bolted to the tees every six feet by
means of two f^-inch tap bolts. The ends of the tees were
tongued and grooved to form matched joints. The counter-
weight drives were 3^ x 2-^ x ^-inch tees.

The passenger elevators had steel pans at the foot of
the shaft, giving a clearance of eight feet at the bottom, with
oil cushion buffers, one under the car and one under the
counter-weight, which were arranged to bring either the
car or the counter-weight to a gradual positive stop through
the displacement of the oil in the buffers. The car slings,
which are the frames holding the cars, were made up of
structural steel channels, reinforced with steel gusset plates.

(Continued on page 124.)

The Roslyn Memorial Building

THROUGHOUT the length and breadth of the country
memorials in honor of the dead of the recent war are
in contemplation, or in process of erection, and the most
popular and practical form which these memorials have
taken is based upon the community building idea, which
has acquired such a firm hold on the popular imagination,
and has been found particularly suitable to local needs in
our cities, towns, and villages.

The Roslyn Memorial Building is of this type. Planned
to conform to the requirements set forth by the committee
in charge of the erection of this structure, it is designed in
the style of architecture strongly influenced by the local
Colonial type.

The site of this memorial is centrally located on a promi-
nent thoroughfare of the town, the land sloping sharply
from the street. At the rear end of this property is an ex-
isting building which has been used as a Neighborhood House,
and it is to be used in connection with the new building.

To effect properly this combination, we have placed
the memorial building with its length parallel to the street,
in such a position that with a small addition to the Neigh-
borhood House, the two buildings are joined at the base-
ment level.

In this manner the new building forms a screen to this
annex, which is to be used for administration purposes,
heating-plant, and kitchen service, for such entertainments
as may be held from time to time in the memorial building.
The main auditorium is placed in the centre with large

windows on both sides, giving excellent ventilation as well
as permitting a very rapid emptying of the building upon the
terrace side, on which these windows open. At one end of
the auditorium has been placed a modern stage, with direct
connections to the dressing-rooms below, and with an easy
access to the library, which adjoins; this permits a speaker
to reach the stage quickly and without discomfort. At
the other end of the hall is a staircase, giving access to a
balcony above, and to the meeting-rooms in the basement.
This hall opens into the memorial room itself, with its two
flanking coat-rooms or offices, as well as giving the main
public access to the auditorium. The memorial itself is a
circular room on the walls of which can be placed memorial
tablets and a repository for articles typical of a war museum.
In the basement ample light is obtained for reading-rooms,
bowling alleys, dressing-rooms, etc., this entire space being
available for this purpose owing to the heating plant and its
accessories having been installed in the annex building.

The interior will be treated in the simplest type of
Colonial architecture, depending rather on form and color
for its interest than on ornament.

The auditorium has been designed with a large fire-
place, and so arranged that the formality of an auditorium
can be removed to give the aspect of a social living-room,
and it can be also adapted for athletic sports in the way of
basket-ball and such interior games.

It is proposed to build the building of brick, trimmed
with limestone.

Competition for Roslyn Memorial.

Hoppin & Koen, P.M. Godwin, A. D.R. Sullivant, Architects.

122

ARCHITECTURE

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(Continued from page 121.)

The platform set in the slings and consisted of angle-iron
frames, with wood filler pieces 1^ inches thick, and a 1/i-
inch maple underfloor; the under sides of platforms were
covered with No. 18 gauge sheet metal for fire protection.
The passenger cars were made of furniture grade sheet
steel, panelled, with grill work on top; all enamelled to match
the steel trim used .throughout the building. The floors in
the car were of cork tile.

The hoisting cables were a six-strand, nineteen-wire,
mild steel hoisting rope, made especially for use on traction
elevators, where, on account of the quick starting and
stopping, a stronger and lighter rope is required, and it is
also more flexible to the strand for double wrapping. The
cars were suspended from one end of the cables and the
counter-weights from the other end; they passed partially
around the driving-sheave, continued around the idler lead-
ing sheaves, thence again around the driving-sheave, thus
making a complete loop around the sheaves. The hitches
on the car and counter-weight cables were of the self-adjust-
ing type, with a thimble rod for each cable, at the end of
which was an adjustable socket which turned with the
twisting of the rope and prevented the loosening of strands.
The cables were babbitted into the sockets. Each car was
equipped with a compensating rope device consisting of a
sliding sheave frame in the bottom of the pit, around which
travelled the compensating rope, which ran from the body
of the car to the under side of the counter-weight frame;
the object of this being to cancel the weight of the hoist on
the long hoist in a high building. This does away with the
rattling chain which we all know so well.

The counter-weight frames were composed of two chan-
nels riveted together by means of steel plates, the weights
being of cast iron, so formed as to set into the flanges of the
channels, and tied together by means of J^-inch steel rods.
Counter-weight screens were placed at the top and bottom
of the shafts; they were eight feet high, made up of steel
plates and angles, and bolted to the counter-weight guides.
Each car and counter-weight had four self-adjusting guide-
shoes, two at the top and two at the bottom, having bronze
gibs or shoes, which were held close against the face rail by
means of heavy springs, thus eliminating the wear on the
body of the main guide-shoes. On each of the top guide-
shoes was fastened a positive type lubricator, consisting of
an aluminum box that fitted snugly around the face of the
guides. This box being filled with oil, lubricates the guides
by the action of a felt-wick feed. This does automatically
what formerly had to be done by hand, and saves the old
tedious job of greasing slides, and also allows the use of oil
instead of grease for a lubricant, with the consequent clean-
liness. The safeties were located on the safety channels
under the cars, and were of the wedge-clamp type and were
operated by a two-ball governor, which was set to a variation
of five degrees above and below the car speed. These gov-
ernors were located at the top of the hatch, and acted in the
same manner as the common type of engine governor; when
the balls fly out from excessive speed the governor rope is
tripped, releasing the drum which controls the action of the
wedges, which sets the clamps on the guide-rails.

The operating switches in the cars were of two-speed
regulation, and had approximately six contacts, three to
each side; two of these are for the common feed to the car
switch, two for the reversing switch, and two for the fast
and slow speed switch. In addition, the cases of the car
switches were equipped with a rack emergency device,
operated by a hand wheel, in case of the switeh becoming
inoperative. A complete signal service was installed in the
cars and on the floors, the controlling mechanism of which

was located in the pent-house on the roof, a motor generating
set being provided there for rectifying the current. "Up"
and "down" push-buttons were conveniently located on
each floor; a signal light in the car was lighted a floor and a
half in advance of the car's arrival at the landing at which
the button was pushed. In addition, the pressure of the
push-button caused the signal light in front of the ap-
proaching car to be lighted, and show which car would
serve the passenger. The passenger signal was lighted
three floors in advance of the car's arrival, which gives the
passenger time to reach the proper doorway before the car
arrives. Both of the signals are automatically extinguished
when the car reaches the floor from which the call was made.

There was a transfer switch located in each car, so that
if the car was loaded to capacity the operator could transfer
the signal to the next approaching car, and the passenger
would not have to press the button the second time. The
cars were also equipped with illuminated thresholds, which
contained two tubular electric-lights, the lights showing
through a number of glass lenses inserted in the top and
front of the platforms, the current for the lights being taken
from the lighting fixtures in the cars. The sidewalk hoist
was a drum-type worm-geared machine, with a speed of 50
feet per minute, and 3,000 pounds lifting capacity, operated
by means of a hand rope. The car has an overhead frame
for opening the sidewalk doors, and an automatic bell sig-
nal to warn persons standing on the sidewalk doors of the
approach of the car.

When the installation of the elevators was completed
and ready for acceptance, they were thoroughly tested out
by the elevator company's representatives in our presence
to see if they came up to the requirements of the specifica-
tions. The first test which was made was to see if the car
would lift a specified load at the specified speed. One, of
the speed points was marked six feet above the bottom
landing, the other about six feet below the top landing; a
piece of paper was fastened at each point and the distance
between the points was carefully measured. Then the car
was started from the first floor with the speed load, and the
time required for the car floor to pass the speed mark was
noted with a stop watch. This determined whether the
speed-load duty had been fulfilled. Then the maximum
load was placed on the car, and the speed was taken as be-
fore. The cars were required to lift the maximum load at a
speed within 30 per cent of the speed specified in connection
with the speed load. With the maximum load on the car
the speed up and down was taken to see that the down
speed did not exceed the up speed by more than 15 per
cent, with the controller in full-speed position.

After each test the motors were examined to see that
they had not heated, and that all parts of the machine were
working smoothly. We rode up and down in each car, and
saw that there was no objectionable side or end play on the
cars nor any disagreeable grinding of the cars and counter-
weights. The drop test not being practicable, speed tests
were made by speeding up the motors by inserting resist-
ance in series with the shunt field. A hand rheostat of a
capacity to carry the current, and connected in series with
the shunt field, was employed, starting up the machine
with all the resistance in this rheostat cut out. The re-
sistance in the shunt-field circuit was cut in and increased
the motor speed sufficiently to trip the governors which
operated the safeties. The automatic terminal-stop mech-
anism was tested by running the cars at full speed into
both limits of travel with the controller held over to full-
speed position. All of these tests having proved satisfac-
tory, the elevators were then put in charge of the regular
operators and the service in the building was commenced.

ARCHITECTURE

125

BUNGALOW FOR GEORGE C. ST. JOHN, WALLINGFORD, CONN.

Francis Waterman, Architect.

126

ARCHITECTURE

(Continued from page 1 16.)

The Portland Cement Association announces the open-
ing of a new Association office in Portland, Oregon, at 146
Fifth Street, with Hans Mumm, Jr., as district engineer in
charge, effective March 1, 1920.

Since 1903 Mr. Mumm has been engaged in various
engineering work in Washington, having been county
engineer of Snohomish County from 1912 to 1915, and the
year following city engineer of Everett, Washington. Mr.
Mumm joined the staff of the Portland Cement Association
in 1916, since which time he has been identified with As-
sociation work in Washington.

Among the claims for the Vortex mechanical painter
are: (1) carrying a greater volume of paint per minute, due
to the fact that it is not finely sprayed but applied in a
relatively heavy liquid jet; (2) better penetration of rough
surfaces; (3) an efficient brushing action by the air jet which
makes it possible to cover completely and smoothly with a
single coat; and (4) dispensing with scaffolding very largely
by use of a twelve-foot arm when desired. There is also the
important advantage of having a powerful air jet at the
painter's command for cleaning of dirty surfaces. Its
efficiency in reaching crevices and out-of-the-way corners is
considerably greater than that of the hand-painter's clean-
ing implements, the wire brush, putty-knife, and cloth.

Liquid Asphalt. The Par-Lock process, which utilizes
gun-driven liquid asphalt as a means of sealing voids in
concrete and masonry surfaces, has been in use for seven
years, during the last five years of which period it has been
regarded by its sponsors as beyond the tentative stage of
development. It has been employed on many large con-
struction jobs, besides scores of smaller ones. Yet, on ac-
count of a rather diverse field of usefulness and broad claims
of excellence, there has been confusion in the minds of many
engineers and architects as to its exact function and ad-
vantages.

In the first place, it is necessary to distinguish between
Par-Lock as a preparation of walls to be plastered and Par-
Lock as a waterproofing. Yet, this distinction must again
be qualified by the clear stipulation that every application
of Par-Lock is a waterproofing. A basic claim for merit as
a preparation for plastering is the fact that it protects the
plastering from water or dampness that might otherwise
enter through the ceiling or wall to which it is applied. En-
tirely apart from its plastering function, Par-Lock offers a
specification for practically every waterproofing and damp-
proofing purpose with distinct claims of advantage in rela-
tion to each.

The competition arranged by the Chicago Brick Ex-
change awarded the following prizes:

The first prize ($150) was won by Fred M. Hodgdon,
of Coolidge & Hodgdon, 134 South La Salle Street.

The second prize ($100) was won by George Lloyd
Barnum, 4846 Hutchinson Street.

The third prize ($50) was won by Willard G. Searles,
Ravinia, Illinois.

The judges were: Mr. Charles S. Frost, Mr. Emery B.
Jackson, Mr. I. K. Pond, and Mr. Howard Shaw.

The object of the competition was to produce a design
which when built will result in a worthy display of Dearborn
brick.

We have received from Redfield & Fisher, the well-
known advertising agents, a loose-leafed album containing
illustrations of recent work by Delano & Aldrich, New York.
The purpose of the album is to show the instalments by the
Lorillard Refrigerator Co.

The Advance in Building Materials Costs

WITH a big building programme projected for 1920 the
price of building materials is of paramount impor-
tance. On a basis of 1907 prices as 100 per cent, we give a
table of percentages of wholesale prices compiled from figures
of the United States Bureau of Labor Statistics, from which
may be seen the net increase in the prices of lumber and
building materials.

Labor is shown to have increased 156 per cent above the
average price of 1907, whereas all commodities increased 166
per cent during the same period.

At the time of the signing of the armistice the War
Industries Board showed an average mill price for lumber
in the United States which was only 56 per cent higher than
the average price for the first nine months of 1907. Hemlock
was 60 per cent higher; yellow pine, 61 per cent; plain oak,
74 per cent; Douglas fir, 41 per cent. During the same period
from 1907 to November, 1918 Portland cement had in-
creased 71 per cent; common brick, 98 per cent; lime, 115
per cent.

For Fire Prevention

A RESOLUTION passed by the Ohio Builders Supply
Association at the convention held at Columbus, Ohio,
January, 1920.

Whereas, the housing shortage in the United States
creates a serious situation, and

Whereas, the fire losses reported in 1917 to the National
Board of Fire Underwriters amounted to $66,166,420 in
232,021 residences, and

Whereas, the cost of material and labor is constantly
mounting so that individual losses are likely to be greater
year by year, cutting down our national resources to a tre-
mendous extent, and aggravating the housing situation to an
unnecessary dregree,

Be It Therefore Resolved, That this association go on rec-
ord as to the necessity of giving more adequate fire protec-
tion to the combustible members of residences;

Be It Further Resolved, That each member of this associa-
tion be requested to advise prospective owners of the situa-
tion and furnish full information as to the best available
methods of protecting such structures.

The International Jury of Award for the
Carnegie Institute Exhibition

JOHN W. BEATTY, director of the Department of Fine
Arts, Carnegie Institute, Pittsburgh, announces the fol-
lowing International Jury of Award for the Nineteenth In-
ternational Exhibition which opens on April 29:

Among the eminent men elected this year to serve as
members of the jury are Julius Olsson from England; Andre
Dauchez from France, who has received the gold medal at
the Carnegie Institute; and eight men from America who are
nationally famous. Emil Carlsen is an American of Danish
birth, who is recognized as one of the able contemporary
painters. Bruce Crane, whose "November Hills," now in
the Permanent Collection, was awarded the third medal in
1909, like Carlsen, comes to Pittsburgh for the first time.
Charles H. Davis has already served eight times on the jury
and is represented in the Permanent Collection. Charles
Hawthorne, Edward W. Redfield, W. L. Lathrop, Gardner
Symons, and Edmund C. Tarbell have served on previous
juries. L T nder an established rule the director is president
of the jury.

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THE PROFESSIONAL ARCHITECTURAL MONTHLY

VOL. XLI MAY, 1920 NO. 5

*imummmiuwiMimmiw^^

Capitol Park, Harrisburg, Pa.

Arnold W. Brunner, Architect

"iOLI/ W BUI' XN'P
AKCH.TECT

EAST VIEW OF CAPITOL

HARRISBURC PA.
SHOWING TERRACES AND OFFICE BtHLOlNGS

THE determination to make our capital cities notable
and dignified is unfortunately not a nation-wide char-
acteristic, which is a pity, for with half the public spirit of
ancient Athens any one of them could achieve wonders.

Nowhere has there been evinced a greater harmony of
ideals of city and State than in this great Commonwealth of
Pennsylvania. The city of Harrisburg is exceptional. It
has shown the most admirable public spirit. Its parks,
water-front, and other manifestations ot civic pride are well
known, and when the enlargement of Capitol Park was de-
termined on and twenty-eight acres were added to it (mak-
ing it forty-three in all) it was always with a desire to have
the city share in the benefit of the new improvements.

Accordingly, in designing the group of buildings, which,
in connection with the Capitol will be required to house the
growing activities of the State, care has been taken to make
their street facades and attendant landscaping present an
attractive appearance to the city on all sides.

Little thought had been given to the eastern front of
the Capitol, facing as it did a neglected neighborhood of
mean streets, but in the new order of things what had for-
merly been its back door will now become the garden front.

It will face a wide, terrace surrounding three sides of a fore-
court 500 feet wide. This will be paved with marble, fringed
with foliage, and will contain two monumental fountains.
On the north and south terraces are to be placed buildings

Kast view of Capitol as it looked three years ago.

127

128

ARCHITECTURE

North elevation of south office-building.

so designed that they will be practically detached wings of
the Capitol, and which with their connecting terraces will
contain over 450,000 square feet of office space, a fair pro-
vision for future growth. Farther to the east are two other
buildings, one to contain the laboratories of the various
State departments, and the other for the use of the educa-
tional division.

The space between these buildings is so divided that
the broad tapis vert in the middle is bordered on each side
by four rows of trees. They terminate in a formal plaza
which connects the streets that bound the park and forms
the approach to the Memorial Bridge.

tinder the wise guidance and with the unfailing support
of the Board of Public Grounds and Buildings, composed of
Governor Sproul, General Charles A. Snyder, and Mr. Har-
mon M. Kephart, it has been decided to make all the new
buildings of an architectural character which, while har-
monizing with the Capitol, will by their simplicity emphasize
it and lead up to its graceful dome as the centre of the com-

position. The fine majesty of simple things appeals to the
board and I cannot be too grateful for their constant en-
couragement.

It requires but little imagination to visualize the broad
forecourt thronged with people, some on the upper terraces
looking down on the splashing fountains, or perhaps all as-
sembled to celebrate a special festival or national event. I
believe that this will truly become a public forum.

The dominant idea in the design of the Capitol Park has
been to make it not only stately and beautiful, but useful
for the people. Under the great rows of trees which in time
will meet overhead, and provide grateful shade, will be
gravel walks, seats, and small fountains real playgrounds
for the children and for us grown-ups. . ""

The inspiration of the French palaces and gardens
those wondrous pleasure-houses for kings has been
sought, their graceful design reverently studied, their
successful treatment and combination of formal and
informal landscaping, but always with the endeavor to

AWNOLO W.-BRUMNEB

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SOLDIERS'- C,- SAILORS'- MEMORJAL-BWDOL

ARCHITECTURE

129

Main steps from forecourt to east entrance of Capitol.

adapt their beautiful forms to the wants of the American
public.

Here are places set aside for statues so that our dis-
tinguished men may be properly honored. Too often we find
our bronze heroes tucked away in odd corners and left to
the birds and the dust.

The bridge is to be a memorial to the soldiers and sailors
of Pennsylvania who took part in the great war, and ac-
cordingly the two pylons which mark its approach are
symbolic, one of the army and one of the navy, and they are
to contain vaulted marble chambers in which will be in-
scribed the names of these gallant men.

Built of enduring granite the bridge will span the rail-
road-tracks, cross the valley, and reach the summit of a hill
exactly half a mile away. It will be treated monumentally
in the same spirit as the Capitol group and will virtually
form an extension of State Street one and one-half miles
long from the great eastern approach of the Capitol to the
banks of the Susquehanna River.

Harrisburg, wishing to mark the city terminus of the
Memorial Bridge, in other words, to receive it with some

appreciation, has determined to erect at this spot a monu-
ment in memory of her soldiers and sailors. This memorial
will consist of a simple curved seat on a raised platform at
one end of a formal garden. The central feature sil-
houetted against the morning sky will be a flagpole with a
richly ornamented bronze base. From this high point will
float the American flag. Long after these days of stress and
strain, of trouble and conflict, it will stand as a lasting
memorial to the stability of our ideals our government
our country.

The two office-buildings have each approximately a
ground area of 90 x 300 feet. The forecourt bordered by the
Capitol terraces is 300 x 500 feet. The educational build-
ing and laboratory building are each 80 x 440 feet, the
former having a projecting wing containing a large audi-
torium. The design, which includes the formal rows of
trees bordering a sunken lawn 500 feet in length, also in-
cludes a certain amount of informal landscaping and to a
certain extent continues the treatment of the small piece of
ground now known as Capitol Park.

Photograph of model, Capitol Park, Harrisburjf, Pa.

Sculpture in Landscape Architecture

Illustrations from "The Gardens of Italy," edited by Arthur T. Bolton (see paga 138), and the author's photographs

By Fletcher Steele

Villa Balbianello, Lake Como.

F. S.

SCULPTURE has been the decoration par excellence of
landscape architecture since the earliest times.
In Egypt the glaring avenue of sphinxes connecting the

temples of Luxor and Karnak rivalled the mysterious im-
mensities of the dark
temples themselves. The
Acropolis at Athens was
arranged to give far view
of the Athene Promachos.
The groves where Pla'to
walked and the mystic
grottos of the oracles were
peopled with statues gleam-
ing through the shadow.

Rome and all her civ-
ilization was crowded with
sculpture. From the re-
mains at Pompeii we can
reconstruct the private
gardens of the imperial
age. Statues everywhere
personified the gods, the
legends, and the household
traditions. They were
used to mark the axes, to
fill in the interspacing of
colonnades, to mark the

portals and the accent in hedges and gardens. In strength

of mass, marked light and shade, and lively silhouette,

ancient sculpture proves that

it was not the work of the

studio, but designed largely

out-of-doors, where these

qualities are of fundamental

importance.

Fifteenth-century study

of the pagan world resulted

in the supreme period of

garden-building in Italy.

Underlying conditions of

geography and climate were

identical with those of ancient

Rome. The apparatus of

horticulture was very little

changed. Italy is a dry

country and has no such

variety of plant life as is

found farther north in Europe.

For the most part the Italian

gardener relied on the ilex,

the cypress, the sycamore

tree, with boxwood, laurel,

orange, and lemon for lower

growth. Each forms a dense

mat of flat rich color and

casts dark, definite shadows.

The Italian has never been

absorbed in variety of horti-

cultural effects. He has

treated plant life as an almost villa D'F.stc. The Fountain of the Dragons

architectural material, offering bold forms, masses of simple
green, and marked light and shade. He has been concerned
in adapting the irregular topography, largely by means of
architectural devices, to the use and enjoyment of his peculiar
civilization.

In the early, simple days, walls, terraces, and steps
(which have been inevitable throughout the agricultural
history of Italy) were left without ornamentation. With
the revival of interest in Roman sculpture and the flowering
of the new architecture came the embellishment of the gar-
dens. Carved antique fragments were gathered together
and arrayed on balustrades, walls, in grottos and niches,
wherever place could be found. But an innate sense of de-
sign directed that the sculpture could best be displayed
through its incorporation in the architectural background.
Good taste required that the decorative detail, which it
thus became, should be subordinated to the impression of
the whole.

The Villa Albani is the best existing example of an
Italian garden designed properly to exhibit a collection of
sculpture. To be sure, it was built late, but it displays very
well the principles which did not change. On the southwest
side is a detail which illustrated the use of plants for walls
and the application of sculptured ornament. A long line
of columns is backed by a cypress hedge, which is kept care-
fully clipped to the height of the abacus. A row of busts
surmounting the columns stands boldly against the sky, >
accenting the hedge mass at regular intervals. Here and
there a statue in line with the columns, between which it

is placed, occupies a recess
in the green, which serves to
throw into sharp relief every
detail of the sculpture. In
order to leave no loose edges,
hedge and sculpture are sepa-
rated from a broad walk by
a low-clipped box edging. A
few plants fill in the narrow
border and at various times
during the year a touch of
brilliant color is introduced
by flowering plants in pots.
The free-growing roses and
vines soften the stiff archi-
tectural lines and masses of
hedge and column.' Horti-
culture is distinctly subordi-
nate, but it is indispensable.
An admirable effect is pro-
duced with the utmost re-
straint in the use of material.
The taste for sculpture
in gardens, which was created
by the use of antique frag-
ments, could by no means be
satisfied with the limited ma-
terial provided by excavation.
As the gardens multiplied, it
was necessary to find modern
of the gardens. carving for their embellish-

130

ARCHITECTURE

The cypress hedge, Villa Alba

ment. Great sculptors were not averse to turning their hand
to garden ornaments, as witness Gian Bologna's fountain on
the little island of the Boboli Gardens and the fountain at
Petraja by II Tribolo. The occasional masterpieces were,
however, exceptions to the general rule.

Possibly because the quantity of statues and sculptured
ornament necessary was far beyond the productive powers
of the great artists, probably because the cost of fine work
would have been prohibitive, but little of the great volume
of Italian garden sculpture was beautiful in detail. Much
of it is downright ugly. It was vulgar in conception, crude
in execution, and a caricature of man and beast in many
instances. Men's muscles bulged like water-blisters, women's
drapery seems blown by a high wind. A11 was exuberant,
ridiculous, yet strangely satisfying.

The upper garden of the Villa Farnese at Caprarola
offers a typical illustration. A broad terrace laid out in
parterres is enclosed by a retaining wall from which rises a
series of gigantic Hermes, each supporting a huge flower-
pot, nonchalant as if it were the latest fashion in top hats.
At the corners they are seemingly busy in conversation.
Others have the expression of society on parade. They are
amusing, but without exception they are gross in idea and
execution. On either side of the steps leading down from
this terrace are fat stone horses which have all the appear-
ance of being rags and sawdust for children's playthings.
The fountain, which breaks out from the terrace wall, is

flanked by huge stone giants so badly out of drawing that
one would expect better things from a first-year art student.
Nevertheless, the whole is replete with charm and gayety.
It has all the virtues and faults of a stage-setting, frozen
into stone.

Recumbent giants, modelled with brutal coarseness in
stone, were a favorite subject of Italian gardens. It can be
safely stated that they are always good ornaments and bad
sculpture. Famous examples are to be seen lounging against
the stairs of the Senate in the Campidoglio at Rome, or
built into the retaining wall leading up to the bosquet at the
Villa Lante. They are incorporated into the architecture,
and, while it would be far-fetched to state that they were
consciously used to reinforce the strength of retaining walls,
it is nevertheless true that they commonly serve just such
a function. But their grossness is not peculiar to them. It
is a common quality of all garden sculpture of the period.

As if grossness and bad drawing were not enough, we
find exaggerated posture and extravagant detail. Arms and
legs are flung about recklessly. Draperies, fruit, dogs,
poles, lumps of hair, etc., were used profusely. There is
confusion and awkwardness in consequence. On the other
hand, there is conspicuous play of light and shadow which
tells at a distance from which the details sink into insig-
nificance. Moreover, such treatment adds notably to the
vivacity of silhouette.

The Italians continually played with their sculpture

132

ARCHITECTURE

to get interesting effects with silhouettes. They had a
pretty trick of using sky, sea, or distance as a background.
Examples are to be found in almost any garden, such as
the Villa Falconieri (Frascati), Villa Palmieri, near Flor-
ence, Villa Balbianello and Isola Bella of the Italian lakes.
In such a position it was obvious that the chief value of the
sculpture lay in its interesting outline, as any object or-
dinarily looks flat and black against the light. Recognition
of this fact came to a logical conclusion in the sculptured
fountain of the courtyard in the Palazzo del Commune at
Viterbo. The fountain was placed next the outer balus-
trade, which was at the top of
a steep descent. The rampant
lions,which form the chief dec-
oration, are seen only against
the sky from one angle. They
are cut out flat, with only the
slightest bas-relief modelling
on the inner side. They de-
pend entirely on their sil-
houette for their interest.

There would be no end to
the enumeration of the in-
dividual demerits of Italian
garden sculpture. The climax
was probably reached in the
cascade at the Villa Garzoni.
All the sculpture is annually
whitewashed to force the con-
trast. Two enormous female
giants facing each other
(thus reversing the usual posi-
tions) are surprised by a third
lady some fifteen feet high,
playfully fluttering down with
the apparent object of squirt-
ing water on her neighbors.
Lower down four gigantic buz-
zards, preposterously ugly, are
scrambling around the arti-
ficial rock work. Here, if any-
where, the sense of play over-
stepped itself. After the first
gasp of astonishment, it would
be difficult to imagine any
pleasant sensation they could
stimulate. And this can be
attributed to the fact that
they are quite without any

marked architectural relationship with wall or platform.
The birds in the Fountain of the Dragons at the Villa d'Este,
Tivoli, are not less extravagant in themselves. But, owing
to careful grouping around the great central water-jet, they
serve an architectural purpose and satisfy the eye.

What conclusions can we draw from the qualities of
Italian Renaissance garden sculpture ? Manifestly its faults
did not belong to all the sculpture of the period. More
noble ideas were never conceived nor was work ever more
delicately executed than by the sculptors of the Italian
Renaissance for the embellishment of architectural interiors.
We must conclude that the triviality of idea was intentional,
and the faults, if not encouraged, were forgotten in insist-
ence on the decorative qualities; furthermore, that these
decorative qualities depend on elements which are not
necessarily required for sculpture ornamenting architectural
interiors. "There is such a thing as deliberate ugliness: or,
rather, a great designer will deliberately forego accepted

West side of the parterre of the Casino at Caprarola.

forms of beauty in order to drive home other effects which
are more important for his purpose" (Sir Reginald Blom-
field).

Sculpture in Italian gardens is one of its chief charms.
It is designed carefully to emphasize the architecture of
which it often forms a part. It is effective when seen from
a distance, whether considered as harmonizing and enrich-
ing the structure or in contrast with the strong green of
tree or shadow behind it, against sea or sky. It is strong,
even coarse in mass; it has vigorous light and shadow, a
marked and generally crisp silhouette and color which is like

the architectural detail and in
contrast with the background.
It has exaggerations which are
toned down by distance and
the large scale of nature.

The Renaissance in
France did not come as a re-
vival under local conditions
identical with the past.
France did not have its abun-
dant relics of Roman schemes,
its poverty of horticultural
background and arid climate,
its sudden irregularity of to-
pography, and its myriad frag-
ments of ancient carving.
There was a chasm between
the civilization of Rome and
that of the French Renais-
sance. While France had a
superb tradition in sculptural
ornament, inherited from .the
Gothic builders, sculpture
was not a natural embellish-
ment of French gardens. In
the illustrations of the Gri-
mani Breviary, of "The Ro-
maunt of the Rose," in the
British Museum, and of
other mediaeval illustrations of
contemporaneous gardens, the
only carving is found on the
simple fountains. The garden
architecture, where it was
not a sternly undecorated part
of the larger fortifications in
which the garden was set,

consisted of wood trellis and fence, straightforward pool
or brick garden-seat, none of which showed any ambitious
attempt at ornament.

Moreover, the earliest records show a greater interest
in horticulture for its own sake. The climate was better
fitted to the easy cultivation of the wide range of plant
life naturally found in France. An impetus was given the
development of horticulture when the French Crusaders
brought back seeds and cuttings from the Near East. And
history shows everywhere that a strong interest in horticul-
ture means a corresponding lack of concern for the archi-
tectural elements of garden design. When the French be-
gan to build great chateaux and huge formal parterres, laid
out in colored stones and sand, surrounded and crossed by
clipped tunnels, and walls of foliage, horticulture was more
or less forgotten in the new passion for ostentation and pag-
eantry, but it continued to play a greater part than was ever
the case in Italy.

ARCHITECTURE

133

The fountain below the parterre of the Casino at Ca.prarola.

For the most part the ground was flat or only slightly
undulating. Parterres were laid out on formal lines in in-
tricate patterns. Substantial walls of great length became
one of the conspicuous features of French garden design.
The mediaeval courtyard fountain was glorified and became
the central feature of early French parterres. One looks
in vain, however, to find examples of the common use of
garden sculpture in the early Renaissance. Formally clipped
bushes and trees were employed to mark salient points of
the design, where in Italian parterres the points of emphasis
would be made with sculpture.

Toward the end of the first period of the French Renais-
sance, sculpture began to play a strong part in the embellish-
ment of buildings, and soon thereafter in garden walls.
The walls of the great court at Chateau Richelieu and the
retaining wall of the parterre of the dues de Lorraine at
Nancy are in point. But it would appear that a large use
of sculpture in gardens was the innovation of Le Notre.
In all his later designs sculpture played an important part,
culminating in his great achievement at Versailles. It is at
Versailles that one can best study the French use of garden
sculpture.

The architectural feeling of French gardens lay in their
grandiose symmetrical design rather than in the architec-
tural embellishment, important as that is. The walls were
considerable in themselves, but they did not assume the

dominant place that they occupied in the gardens of Italy.
While sculpture was used in some profusion with walls, the
result was more to enrich the architectural detail than to
decorate the garden as a whole. The effect of sculpture was
more considerable where used in connection with water-
basins and fountains. In this case each unit was conspicu-
ously isolated and the sculptured groups were well arranged.
Le Notre materially enriched the general effect when he
placed series of great marble vases and statues against a
clipped background of tall trees, following an inspiration
which may well have come from Italy. The difference in
national treatment lies in the much larger proportionate im-
portance of massive foliage and flat lawns in France.

Except for the adaptation of sculpture to much larger
elements of design, no new principle was established, al-
though sculpture may be said to have lost its place as part
of the structure to become merely ornament. In two ways,
however, Le Notre did use sculpture in a new fashion. He
commonly made a statue the terminus of long paths through
the forest which were without architectural character be-
yond the fact that they were straight; and he took occasion
to break the monotonous sky-line of his flat parterres by
putting isolated statues at important places in the beds and
lawns.

It would appear that Le Notre thoroughly understood
the necessary qualities of out-of-door sculpture. For the

134

ARCHITECTURE

St. Peter s from the carriage-drive.

most part what was done under his oversight was fairly
strong in massing, and had vigorous lights and shadows.
Harmony and contrast of color were well treated. Bronze
groups around the basins in the upper terrace at Versailles
between the sky-blue sheets of water and immense paths of
light-colored sand, stood out as sharply as spots of ink on
white paper. Statues harmonize in color with the walls
they decorate. Where they are to be seen against a back-
ground of foliage they are white. Where bronze was used
on green lawns or against green backgrounds, he isolated the
sculpture in each case by a strongly marked architectural
setting.

While, because of the magnitude of French gardens,
sculpture did not take the important place that it assumed
in Italy, inversely each statue, standing almost alone, became
of more interest as a detail. Le Notre understood this and
as a result the sculpture of his gardens had an elegance and
finish that have never been excelled. In Italy the general
standard was never approached. Each group is a master-
piece fit for the garden of Le Roi Soleil.

Sophistication was necessary to this result. Everything
was in good scale. There were no recumbent giants in
France. On the other hand, the sculpture lost in spontane-
ity and gayety all that it gained in correctness. There was
no joking, no personal vulgarity in the great French "gardens
all was impersonal and serene. The sculpture had all the
qualities of the place. It was effective, beautiful, and cold.

England is the true home of horticulture. It has a
great variety of plant life and an ideal climate for luxuriant
growth. While her people have long understood how to
build stately, architecture and the fine arts have never been
the chief preoccupation of English people. Sculpture has
been almost conspicuous by its absence from the public
mind. Most of the good sculpture which has been put up
during the last few hundred years has been imposed from
above. As far back as the time of Henry VIII, the king
imported sculptors from Italy. This was done in France,
too, but there the people were able to continue the cunning
taught by Italy. In England this does not appear to have
been the case. While noble monuments have been erected
by Englishmen, they appear to have been more the result of
serious thought and hard work than superabundant facility
in design.

Terraces and walls were commonly used in Renaissance
English gardens with great ingenuity and charm,, but where
in Italy they would have been surmounted with carved
balustrades and fantastic statues, in England they were

crowned with strange designs in strap work or biblical
quotations carved in huge letters. In place of the statues
they built endless store balls, pinnacles, and other geo-
metric contrivances.

The gardens had their parterres, their tunnels through
horn beam, and their trellises, as well as their walls; but
while the Italians and the French were contented with de-
signs in colored glass and sand, outlined with clipped box
edging, the English protested against such absurdities as
early as the sixteenth century. Their parterres were planted
with varieties of trees, shrubs, and plants. Where the
French used potted orarge and lemon trees and geometri-
cally clipped shrubs to emphasize important lines and spots
of the garden design as the Italians used sculpture, the
English went much farther than the French. They made
whole gardens of strangely sculptured bushes and trees.
Both in the gardens and as a background a world of living
plants in luxuriant variety and color subordinated all other
decoration to itself.

Englishmen were always travellers, however, and they
were charmed with what they saw in France and Italy.
They brought back with them ideas for many a so-called
Italian house and garden in the British Isles. What is
more, they imported quantities of sculpture and decorative
material for these same gardens. Set down in England it
has occasionally been used with great propriety and charm,
but in order to be successful the sculpture required a re-
straint in the use of plant material which was almost beyond
the power of an Englishman. Often it was placed where it
had to compete in interest with strange shapes in topiary,
bright spots of garden color, various forms of bush and tree,
until it is but one of many features to attract the eye. Some-
times, to be sure, it was used in wall and ramp in the Italian
fashion, and it is usually most satisfactory when so placed*,
but there is no tradition or innate sense of fitness urging an
Englishman to follow such a scheme.

Where there were few bits of sculpture the gardener
wished to make the most of what he had. Consequently he
grasped at Le Notre's plan of terminating a long vista made
by trees or shrubs or bushes with a bit of sculpture.

The foreign innovations aroused a certain emulation at
home. There was a demand for garden sculpture from those
who could not send abroad. At least this is the first solu-
tion that occurs to mind for the lead figures that are so
commonly found in English gardens. Lead was a cheap
material in those days and easy to handle. Given a proper
model, or even the memory of some neighbor's Diana or
Bacchante, the ingenious Englishman, with a taste for
gimcracks, could mould and pound the malleable lead into
very reasonable and entertaining sculptured forms. With
his own knowledge of the material which has long been more

Fountain, Pala/.7.o del Commune, Viterbo.

F. S.

ARCHITECTURE

common in England than elsewhere, he went ahead on his
own account. We find all sorts of basins, tanks, gods, and
slaves, and later, shepherdesses and their swains, in homely
English lead. Occasionally the modelling was well done.
More often it was crude and heavy.

While the Englishman is serious, at the same time he
will have his occasional joke. In this case his instinct led
him aright in joking with his garden sculpture. On the whole,
English lead work is jolly and quaint. It fulfils the require-
ments of strong mass and interesting silhouette. It has
good shadows, but little high light, owing to the dull color
of the material. For the same reason it fails to harmonize
with the architectural material or contrast with a back-
ground of foliage. But it does very well at the head of a
flight of steps or isolated in parterre or courtyard. In a
garden where horticulture occupies first place, yet where the
architecture must be softened and embellished, where econ-
omy rather than ostentation, where homeliness rather than
elegance is the end in view, lead is well fitted to be the ma-
terial for the sculpture of gardens.

In America there is almost no garden sculpture, and
what one sees is rarely satisfactory. We have inherited the
best architecture in the world. We have come into pos-
session of much of the best painting and other fine art of
the past. Why are our gardens so far behind in this mat-
ter of sculpture ?

One reason is certainly the cost. We have seen that in
Italy, owing to the crudeness of the work, the garden sculp-
ture cannot have been a great element in the cost of the
gardens. In France sculpture was very fine but it was only
found in the gardens of the kings and the rich nobility. In
England, while some expensive foreign statuary was im-
ported, the common material was inexpensive lead, beaten
out for the most part by local craftsmen. In America, if we
cannot buy the most expensive, we will have nothing. As
the expense of a single statue of any size from the most

reasonable sculptor could not well be less than a thousand
dollars, and one statue goes nowhere in garden decoration,
the cost is apt to become, in this country, a very heavy item.

Second, our sculptors' all work in studios rather than
out of doors, and their work has qualities of elegance and
finish which make it interesting as a detail, but quite in-
effective from a distance. Strength in mass is not a char-
acteristic of modern American sculpture. Most of the figures
are so thin that they look stringy from even a short dis-
tance. This means no strong light and shadow. Good 'sil-
houettes are going out of fashion with the modern craze for
the archaic. Much of the modern sculpture is as out of
place as the Venus de Milo in a garden setting. Happily
there are certain marked exceptions such as the "Girl
Playing with Gazelles," by Paul Manship. While lacking
size, this group certainly has, to a degree which has never
been excelled, an interesting silhouette. One should place it
against sea or sky.

Lastly, there is little satisfaction in the color of modern
garden sculpture. It is rarely to be found in marble or the
rougher stones which would make it properly harmonious
with any architectural setting. Probably the reason is the
extreme delicacy, not to say attenuation, of the detail, which
makes it inappropriate to stone, except for an interior situa-
tion. Ordinarily modern garden sculpture is in bronze,
which floods the exhibitions. This is satisfactory in the
intimate detail of small gardens, but will not hold its own
against foliage from any distance. Certainly it does not serve
to embellish the architecture of a garden that is not specially
made to provide a setting for it.

Until our sculptors will get out of their studios to
work, and provide themselves with walls and balustrades
whereon to see the effect of what they do, not as an exhibi-
tion piece, but as the detail of a larger scheme, we shall not
be able to give sculpture the place which it deserves in land-
scape architecture.

Model for a House at Pasadena, Gal.

Reginald Johnson, Architect

Clients of Mr. Reginald Johnson, the well-known California architect, whose office is in Pasadena, have no difficulty in understanding the plans that he submits. Instead oi
showing them merely a perspective drawing, Mr. Johnson submits a clay model of the proposed home as it will appear in its landscape environment. The model illustrated
is of a #250,000 home to be erected on Orange Grove Boulevard in that city.

i 3 6

ARCHITECTURE

HOUSE AT YABDLEY. PA. for MB.LY DARNES.

C.E.5cnermerhorn Architect- 430^/0.! nut 51".;Ph i 1'a.fta.

Brass Tacks Plus

HAS there ever been any great achievement in the arts,
in fact in anything that has pushed the earth along a
little bit, without a motive power above the idea of mere
gain ? Even with riches beckoning somewhere in the offing,
hasn't the big idea, the creative impulse, the glow of a pos-
sible achievement, the sense of power in the mere idea, been
the plus quantity that has driven the brass tacks home ?

We have had a great awakening, to be sure, and the
sound of the hammer on the brass-tacks idea makes a great
noise in the land. The sound is that of the hammer of Thor
and it has become the tocsin of discontent, unrest, and greed.

The old slogan of art for art's sake is not quite dead,
but it seems to be slowly dying, dying peacefully, still be-
lieving that there is no art, no ideal, no aspiration worth a
drachma, a farthing, we'd better say a copper cent, that is
not at the outset based on the cost plus contract.

The cost we'll put in the years of study and work and
aspiration, the nervous force, the temperament, the person-
ality, the education. These things have no real fact and
figure value unless we compile statistics of the time spent in
preparation measured in days' wages.

From certain comments of the day we opine that the
education of the architect has been for these many years
started on a foundation of the plus quantity, when, of course,
according to the new idea it should have begun on pay-dirt
or certainly upon a preliminary foundation of brass tacks.
The times have changed since Pericles was a power in the
land where rose the Parthenon, since Rome was built, since
Bramante and Michael Angelo and Leonardo lived, since Inigo
Jones and Wren gave England a great name in architecture.
And we'll name no names, but there are some of our readers
who will think of names even in our own land where brass
tacks are said to be the only fitting fasteners worth a thought
that live in memory first of all by their plus value.

All of which savors of the old-fashioned, the out-of-
date, the inconsequential shadow of forgotten dreams. It
is to laugh ! But in dwelling on such*things let it be un-
derstood that we are not harking back to a spineless idea
of art for art's sake as a shallow excuse for dilettanteism,
formless and futile dreaming. Quite the contrary, we want
to see a right and proper and substantial use of brass tacks,
but they'll never hold anything together for very long with-
out the plus element.

In these words by Mn Frederick L. Ackerman, there
is a hopeful suggestion:

It was "suggested that the profit motive and art
were not congenial bed-fellows this was said with respect
to the production of art by professionals. Why does not
this thought apply to the entire field of industry ? The most
vital art the world has ever known arose out of a system of

industry uncontaminated by the profit motive. And this
suggests that the most direct way to arrive at a peaceful
condition in industry would be to seek a return to that state
of industry in which the creative impulses of the worker and
the instinct of workmanship could express themselves without
repression. Such a change cannot be arranged overnight
but that should not stand against it as a goal of endeavor."

The New School of Architecture at Princeton

IT is something of an event in our architectural history to
have added to its educational resources the traditions
and power and high purposes of such a time-honored insti-
tution in the arts as Princeton University.

There never was a time when such a school could be
added with the prospect of more usefulness to the country.
An era of unprecedented building is before us, building th.it
may either express the utter materialistic mood of the
times, or the old traditions based on sound scholarship and
the humanities in general.

Princeton has never lacked in an appreciation of the
great needs of manliness united with high purposes, scholar-
ship as a preparation for the realities of every-day living.
Here men are made ready for men's work when duty c-\lls,
when the student may be, in time of great need, transformed
into the best of soldiers. All over the land none were quicker
to respond to the call to arms than were the young men of
Princeton and our other universities. They are taught the
lesson of service, of self-discipline, the lesson of readiness to
meet emergencies, not only with ideals but with force, sheer
physical vigor, an all-around use of mind and body when the
occasion calls. Never was a time when there was greater need
of trained minds, of minds with a worthy purpose united with
a knowledge adequate to meet the demands of the times,
minds trained for specific accomplishment, whether the
training comes from the university or is found in the hard
school of life itself.

"The new lines" upon which the Princeton School of
Architecture is based are clearly expressed in the following
extract from the announcement:

"As a result of careful and studied growth, there is now
established in Princeton University a thoroughly equipped
School of Architecture, which, while embodying all the fun-
damentals of architectural study, is conceived along new
lines. It proposes to build its architectural work upon the
required basis of a Princeton Bachelor of Arts degree. With
this in view, the School has been established as a branch of
the Department of Art and Archaeology, and is designed
primarily to co-ordinate the undergraduate studies of the
men electing this department who look forward to architec-
ture as a profession, to graduate them with the Bachelor
of Arts degree in four years, and to fit them for the profes-

137

'38

ARCHITECTURE

sional degree in architecture in two additional years. While
based upon a thorough undergraduate preparation in the
history of art, the school is open to students graduating or
transferring from other colleges and universities, if they
have complied, or are willing to comply, with the require-
ments of Princeton University as described in a later para-
graph.

"The chief considerations which have led to the estab-
lishment of a School of Arch' lecture at Princeton are:

"First. The conviction that a completely rounded col-
lege course is an invaluable asset to the successful architect.
This is the belief of a number of distinguished architects
who have been consulted and who agree that an architec-
tural school which seeks to produce only the highest type of
architect should require candidates for its degree first to
secure a Bachelor's degree at the end of four years of liberal
training in the broader educational subjects such as ancient
and modern languages, history, literature, economics, and
mathematics.

"Second. The fact that architecture is first an art
and secondly a science, and should be taught primarily as an
art. The technical aspects of the profession, such as busi-
ness administration, safe and durable construction, and
civic building regulations, while having their necessary place
in the training of an architect and their due consideration
in the Pr'nceton course, can best be learned by actual prac-
tice in an architect's office. The architects who have won
the most lasting renown are those who have been the great-
est artists, men with the power to design buildings which
are lastingly beautiful. The Princeton School therefore
proposes to emphasize above all else the artistic knowledge
and inspiration which are the foundations of good design.

"Third. The belief that the adequately trained archi-
tect must not only know and thoroughly appreciate the his-
torical development of architecture, but must realize, through
historical study, the extent to which the other arts, until
modern times, have been the handmaids of architecture.
There is a growing sentiment on the part of critics and suc-
cessful architects that the architectural-school graduate is
often insufficiently acquainted with the allied arts of sculp-
ture and painting, and the co-ordination of all the arts. The
Princeton School proposes to require its students to be sys-
tematically trained in the history and appreciation of the
allied arts. With a staff of critics and specialists in histori-
cal art already in the Department of Art and Archaeology,
the school can give this training, in connection with the
requirements for the Bachelor's degree, without increasing
the number of years for the degree in architecture.

"Fourth. In consideration of the fact that the archi-
tectural preparation offered by the school is linked with
the requirements of a Bachelor's degree, Princeton Univer-
sity will award, not another Bachelor's degree (Bachelor of
Architecture), as is done in most other architectural schools,
but the degree of Master of Fine Arts, to be acquired in a
minimum of two years of graduate work after the Bachelor's
degree has been obtained."

The New York State Association of Architects
Legislative Committee for 1920

Mr. Thomas F. Gleason, Chairman, Albany, N. Y.;
Mr. John H. Scheier, New York City (reappointed); Mr.
Alexander Selkirk, Albany, N. Y.; Mr. Robert North,

Buffalo, N. Y.; Mr. Edward Loth, Troy, N. Y.; Mr. Ed-
ward S. Gordon, Rochester, N. Y.; Mr. Frederick H.
Gouge, Utica, N. Y.; Mr. Gordon Wright, Syracuse, N. Y.;
Mr. Harry Haskell, Elmira, N. Y.; Mr. Carl C. Tallman,
Auburn, N. Y.; Mr. Harry R. Tiffany, Binghamton, N. Y.;
Mr. Addison F. Lansing, Watertown, N. Y.

Book Reviews

THE GARDENS OF ITALY, with Historical and Descriptive Notes, by
E. MARCH PHILLIPS. Edited by ARTHUR T. BOLTON, F.S.A., F.R.I. B.
Containing nearly 500 illustrations. Charles Scribner's Sons, New
York.

Based on the incomparable collection of beautiful photographs made
by the late Charles Latham, this new and revised edition with its many
additions of new photographs and old plans and the admirable historical and
descriptive notes by E. March Phillips, provides the most complete exposi-
tion of an enticing subject. The world owes a great debt to these wonder-
ful gardens of Italy, their influence has pervaded and stimulated the de-
velopment of the formal garden everywhere. For the architect both the
gardens and their architecture are perennial sources of inspiration and
suggestion, and for the lay reader they offer the charm of designed use of
places of natural beauty and the traditions they revive of the past. The
notes by Miss Phillips are full of interesting historic lore, of references to
great personalities identified with Rome, with poets and scholars, great men
of the church. It is a book that architects will feel they need, a book that
the lay reader will look upon as a collection of beautiful pictures surrounded
by a text that has the fascination of old romance. In his preface Mr.
Bolton says:

"When I set out before the Great War to prepare a new edition of
'The Gardens of Italy' it was with no calculated intention of doing more
than a little revision and expansion. The interest of the subject has proved
so great, however, that the present volume is, for all practical purposes, a
new book. The magnificent series of photographs taken by the late Charles
Latham has been retained, save for the elimination of a few subjects of
minor interest, and about a hundred and fifty new photographs have been
added to make the series of villas and gardens more comprehensive.^ Miss
Evelyn March Phillips's original text, with its valuable historical notes
and the delightfully told stories of the people who lived in these old palaces
and gardens, has been retained as far as possible. My work has been to add
architectural notes throughout, to enlarge considerably the sections relating
to the Roman and Florentine examples, to write entirely new chapters on
the villas and gardens of Venetia, the lake district, and Genoa, to contribute
a general introduction, and, not least important, to gather together a valua-
ble series of plans. For these I have drawn freely on various sources, in-
cluding Gauthier and Reinhardt for Genoa, and Percier et Fontaine for
Rome. Although the garden plans by the latter, now reproduced, were
made as long ago as 1809, they are in general so clear and correct that I
thought it better to give them in their original state. Those which I checked
on the spot did not show differences of such importance as to make it neces-
sary to alter the originals. They contain in some instances restorations
which Percier et Fontaine thought were justified to complete the original
schemes. In some cases, e. g., the Palatine Hill, the drawings by these
authors are all that now remain, and their labors in recording these old
gardens deserve our warmest recognition."

PROPORTIONAL FORM, FURTHER STUDIES IN THE SCIENCE
OF BEAUTY, BEING SUPPLEMENTAL TO THOSE SET FORTH
IN "NATURE'S HARMONIC UNITY." By SAMUEL COLMAN,
N. A. and C. ARTHUR COAN, LL.B., authors of "Nature's Harmonic
Unity," etc. The drawings and correlating descriptions are by MR.
COLMAN. The text and mathematics are by MR. COAN. G. P. Put-
nam's Sons.

We have listened with rapt attention to Mr. Hambidge expounding his
theories of the beginning of the laws of design in nature, and we know that
he is a great prophet and original among those who are able to follow him
around in his whirling squares. In the present volume we are led directly
to nature as the source of art with "the Tetragon Family and Pentagon
Family in constant evidence" and while it is clear that the_ ancients laid
out temples and carved monuments and wrought metals on lines which in-
dicate that they followed the indices of Nature's mode, it is unnecessary to
presuppose that those ancients understood or pretended to understand at
all why nature did these things. In vast degree we do not understand their
point ourselves to-day.

We commend most highly as of great value in the systematizing of
every architect's office records "LANDSCAPE ARCHITECTURE; A
Comprehensive Classification Scheme for Books, Plans, Photographs, Notes,
and Other Collected Material with Combined Alphabetic Topic Index and
List of Subject Headings," by Henry Vincent Hubbard, Assistant Pro-
fessor of Landscape Architecture at Harvard University, and Theodore
Kimball, Librarian of the School of Landscape Architecture. Paper
covers. The Harvard University Press, Cambridge.

w
p*
5

H
H

T-

'\^\\

MAY, 1920.

ARCHITECTURE

PLATE LXVTI.

-y-

F.NTRAXCE VESTIBULE, OFFICE OF WELLES KOSWORTH, . r >27 FIFTH AVENUE, NEW YORK.

Welles Bosworth, Architect.

MAY, 1920.

ARCHITECTURE

PLATE LXVIII.

MANTEL, MR. BOSWORTH'S LIBRARY.

OFFICE OF WELLES BOSWORTH, 527 FIFTH AVENUE, NEW YORK.

Welles Bos worth, Architect.

MAY, 1920.

ARCHITECTURE

PLATE LXIX.

MR. BOSWORTH'S LIBRARY AND WORKROOM.

LIBRARY CONSERVATORY. Welles Bosworth, Architect.

OFFICE OF WELLES BOSWORTH, 527 FIFTH AVENUE, NEW YORK.

X
' X

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U

ft)

A
o
o

H
U
W
H

ffi
U

MAY, 1920.

ARCHITECTURE

PLATE LXX1V.

NTO A N CL'D C

., N -Y-

CLEMENT T^. NE-WKI12.K
AE.CHITE-C.T

. N.Y

MAY, 1920.

ARCHITECTURE

PLATE LXXV.

DINING-ROOM.

HALL AND STAIRWAY. Clement R. Newkirk, Architect.

RESIDENCE, P. R. JAMESON, ROCHESTER, N. V.

MAY, 1020.

ARCHITECTURE

PLATE LXXVI.

LE5 TKtJSTCO

BRANCH

THE PEOPLES TRUST CO. BUILDING, BROOKLYN, N. Y.

Ludlow & Peabody, Architects.

1-1

ffi
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o
o

<
X

ffi

MAY, 1920.

ARCHITECTURE

PLATE LXX1X.

O !XCH P tTAI L 5 Of ll.oK- fl'AM

OP t >< I d*S -

El.tVMION-Of-FH.ONT

HL i)!ME!)'alONJ-TO-6E..7U ?!!::>. M-buiLtllUG-

DItW-C 500

JOB -se

MADE3Z5I9
BY -F-K-

CHC-DC-J H

LVDLOW AND PCABODT

AR.CHITECTJ
CMC HVNDRCD ONt P\RK
AYCNVt NEW TORX CITT

MAY, 1920.

ARCHITECTURE

PLATE LXXX.

OUTSIDE
FACE OF
OtNAMiNT,

SECTION

'ELEVATION*

D"
5 LOTION

SCALE FOfc UtGE 5IZE ELV'5 ONLY

ONE FOOT >J BA5E OF NEWLL

AT TU1LN OF

A ?LC H I T E C T U
OF'THE^OHIO-
VALLEY {

< 5 T A I

A Y

1N-AN-OLD-R.5IDENCE>

CI_CLE.VILLE- -OHIO*

M E A 5 U _E D - - &"
D B^A W N - -BY'

Alterations to City Buildings, Shops, Studios, and Apartments

THE continued and increasing necessity for saving old
or existing buildings makes the publication of such
alterations of great interest to members of the profession
who are called upon for this class of work. There are many
special and profitable opportunities in this field of work,
and the result promises to be a decided improvement of

421-431 Park Avenue (before alteration).

both our domestic and commercial architecture we have
gone forward since the brownstone period.

In New York City many buildings have been reclaimed
and there is an ever-increasing demand for remodelled shops,
studios, and apartments. The owner finds it a good invest-

ment, the architect is able to plan with much freedom from
the ordinary building restrictions applied to new construc-
tion, and tenants
compete for
leases.

Nos. 42 1-431
Park Avenue
were six old
brownstone
houses which were
occupied as ordi-
nary boarding-
houses. The ar-
chitects simply
cleaned them out,
kept as many par-
titions as possible,
replastered, in-
stalling new
plumbing, heat-
ing, and electric
work, refloored
and decorated,
and put them in
livable condition.

No. 164 East
61st Street is a 20-
foot wide, four-
story and basement, brownstone house. The upper three
floors are being remodelled as per the plans, providing for one

(Continued on page 141.)

. ! T - One IMCK C4IAM.3 LtvMT FTET

TYPICAL-APACTMCHT- LAYOUTS
j2H3i - PACK AVE

421 431 Park Avenue, New York (alteration). Shops and apartments

Casale & Witt, Architects.

139

140

ARCHITECTURE

J 164 ryTi6i"-.'/iiiti ,
-rat ar-Gco M-tera?" G

TO 164 LVT

TS^Lcr
inrricw-TO- Iw lyi 61" /TBU.T -
-rot " Do G to HI Pwntc Q

Pni< -or-Byuph-
-A.TtornajrTi7-h64-I.VT 6
roc pp.- Gio If- RS

Puii

164

,vi CT fnlll J BMW taliTU; ntcwtwil tnacnlL nania wo ri

ALTERATION OF CITY HOUSE, 164 EAST 61sT STREET, NEW YORK.

Philip J. Rocker and Ferdinand Witt, Architects.

ARCHITECTURE

141

(Continued from page 139)

furnace, there is an amount equal to about $4,200 a year,
apartment, using the old brownstone stoop as a separate The upper apartment has been leased for five years on a
entrance, which eliminates the necessity of any service to basis of $5,000 per year; therefore, the owner, who has the
this tenant, excepting for heat and hot water, which the
owner, who occupies the basement and parlor floors, has
to provide for his own use anyway.

A new American basement entrance provides access to

Interior of shop, A. Sulka & Co., 512 Fifth Avenue, New York.

the basement and parlor floor, which apartment is occupied
by the owner. In the cellar of the building there is a laun-
dry, heating-plant, storage-rooms, and the like.

Taking the interest on the owner's investment, his
taxes, insurance, coal, and the expense in running the

Show-case and woodwork, Sulka shop.

Alfred Freeman, Architect of Interior.

entire basement and parlor floor and the extension in the
yard, gets rent free and a profit of $800 a year for five years.

! ! Hi

Three shops (offices above), 512 Fifth Avenue, New York (alteration).

Rouse & Goldstone, Architects.

142

ARCHITECTURE
I

SHOPS AND STUDIOS, 7 EAST 55ra STREET, NEW YORK.
(ALTERATION)

H. JAECKEL & SONS, FIFTH AVENUE, NEW YORK.

(ALTERATION) Starrett & Van Vleck, Architects.

8 AND 10 EAST 48ra STREET, NEW YORK.

(ALTERATION) Blum & Blum, Architects.

22 EAST 48TH STREET, NEW YORK.

(ALTERATION) Wm. Edgar Moran, Architect.

ARCHITECTURE

Building Prospects in Chicago

YE editor has made a canvass of many of the architects'
offices in Chicago in order to secure at first hand re-
liable data as to what might be expected in the way of build-
ing construction in Chicago the coming season.

The result of the investigation has convinced him that
if all the work now being planned by Chicago architects
is actually let within the next ninety days, that it will re-
quire the entire building industry of Chicago at least three
years to complete same.

Building costs are continually advancing, and in some
cases stocks are almost entirely depleted. Recently, ma-
terial advances have been made for steel, timber, and lum-
ber, boilers, radiation and steam-fitting supplies, plumbing
goods and supplies, glass, roofing materials, brick, cement,
sand, gravel, lime, and in fact it would be difficult to name
a single item entering into a completed structure that has
not advanced in price during the past three months.

The prospects are for further material advances in cer-
tain lines, and within a few weeks it will not be a question
of price, but, can the goods be secured at any price ?

The result of this situation will be that there will prob-
ably be but few of the cheaper apartment buildings, bunga-
lows, and cottages built in the next few years at least not
until there has become such an acute shortage of housing
that the present renting schedules are increased at least
60 per cent. A careful check was recently made on the net
income which could be secured from a modern three or six
apartment building containing five and six room apart-
ments that three years ago rented for from $40 to $50 per
month, and it was found that due to the increase in taxes,
cost of coal, upkeep, as well as construction costs, that such
apartment buildings could not be constructed and rented
at a profit unless the rents were advanced to from $85 to
$100 per month. A similar condition is found in connection
with office-building construction in Chicago to-day. There
is not a single desirable office for rent in the entire loop.
Agents of many office-buildings have practically doubled
their rents, but until rents further advance, there will be
no incentive for large investors to construct office-buildings.
About the only investment building which at present con-
struction costs may possibly show a profit is the construc-
tion of the highest grade apartment hotels and theatres,
and large industrial work, which must be built in any event
and irrespective of costs. In connection with the growth
of industrial building, it might be noted that very much
of the present increase is caused by the absolute necessity
of increasing the working space in factories to make up for
the reduction in output due in many cases to the unionizing
of industry and the substitution of a 44-hour week for the
56-hour week, in order to secure the same output.

There is to-day in Chicago a most serious shortage of
not only skilled mechanics but of building laborers. Some
of this can be traced to the labor turnover which occurred
shortly after the beginning of the war when the government
concentrated its large building programme in the East, and
thousands of Chicago mechanics were attracted to the East
by the offers not only of increased pay but of all the over-
time they wished to put in. Many of these mechanics are
still in the East, and notwithstanding the fact, as the editor
is creditably advised, in many of the Eastern centres there
is a large surplusage of labor in all lines, yet for some reason
this class of labor is not returning to the Western centres
as rapidly as might be hoped for.

Having in mind all of the foregoing, it is the editor's
prediction that building costs in Chicago and vicinity will,

during the next four months, show a further advance of
at least 20 per cent to 35 per cent and that before this time
has elapsed, owners will be asking, not what certain ma-
terials are worth, or what price may be asked for same, but,
can they be secured at all ?

Bulletin Illinois Society of Architects. F. E. Davidson,
Editor.

Federal Loan Banks to Aid Home Builders

THE next Congress will be asked to enact legislation
necessary to the establishment of a system of Federal
Home Loan Banks. A tentative bill has been prepared and
has been mailed to all officers and committees of the United
States League of Building Associations, and copies can be
obtained from the Division of Public Works and Construc-i
tion Developments of the United States Department of Labor.

In its campaign to stimulate building activities the
United States Department of Labor, in January, invited
representatives of the United States League of Building
Associations to a conference in Washington for a discussion
of ways and means of increasing the usefulness of the build-
ing and loan associations. It was realized that 'these associa-
tions played an important part in the home-building activi-
ties of the nation, and it was the hope of the Department of
Labor that their field of usefulness might be enlarged. Out
of this conference came the movement in favor of a national
system of Home Loan Banks through which these associations
might rediscount their securities and make available for
further loans a greater portion of their assets.

The chief work of the building and loan associations
is lending money to home builders. Association representa-
tives, in the Washington conference, suggested that Congress
enact a law, permitting these associations to organize regional
banks, capitalized, by the associations and operated by them
under government supervision. The purpose of this was
to provide a regional bank which would perform for building
associations a service similar to that performed by the
Federal Reserve Bank for the commercial banks, and by
the Federal Land Bank for the National Farm Loan Associa-
tion.

Owing to the congestion in important legislative matters
in the last Congress it was impossible to obtain consideration
for the Federal Home Loan Bank project. The building
and loan associations, working in harmony with the aims
of the Department of Labor in its campaigns for the revival
of building and construction activities, now have drafted
a tentative bill which, with such revisions as may be con-
sidered prudent, will be introduced in the next Congress with
the influence of the national and state organizations of
building and loan associations behind it.

Per Capita Consumption of Lumber

The per capita consumption of lumber is greatest in
the newer States, such as Montana, according to R. C.
Bryant, Industrial Examiner for the U. S. Forest Service,
in a recent bulletin. Montana had a per capita consump-
tion in 1915 of 1,234 board feet, whereas those States' hav-
ing a large percentage of urban population show a lower
rate of consumption. For instance, in 1915 the consump-
tion in New York State was 206 board feet, and in Penn-
sylvania 293 board feet. -It is quite probable that the
unusual building activity this year, especially in dwellings,
will raise the per capita consumption for 1919 even in the
older States.

144

ARCHITECTURE

HOUSE AND GARDEN (ALTERATION), MR. AND MRS. VIVIAN SPENCER, AVONDALE, R. I.

Marian C. Coffin, Landscape-Architect.

ARCHITECTURE

Notes on Engineering Units for Architects

By DeJVitt C. Pond, M.A.

IN articles published under the general heading of "En-
gineering for Architects," which appeared in ARCHITEC-
TURE from time to time, the practical application of general
engineering principles was given. There was not, however,
'a very comprehensive discussion of the principles involved
and the reader was sometimes forced to determine the rea-
son for certain calculations without much help from the
text. It is the object of this article to enumerate certain
of the fundamental principles underlying any engineering
calculation which an architect would have to make.

In the first place, a word which occurs constantly in all
engineering calculations is "moment." Almost all engineer-
ing calculations are based upon the finding of moments,
but there is very little real understanding of what this word
means. The moment is the unit by which a tendency to
revolve around a point is determined. In exactly the same
manner that a foot is used to determine a lineal dimension
the moment is used to measure a revolving tendency.
Obviously this tendency depends on two things: the first
is the force used to produce revolution and the second is
the distance from the centre at which this force acts. A
moment, then, must take these two things into considera-
tion that is, force and distance. This is a peculiarity of

satisfactory to look upon a moment as a tendency than as a
product of multiplication.

To come to practical facts, let it be assumed in Figure I
that the centre of gravity of the weight (W} is ten feet from
the edge of the platform, and that the weight itself equals
100 pounds. If we suppose that the plank has no weight,
then the tendency to produce rotation about the point (a)
will be measured in terms of the distance, ten feet, and
weight, one hundred pounds, and will be one thousand foot-
pounds. In other words, the tendency to produce rotation
is shown by the weight multiplied by a distance and the
unit of measurement is one in which weight and distance
are shown or the "foot-pound."

Very often beginners will attempt to measure moments
in units of force only, or in units of distance alone. This is
as incorrect as it would be to measure miles in units of
liquid measure, such as quarts, or to measure money in
units of lineal measure, such as feet. Each particular type
of measurement has its particular units of measurement
and the moment is a unit in which both distance and weight
appear. A moment may be measured in inch-pounds or
foot-pounds, inch-tons or foot-tons, but both inches or
feet and pounds or tons must appear in the unit.

Tiq v let IT

this particular unit. The foot measures simply distance;
the pound simply measures weight; but the moment must
measure both weight and distance.

Suppose a plank is shoved out from a platform so that
one end projects out in space. This projecting end is then a
cantilever. Suppose a weight were placed at the end of
this cantilever as shown in Figure I. It is obvious that the
ability of the weight to cause the cantilever to fall depends
on two things: first, the weight itself; and, second, the
distance that it is pushed out into space. If either is great
enough the cantilever will revolve around the edge of the
platform and eventually fall.

In Figure II is shown a cantilever projecting only a
very short distance beyond the edge of the platform, but a
heavy enough weight may be imposed upon it to cause it to
tip up or revolve about the edge of the platform. In Fig-
ure III the same plank is shown projecting at a compara-
tively large distance but with a small weight, and this would
cause the plank to revolve. Therefore it is obvious that
these two things weight and distance must be consid-
ered when it comes to the question of moments. The word
moment may be defined as follows: "A tendency to produce
rotation about a point which is measured in terms of force
and distance." In the language of the unacademic student
a moment is "force times distance," and this is accurate
enough if it is thoroughly understood, but it is much more

This is apparent enough when a simple cantilever is
shown, such as in Figures I, II, and III, but it becomes
difficult to understand when simple beams are shown or
it is a question of footings where seemingly no cantilever
exists, and where actually it is sometimes difficult to deter-
mine just what moment it is required to find.

Investigating a case of a simple beam as shown in Fig-

E a -iw--.50lbi.

ure IV it will be noticed here that the plank instead of being
shoved out from the platform and overhanging the edge is
not resting between two supports. This is called a simple

146

ARCHITECTURE

Tic

beam. This load will be called a concentrated load, although
strictly it is spread over a certain amount of space, and
therefore might be considered a uniform load. However,
it extends over such a small amount, that it will be treated
as though it were a concentrated load, with its weight con-
centrated at the centre of gravity as shown in the figure.

The length of the span is noted in the figure as / and
the distance from the point of support to the centre of the
load is known as \l. Now, it is obvious that if the load (W)
were large enough it would cause the plank to break by
bending the plank until it was fractured. It will be noted
that it is the bending that causes the breaking of the beam,
and in order to produce bending there must be a moment.

If a casual observer were asked what broke the beam
he would say the load, and of course actually this is true,

bending to cause the plank to fail. It is obvious then that
the clear span between the supports is a very important
factor, and this span and the load together must be taken
into consideration when the failure of the beam is to be
considered. When the question of bending is involved we
must consider moments because moments are the units by
which bending or the tendency revolving about a point
is measured. What moments, therefore, exist which will
tend to bend the beam in Figure IV until it will break ? To
the layman the only load that is acting upon the plank is
that shown as W in the figure, but actually two more loads
are acting. These two are at the points of support. These
must act with an upward force to support the beam or else
the beam will fall. This is sometimes a hard point for the
layman to grasp he cannot see that an immovable object
such as a floor or a platform can exert an upward pressure.
He would understand this, however, should he fall from any
height upon the floor or the platform. The sensation which
he would receive would be the same as if the floor or plat-
form had come up and struck him. In other words, the
floor exerted an upward force sufficient to produce some-
what unpleasant sensations. In the same way the supports
at each end of the plank would exert upward pressure and
the total amount of upward pressure exerted by both sup-
ports would equal the total downward pressure caused by
the load itself \W~). Of course, if the load is directly in the
middle, as shown in Figure IV, then each support will bear
an equal part of the load. If the load were moved, as in
Figure VI, nearer one support than the other, then the sup-
port to which it is nearer will have to carry the greater part
of the load. The method of determining the proportionate
amount of the load carried by supports when the load is not
directly in the middle will be given later. It is sufficient
for the time being to realize that each support exerts an up-
ward pressure.

It is obvious that the point at which the beam will fail
will be directly under the load. As the beam fails by bend-
ing the moment must be set up and in this case the mo-
ment is set up about the point a. In other words, it must be
a force exerted on the beam some distance away from a

which would cause a moment. Obviously the only force
that could be exerted would be the force of either one of
the two supports. As the condition in Figure IV shows
that the supports are exerting equal pressure, it does not
make much difference which force we select as the one
causing bending around a.

Let us assume that the left support is the one. It is
obvious that this support will exert an upward pressure
equal to one-half the load W. This, then, is the force.
The distance is equal to /, therefore the load which will
cause the bending and cause the beam to fall would be \W
multiplied by \l or \Wl.

This is purely theoretical and it may be well to illus-
trate the condition by actual figures. Supposing the load
(W} is equal to 100 pounds, and suppose the span (/) is
equal to 10 feet, or 120 inches. Without the slightest hes,i-
tation the reader will naturally assume that the load at each
support will be 50 pounds. The moment then around the
point a will be equal to 50 pounds multiplied by a distance
equal to one-half of the span, or 60 inches, which will be
equal to 3000 inch-pounds. The same result could be ob-
tained by substitution in the formula given above, if we as-
sume that M represents the moment. This formula will
read: M equals \Wl, and by substitution we can find that
M will equal \ multiplied by W (100 pounds) and multiplied
by / (120 inches), or \ X 100 X 120 = 3000 inch-pounds.

Now that the moment has been obtained the question
naturally arises: "What is the reason for performing all this
work?" The answer is that we must determine a resisting
moment which the beam itself will set up which will cause
it to withstand the moment caused by the load. For the
present discussion it will simply be stated that the resist-
ing moment of a simple rectangular wood beam is given by
the formula M = S X \beP, in which S is the strength of
wood, b is the breadth of the beam, and d is the depth. In
this case the moment set up by the external force is 3000
inch-pounds. The resisting moment of the beam must be
equal to this. The tensile strength of the wood will be taken
as 1200 pounds and the only unknown quantity will be the
breadth and depth of the wood beam. It will^be'necessary
to assume one of these
factors, and so we will con-
sider that the plank is one
foot wide, and b will be
equal to 12 inches. Then
it is only necessary to find
how thick the beam has to
be. Substituting in the
formula, we have 3000 inch-
pounds equals 12,000 X \
X 12 X </*,'or by cancel-
lation and transposing we
find that d* is equal to 3000
divided by 2400, or equals lj inches; d is then equal to 1.12
inches. Of course, no beam comes exactly If inches thick,
so the chances are a 2-inch plank would be selected in order
to carry this load.

Another step in the study of moments is taken when it
is necessary to determine the upward reaction, or the force,
at the ends of a simple beam. Figure IV shows the beam
with the load exactly in the centre, and it is a simple matter
to assume that both of the reactions the upward loads at
the points of support will be equal. Figure VI shows a
different condition, and it is apparent from the figure that
the reaction at the right-hand end of the beam will be greater
than that at the left-hand end. In other words, if this
beam is being carried by two men, the man holding the

Rj.-666.6JbS.

Fi c, VT5.r. 3ZE

Notes on Engineering Units for Architects

By DeWitt C. Pond, M.A.

IN articles published under the general heading of "En-
gineering for Architects," which appeared in ARCHITEC-
TURE from time to time, the practical application of general
engineering principles was given. There was not, however,
a very comprehensive discussion of the principles involved
and the reader was sometimes forced to determine the rea-
son for certain calculations without much help from the
text. It is the object of this article to enumerate certain
of the fundamental principles underlying any engineering
calculation which an architect would have to make.

.w-jooibs

satisfactory to look upon a moment as a tendency than as a
product of multiplication.

To come to practical facts, let it be assumed in Figure I
that the centre of gravity of the weight (W) is ten feet from
the edge of the platform, and that the weight itself equals
100 pounds. If we suppose that the plank has no weight,
then the tendency to produce rotation about the point (a)
will be measured in terms of the distance, ten feet, and
weight, one hundred pounds, and will be one thousand foot-
pounds. In other words, the tendency to produce rotation
is shown by the weight multiplied by a distance and the
unit of measurement is one in which weight and distance
are shown or the "foot-pound."

Very often beginners will attempt to measure moments
in units of force only, or in units of distance alone. This is
as incorrect as it would be to measure miles in units of
liquid measure, such as quarts, or to measure money in
units of lineal measure, such as feet. Each particular type
of measurement has its particular units of measurement
and the moment is a unit in which both distance and weight
appear. A moment may be measured in inch-pounds or
foot-pounds, inch- tons or foot-tons, but both inches or
feet and pounds or tons must appear in the unit.

Tic, vier. IT

this particular unit. The foot measures simply distance;
the pound simply measures weight; but the moment must
measure both weight and distance.

Investigating a case of a simple beam as shown in Fig-

ure IV it will be noticed here that the plank instead of being
shoved out from the platform and overhanging the edge is
not resting between two supports. This is called a simple

146

ARCHITECTURE

Fi c. v E t "2T

If a casual observer were asked what broke the beam
he would say the load, and of course actually this is true,

but the engineer would claim
that the load itself could not
have broken the beam unless
the span were so great that a
sufficient moment would have
been set up. This is apparent
when Figure V is observed, in
which the same load and the
same plank are involved but
the supports are so near to-
gether that there is not a suffi-
ciently great tendency toward
bending to cause the plank -to fail. It is obvious then that
the clear span between the supports is a very important
factor, and this span and the load together must be taken
into consideration when the failure of the beam is to be
considered. When the question of bending is involved we
must consider moments because moments are the units by
which bending or the tendency revolving about a point
is measured. What moments, therefore, exist which will
tend to bend the beam in Figure IV until it will break ? To
the layman the only load that is acting upon the plank is
that shown as W in the figure, but actually two more loads
are acting. These two are at the points of support. These
must act with an upward force to support the beam or else
the beam will fall. This is sometimes a hard point for the
layman to grasp he cannot see that an immovable object
such as a floor or a platform can exert an upward pressure.
He would understand this, however, should he fall from any
height upon the floor or the platform. The sensation which
he would receive would be the same as if the floor or plat-
form had come up and struck him. In other words, the
floor exerted an upward force sufficient to produce some-
what unpleasant sensations. In the same way the supports
at each end of the plank would exert upward pressure and
the total amount of upward pressure exerted by both sup-
ports would equal the total downward pressure caused by
the load itself (W}. Of course, if the load is directly in the
middle, as shown in Figure IV, then each support will bear
an equal part of the load. If the load were moved, as in
Figure VI, nearer one support than the other, then the sup-
port to which it is nearer will have to carry the greater part
of the load. The method of determining the proportionate
amount of the load carried by supports when the load is not
directly in the middle will be given later. It is sufficient
for the time being to realize that each support exerts an up-
ward pressure.

This is purely theoretical and it may be well to illus-
trate the condition by actual figures. Supposing the load
(W} is equal to 100 pounds, and suppose the span (/) is
equal to 10 feet, or 120 inches. Without the slightest hesi-
tation the reader will naturally assume that the load at each
support will be 50 pounds. The moment then around the
point a will be equal to 50 pounds multiplied by a distance
equal to one-half of the span, or 60 inches, which will be
equal to 3000 inch-pounds. The same result could be ob-
tained by substitution in the formula given above, if we as-
sume that M represents the moment. This formula will
read: M equals \Wl, and by substitution we can find that
M will equal j multiplied by W (100 pounds) and multiplied
by / (120 inches), or J X 100 X 120 = 3000 inch-pounds.

Now that the moment has been obtained the question
naturally arises: "What is the reason for performing all this
work?" The answer is that we must determine a resisting
moment which the beam itself will set up which will cause
it to withstand the moment caused by the load. For the
present discussion it will simply be stated that the resist-
ing moment of a simple rectangular wood beam is given by
the formula M = S X f<W 2 , in which is the strength of
wood, b is the .breadth of the beam, and d is the depth. In
this case the moment set up by the external force is 3000
inch-pounds. The resisting moment of the beam must be
equal to this. The tensile strength of the wood will be taken
as 1200 pounds and the only unknown quantity will be the
breadth and depth of the wood beam. It will be'necessary
to assume one of these
factors, and so we will con-
sider that the plank is one
foot wide, and b will be
equal to 12 inches. Then
it is only necessary to find
how thick the beam has to
be. Substituting in the
formula, we have 3000 inch-
pounds equals 12,000 X \
X 12 X d z , or by cancel-
lation and transposing we
find that d* is equal to 3000

divided by 2400, or equals 1J inches; d is then equal to 1.12
inches. Of course, no beam comes exactly If inches thick,
so the chances are a 2-inch plank would be selected in order
to carry this load.

Another step in the study of moments is taken when it
is necessary to determine the upward reaction, or the force,
at the ends of a simple beam. Figure IV shows the beam
with the load exactly in the centre, and it is a simple matter
to assume that both of the reactions the upward loads at
the points of support will be equal. Figure VI shows a
different condition, and' it is apparent from the figure that
the reaction at the right-hand end of the beam will be greater
than that at the left-hand end. In other words, if this
beam is being carried by two men, the man holding the

Fi q

148

ARCHITECTURE

right-hand end would have a heavier load to carry than the
man holding the left-hand end. For engineering purposes
it is absolutely necessary to determine accurately just how
much of the load is supported at each end, and in all calcu-
lations where concentrated loads or unsymmetric uniform
loads are involved the first step is the determination of the
reaction. Here again the method employed involves the
use of moments. In the example before, in which we de-
termined the thickness of the wood plank, the centre of the
moment was taken as directly under the centre of the con-

centrated load (see a, Figure IV). When it is necessary to
determine the exact loads at the points of support, then the
centres of the moments are taken at either point of support.
Suppose, as in Figure VI, it is necessary to determine the
load at the right-hand end of the beam. Then the centre
of moments is taken at the left-hand end of the beam. The
moment caused by the load W around the point R left-
hand support will be equal to the force times the distance
from this point. The force is W, the distance x, as shown in
the figure. The moment then equals Wx.

An investigation of Figure VI would show that if the
beam were not supported at R 2 this moment (Wx) would
cause the beam to revolve around the point R\. Actually,
the beam remains stationary and this is due to the fact
that at /? 2 an upward load is applied, which, multiplied by the
distance (/) will produce a moment equal and opposite to Wx.
An equation might be written as follows: Wx = RJ. I is
usually known, as this is the span of the beam; W and x
are also usually known, as these are the actual conditions of
the loading. The load of a brick wall weighing 1000 pounds
might be imposed upon a beam ten feet from the left sup-
port. The span of the beam might be 15 feet. The un-
known quantity would then be RZ, and by substituting in
the formula above this could be determined.

Substituting:

Wx = RJ.

1000 Ibs. X 10 = R 3 X 15
10,000 = 15 R t
666.6 = /? 2 .

In order to determine the load at RI, a reverse process is
necessary. The centre of the moment is then taken around

the right support (Rt) and x becomes 5 feet. Then, by sub-
stituting in the formula, the equation becomes:

Substituting:

Wx = /?,/.

1000 Ibs. X 5 = /?! X 15
5000 = 15*,
333.3 = /?,.

This last equation is very seldom used except as a check,
for it can be seen that if RI is added to .R 2 the sum will equal
1000 pounds, which is equal to the load (W). It is only
necessary, therefore, when Rz is determined, to subtract this
sum from the load and the answer will be equal to *i. This
is apparent if one should consider that the load (W) is
carried on a plank between two men. The two men will
not carry any more between them than the actual load on
the plank. One may carry more than the other, but the
total upward pressure exerted by both men will be no greater
and no less than the downward load.

The problems given so far have been extremely simple,
but they could be expanded in such a manner as to present
many complications.

In Figure VII several loads are shown designated as
Wi (100 Ibs.), W* (200 Ibs.), W 3 (300 Ibs.), at distances
of five, ten, and fifteen feet from R\. The span is given as
twenty feet. The method of determining R 2 , then, is as
follows:

100 X 5 = 500
200 X 10 = 2000
300 X 15 = 4500

600

7000

Total moment around R\ is 7000 foot-pounds.

This must equal the moment caused by /? 2 around R\,
and the formula R^ X / = 7000 foot-pounds can be used.
/ is known as the span, which is 20 feet. The only un-
known quantity will be RZ, which can be found by dividing
7000 by 20, which will give 350 pounds. This is the load at
the right-hand support. The load at the left-hand support
can be found by simply subtracting 350 pounds from 600
pounds the total load and the answer will be 250 pounds.
This can be checked by reversing the moments as given in
the first example. The calculation is given below:

300 X 5 = 1500
200 X 10 = 2000
100 X 15 = 1500

5000
5000 ^ 20 = 250

These examples are given simply to illustrate what is
ment by the term "moment." It may seem that the author
is spending a considerable amount of time on this par-
ticular subject, but the understanding of moments and
what they measure formulates a basis for all engineering
calculations. For this reason the author has gone into the
subject at length.

Competition for the Remodelling of a New York City Tenement Block

Under the Auspices of the Joint Legislative Committee on Housing and the Reconstruction

Commission of the State of New York

PROBLEM

The remodelling of a characteristic old tenement block in
the city of New York, so as to make it a decent place
to live in. The object of the competition is twofold:
first, to find the best method of improving living condi-
tions in the old-law tenements without entirely destroy-
ing the buildings; second, to find a plan of remodelling
that will encourage such alterations by the demonstra-
tion of its economic wisdom and the value that will
come from the improvement. The relation of costs to
results obtained will be a predominating factor in de-
termining the judgment.

The purpose of the competition is to find solutions that will
be applicable not only to the block which is the sub-
ject of the study but also to similar blocks throughout
the city. It is a competition of ideas as well as design.

THE remodelling of one house in a bad environment is
of little value. The -improvement of a group of tene-
ments is of real value. But the solution of the problem of
the block as a whole would be of the maximum value to
the tenants and owners of each house, to the neighborhood
and to the community as a whole. Competitors may, how-
ever, decide what size units, what type and size of tene-

ment, apartments, rooms, courts, and yards will give the
proper environment for decent living and at the same time
the most practical result as to plan, management, and
financing. These should not fall below the standard of the
Tenement House Law in regard to sanitation, lighting, venti-
lation, and safety. However, the competitor should be guided
by the spirit, not the letter, of the law.

For the purpose of this study, the block bounded by
Rutgers, Madison, Jefferson, and Monroe Streets, on the
lower east side of Manhattan, has been chosen. Living con-
ditions in this block are not the worst in the city. Condi-
tions here are characteristic of those to be found in hundreds
of other blocks throughout New York.

Drawings Supplied to Competitors. The following draw-
ings are supplied to competitors:

Two plans of the block, one of the ground floor, the
other of a characteristic floor of apartments and the ele-
vations on the four street fronts. The plans are drawn at
the scale of }/% inch equals 1 foot, the elevations at the scale
of i\ inch equals 1 foot. They show all walls, windows,
doors, plumbing fixtures. They were made from careful
measurements taken at the buildings during the last few
months. They show the present actual conditions. The
characteristic floor plan represents in most cases the top

(Continued on page 152.)

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149

ARCHITECTURE

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152

ARCHITECTURE

(Continued from page 149.)

story. Conditions on other floors, excepting the first floor,
are similar, if not identical. All competitors should inspect
the block which is the subject of this study. Detailed in-
formation in regard to the various buildings will be found
in addenda No. 1 at the end of the programme.

Drawings Required. The following two drawings are
required: A plan of the first floor and a plan of a charac-
teristic floor, both after the proposed alterations have been
made. These are to be drawn to the same scale as the plans
supplied to competitors (3/g inch equals 1 foot). All walls
are to be outlined and all plumbing fixtures, stairs, fire-
escapes, dumb-waiters, etc., are to be drawn in solid black-
ink lines. All old walls which are preserved are to be filled
in solid with black ink and all new walls are to be hatched
with black-ink lines. Old walls which are to be destroyed
shall not be indicated. No rendering of washes, either
colored, black, or gray, and no use of diluted-ink lines will
be permitted.

These two drawings, which are the only drawings re-
quired, will be the same size, have the same borders, and
the same title as the two plans supplied to competitors.
They will be (1) on white paper, (2) on tracing-paper mounted
on cardboard, or (3) on tracing-linen.

Additional Drawing. One and only one other drawing
may.be submitted at the discretion of the competitor. It
will be the same size, have the same border and the same
title as sheet 3 (elevations) supplied to competitors. It
shall consist of a bird's-eye view of the whole or part of
the development. The purpose of this drawing is to illus-
trate the competitor's scheme in as far as it cannot be ex-
pressed in plans. It will be judged on the merit of the idea,
not on the merit of the execution of the drawing. It must
be drawn in solid black lines without rendering of washes
of any kind and presented on the same type of paper or linen
as that used for the plans.

No other drawings will be permitted.

Drawings may be mounted on cardboard of the same
size as drawings, in which case they must be delivered flat,
or they may be rolled. They must not be creased or folded.
They must be in condition and of such character as to per-
mit their reproduction.

Description Required. In addition to the drawing each
competitor is required to submit a description. This should

be concise and as short as the proper treatment of the sub-
ject will permit. It should contain at least the following:

(1) An explanation of the advantage of his solution
from the point of view of the tenants, owners, the com-
munity, and the State.

(2) The proposed methods of carrying out the altera-
tion in small or large units, by individual owners, groups
of owners, assistance of the local community, city, or State.

(3) A brief description of materials, type of lighting,
plumbing, heating, to be used in alteration.

(4) Any proposed scheme of management. This in-
cludes care of houses, heating, lighting, rentals, as well as
any common facilities for the use of more than one family
or one house.

(5) Comparisons of existing and altered block, (a)
Number of apartments, (b) Number of rooms, (c) Con-
veniences, (d) Sanitation and ventilation, (e) Rental values.

Marking Drawings and Description. Drawings and
description are to be marked with an emblem.

The description is to be placed in a sealed envelope
marked on the outside with the same emblem.

These shall be accompanied by a sealed opaque envelope
containing a card on which shall be the name and address
of the competitor or competitors. The exterior of the en-
velope shall be marked with the same emblem.

Date of Closing of Competition. All drawings and de-
scriptions must be delivered at Room 302, Hall of Records,
New York City, at or before 1 o'clock on June 15, 1920.

To Whom Competition Is Open. The competition is
open to any person or persons.

Prizes. Two prizes of $1,000 each; four prizes of $500
each; four prizes of $250 each.

The jury may decline to award any or all prizes, in
case it decides that drawings submitted do not fulfil the
conditions of the competition or do not warrant the awards.

Publication of Drawings. The jury shall have the right
of publishing or exhibiting any drawing or description that
may be submitted.

Jury. The judges of the competition will be the fol-
lowing: Mr. Allan Robinson, Mr. Alfred E. Marling, Mr.""
Edgar A. Levy, Hon. Frank Mann, Tenement House Com-
missioner, Mr. Clarence S. Stein, Senator Charles C. Lock-
wood, Senator John J. Dunnigan, Mr. Andrew J. Thomas,
Mr. Burt Fenner, Mr. Robert D. Kohn, Miss Lillian Wald,
Mr. Alexander M. Bing.

Reaching the Architect by Advertising

By Stowe Phelps, A.I. A.

Introductory. This article is written primarily to tell
the advertiser how to reach the architect with his adver-
tising, for that is presumably what he is trying to do when
he sends him catalogues, samples, folders, etc., all of which
have cost considerable money.

No one wants to waste money in his business, so why
waste so much in advertising, which is part of his business ?

In my opinion, about 1 per cent, or possibly 2 per cent,
of the advertising that goes to architects is in good and ef-
fective form, about 25 per cent is fairly good, and the rest
varies from that to nearly zero as regards its value.

The following suggestions are offered only as general
principles, of necessity, and cannot apply to all cases, for
the advertising of a copper nail will naturally be different
from a line of hardware or plumbing fixtures.

The amount of money allotted to advertising will nat-
urally govern the form of advertising, but if proper care
and thought are given a great deal can be accomplished
with a small outlay; certainly a great deal more than is
often accomplished with a large expenditure.

Modifications also may have to be made to reach the
general public, but this article is dealing only with reach-
ing the architect.

Advertising for magazines is quite a different proposi-
tion, and will be mentioned below under a separate heading.

The word catalogue will be used in this ailicle to in-
clude all forms of advertising matter such as pamphlets,
folders, brochures, monographs, reports, etc.

Size. The first thing to decide is the size, which, in
most cases, should not be larger than the standard com-

ARCHITECTURE

mercial letter-paper size (about 8^2 x 11 inches), whether
in book form, pamphlet, or folder. If in folder form, do not
get it too small, as it is easily mislaid or lost. A very con-
venient size is that of the ordinary book, about 5 x 7y
inches or 5^2 x 8 inches.

The size of all advertising of a firm, company, in-
dividual, etc., should always be the same. This refers to
the area of the page and not to the thickness or number
of pages.

Binding. If the thickness of the catalogue approaches
the size of a book, it would be well to consider the advisabil-
ity of binding it in boards, as such a binding will last longer
than a paper binding, though in most cases a heavy paper
binding is all that is necessary.

Serial Advertising. When it is considered advantageous
to send out advertising matter in serial issues, or in separate
folders, at various times, such advertising matter should
be of the same size, each separate issue bound up (and not
folded), and then punched so that they can all be bound to-
gether into one volume as fast as received.

Some firms issue binders to hold their various issues,
which is a very good idea. Such a binder should have the
name of the firm and the name of the article advertised,
trade-mark, etc., on the back, if possible.

Color. The color or colors of the cover of the catalogue
should always be the same.

If colored ink is used for the printing, always keep the
same color.

If more than one color is used, always keep the same
combination of colors.

Can you imagine Woolworth or the United Cigar Stores
Company or Childs' Restaurants painting the outside of
their stores anything but their well-known colors ?

Trade-Marks, etc. Adopt a distinctive trade-mark,
monogram, or device, and put it prominently on the out-
side of the cover where it will easily catch the eye; also on
the back edge of the catalogue if there is room.

The device of the United Cigar Stores is universally
known and recognized.

The name of the article, if it has a name, should be
entirely different from all names of similar articles and short
and easy to remember.

Slogans. Get a good slogan if possible and display
it prominently with the trade-mark or device.

A few years ago it was difficult to say "Good morning"
to a friend without adding: "Have you used Pears' soap?"

Names and Addresses. The article advertised and the
name of the advertiser together with the address should be
plainly printed on the cover, and especially so if no trade-
mark or device is being featured.

If the catalogue is thick enough, be sure and print your
name on the back edge so it will be readily seen when stand-
ing on the shelf; also put on the name of the article adver-
tised, such as "Smith & Jones, Paints & Varnishes," or
"Commonwealth" Ranges, etc.

Numbering Catalogues. Catalogues should be given a
serial number or letter.

It is also advisable to put on the date of issue. Any
possible disadvantages are more than outweighed by the
advantages. ^

Also, this makes it easy to discard the older edition,
thereby oftentimes avoiding mistakes.

Size of Type. The size of type in the body of the
printed matter should be -large enough to be easily read
by the average person.

This applies to all the essential or important informa-
tion and statements.

Footnotes, explanations, and other unessential matter
can go in smaller type.

Arrangement of Printed Matter. This is of the utmost
importance and will, of course, vary greatly with the article
which is being pushed into the limelight.

The general principles of arrangement are as follows:
All information contained in the catalogue should be divided
into subjects and each subject into as many paragraphs
as necessary.

Every subject (and every paragraph, if possible) should
have a heading, title, subheading, etc., printed in bold-face
type or in such other manner as to easily attract attention
and catch the eye, so that it will not be necessary to read
through a paragraph to find out what it is about.

Information can be divided into such subjects as "Con-
struction," "Advantages," "Points of Superiority," "Cost,"
"Covering Capacity," "Uses," "What It Does,""How Used,"
"Architects Who Have Specified It," "Satisfied Owners,"
"Prominent Buildings Where Used," "Guarantee," and
(most important of all, perhaps) "Specifications."

Illustrations, diagrams, etc., are always good, as are
also tables of weights, sizes, capacities, and other informa-
tion which will interest the architect and give him informa-
tion he wants without writing or telephoning for it.

Many architects come from Missouri.

Points of Superiority. The points of superiority, or why
the advertised article is better than similar articles, is a sub-
ject that is seldom developed at all, and in fact is oftentimes
entirely omitted.

Some advertisers seem to shy at this idea on the ground
that they are knocking their competitors, but there is no
reason for this. If your product is superior, don't hesitate
to say so, but also don't fail to state why it is superior.

Guarantees. There is scarcely a word in the English
language that ought to mean so much and in reality means
so little as "Guarantee."

It is probably safe to say that not 1 per cent of the
"Guarantees" amounts to a row of pins from the stand-
point of the architect or of the owner, but perhaps the archi-
tect and the owner are expecting too much.

One common form is, that a manufactured article is
guaranteed to be perfect, and that any defective parts will
be replaced free of cost. This means that the manufacturer
will furnish free of cost a new part, but the owner has to
pay the cost of replacing, so it often happens that while
it may cost the manufacturer a dollar or two, it may cost
the owner fifty or a hundred times as much for replacement.

Under these conditions, what is the real value of the
guarantee ? Virtually nothing. A real guarantee would
include the cost of replacement.

The point is this: If the manufacturer really has faith
in the article he is selling, he ought to stand back of it with
a real guarantee.

Specifications. Specifications are extremely important
and should always be included where possible.

They should be worded in such a way that they can
be copied into the architect's specifications and not in an
indefinite form (as is often done). For example: "In order
to get the best results, Jones Paints should always be specified."

Write the specifications, if possible, so that .they can
be copied into the architect's specifications, and be sure
that they are explicit and complete, so that when the archi-
tect has followed your information there will be no mis-
takes, and nothing left. out which will cause trouble and
very probably an extra.

A method, easy for the architect and therefore excellent
for the advertiser, is to publish a complete specification

ARCHITECTURE

and then explain that all the architect has to do is to say:
"Such and such work is to be done according to 'Jones
Method No. L,' or 'Smith's Standard Specification B,' "
which saves copying a long specification.

Give specifications to cover every possible case.

If the material cannot be used under certain conditions
or in connection with certain other materials, attention
should be called to the fact.

If certain preparation by other trades is required, such
requirements should be carefully and minutely noted.

Samples. While the question of samples for the archi-
tect does not come properly within the scope of this article,
a word may be said in regard to them, as in many cases they
are closely related to the printed advertising.

Every sample should have attached to it securely a
label or tag giving the name and address of the manufac-
turer; also address of the branch office or name and address
of the agent to whom inquiries should be directed, if there
is an agent nearer to the architect than the home office.

The name of the article should be accurately and com-
pletely given, the date, also as much complete information
as possible, including a specification if there is room.

Many samples left in architects' offices are not properly
labelled, with the result that they fail in their mission and
are often thrown away because the architect does not know
what they are or from whom they came.

Telephone Numbers. If there is an agent in a city, the
name of the concern should be listed in the local telephone
directory, and not the name of the agent.

If the John Doe Paint Company of Chicago, for in-
stance, has an agent in New York by the name of Richard
Roe, it is unlikely that the architect will remember Richard
Roe, by name, and the extra cost of listing the John Doe
Paint Company will be money well spent.

Telephone numbers should also be put on letter-heads,
cards of representatives, catalogues, etc., so as to make every-
thing as easy as possible for the architect.

Magazine Advertising. Magazine advertising is very
important and must be carefully planned and studied to
get results.

It is also a difficult problem, as the space is limited in
comparison with a catalogue, and the copy must appeal to
the layman as well as to the architect.

With these limitations and conditions the subject must
be presented on principles entirely different from those de-
scribed above.

The form of the advertisement will vary greatly, de-
pending whether or not it is to appear in an architectural
magazine, where it will be read by the architect as well as the
man on the street, or in the non-technical magazine or paper,
where no attempt can be made to reach the architect as such.

Considering first the architectural magazine; this is
principally read by the architect, so the advertisement must
be prepared primarily for him.

The copy should undoubtedly contain an illustration.

If the subject is difficult or uninteresting to illustrate
(such as a brand of cement or iron pipe or a system of water-
proofing), the best thing to do is to show a picture of some
important or attractive building where the material has
been used.

This will not only catch the eye but will show that
some architect specified it in this building, and it follows
that the name of the building and the names and addresses
of the owner, architect, and contractor should be given.

It would be well to add a short list of about half a dozen
buildings with the names and addresses of owners, archi-
tects, and builders, all of which will show the company the
advertised article keeps. The persons' names can also be
readily referred to if desired.

if the space will permit, further information should be
given; selecting, of course, the most important points.

A short statement of the "Uses," "Costs," "Points of
Superiority," etc., can well be included, for such information
is valuable.

Provided the "Specification" is not too long to insert,
put it in by all means.

When it comes to the non-technical or popular magazine,
it is quite a different story, for here the appeal is to be made
to the layman, whose point of view is very different probably
from that of the architect.

In this case the illustration is still very important, but
its character can perhaps be changed with advantage.

A thirty-story office-building to show where a par-
ticular make of radiator was used will catch the eye of the
architect, but for the general public (which means both men
and women) a little "human interest stuff" (as the news re-
porters call it) should be introduced and a picture of the
happy family, father, mother, and the curly headed chil-
dren, all basking in the warmth of the above-mentioned
radiator, with a raging blizzard visible through the window,
will be much more effective than the office-building.

After this, if space permits, put in general information
about "Uses," "Costs," "Points of Superiority," etc., but
worded to mean something to the average intellect.

In Conclusion. The above remarks may be summed
up as follows:

Make things as complete and explicit and easy for the
architect as possible by making your advertising in the
architectural magazines clear and definite and attractive
and your catalogues of convenient size, easily recognizable,
full of exact information well arranged. In this way you
will reach the architect and then let nature take its course.

Modern Building Superintendence

By David B. Emerson

CHAPTER IX
BANK VAULTS AND FIXTURES

WHILE the work which has been described in the pre-
ceding chapters was going on, the work of installing
the bank vaults, counters, and screens was progressing
rapidly. The concrete foundations and walls of the safe-
deposit and bank vaults was poured with the other con-

crete. The vaults were designed by a vault engineer, and
the construction was superintended by him, but in his
absence we were intrusted with the supervision of the work,
and acted in concert with him at all times. The walls, floors,
and roof of the vaults were constructed of concrete, with

ARCHITECTURE

rail reinforcement, as described in Chapter II. It was in-
tended to render the vault as nearly fire, burglar, and mob
proof as was possible.

In the larger cities the danger from burglars has been
reduced to a minimum by efficient police protection and
private watch systems. Also, the famous old-time cracks-
men of the "Shang" Draper and "Jimmie" Hope type
have been entirely supplanted by the "yegg," who preys
upon the small-town banks, so that the greatest danger which
may have to be combated in any of the larger cities is the
one of mob violence, more than that of the night prowlers,
so that the vaults must be made to withstand all manner
of onslaughts by high explosives, drilling, the oxyacetylene
blast, blau-gas cutter burner, or the electric arc, which may
any one or more be used. And, although the burglar risk
is reduced greatly, still "eternal vigilance is the price of
safety"; and burglaries still continue to occur in all of the
larger cities, and corporations and firms handling large sums
of money have their safes blown open, or ripped open, quite
regularly between Saturday night and Monday morning,
so bank equipment must still be calculated to withstand
the attack of burglars as well as that of the mob.

The vaults were lined on all four sides and the top
and bottom with plates four inches thick, made up of layers
of electric-furnace abrasive grains, combined with iron, which
had been proven to be as nearly drill and cutter burner proof
as any material could be, having a greater resistance than
laminated plates, or any other form of lining at present
known. The doors were single straight flange doors, thirty
inches thick. The joints between the door and the jambs
were carefully and accurately ground, so as to make a posi~
tive mechanical seal. The doors were built up of a composite
construction. The outer shell was of cast low steel, inside
of which was a concrete section, which was reinforced with
jail rods, which' were saw-proof and file-proof. The bars
were set both horizontally and vertically, four rows of bars
being used. Inside of this was a six-inch tool and cutter
burner, resisting plate, of the same material as was used
for the lining of the vaults. This plate had a one-inch layer
of one-half inch abrasive grains on each face, and a two-inch
layer of one-inch grains through the middle. On the inside
of this section was a facing of laminated steel construction
on which was mounted the cast steel bolt frame, the bolt
mechanism, and the time locks, which were located in a
centre drum, housed in a steel case, and having a cover door.
The doors were hung on crane hinges, with wheel-operated-
pressure mechanism.

The combination locks and the bolt-throwing mechan-
ism was located on the jambs of the doors. All of the mech-
anism, bolts, etc., was draw-filed steel. The combination-
lock dial was set on the pressure mechanism housing on
the door-jamb, and had a steel cylinder set anglewise and
provided with an oval glass window, set eight inches from
the illuminated stationary dial, provided with two revolv-
ing pointers, each of which was connected with the com-
bination locks.

Lowering platforms with controlling hand-wheels were
placed in front of the doors, so that a level passage could
be had into the vaults. The vaults were also provided with
emergency doors of a smaller size, but of equally efficient
construction, which were to be used in case of lock-ins or
other emergencies, but in no way affecting the security of
the vaults. The bank vault was fitted up with steel security
and coin lockers, with steel doors fitted with two combination
locks. The safe-deposit vault was fitted up with safe-deposit
boxes, the minimum size having a unit width of five and one-
half inches and an outside depth of twenty-six inches.

The boxes were fitted with locks which were provided
with a guard key, which was in charge of the custodian,
and was common to all of the locks in a series; each lock
also had its individual key, which fitted only its own lock,
and differed from every other key in the series, these keys
being known as the change keys. Before the change key
could be inserted, or used in its lock, the guard mechanism
had to be unlocked by means of the guard key in charge
of the custodian. The safe-deposit vault was provided with
a bronze day gate, which -had a latch lock which could be
opened only by means of a key.

A bed of cement mortar one inch thick, trowel-smoothed,
was laid over the floors of the vaults. On this was laid a
finished floor of cork tile six inches by twelve inches, one-
half inch thick. On account of its resilient quality, and
its comparative noiselessness, this makes an admirable floor
for vaults. The vaults were wired for lighting, telephone,
and electric fans, all of the wiring being permanent and
built into the walls, floor, and ceiling as the vaults were
being constructed.

Both the public and the intercommunicating telephones
were connected with the interior of the vaults, so that direct
communication could be had with the outside by any one
locked in. Safe-deposit vault had a switch in the vestibule,
with momentary contact button, actuating the automatic
switch; also, the vaults were provided with receptacles
for attaching portable lights, and they had continuous burn-
ing night-lights for emergencies. As an extra precaution,
the vaults were wired for an electric alarm system. The
four side-walls, the floors, and the roofs of the vaults were
surrounded with lead-covered cables, spaced four inches
apart, and run both longitudinally and transversely, and
terminating in a junction box, which connected with a con-
duit which ran to the telephone service, to be connected
with the police signal system.

A system of panelled doors, similarly wired, were in-
stalled on either side of the vault doors, closing over them,
and protecting them. This system was on a closed circuit
and the breaking or cutting of any one of the wires would
give an alarm. The wiring was covered over with marble
panelling, which was set so that it was easily accessible in
case of repairs, which might be made necessary by any break
in the system.

The counter fronts were built up to the level of the
counter tops with walls of hollow tile four inches thick. In
these walls were set steel angle standards, which were securely
bolted to the floors, and which formed a rigid support for
the bronze screenwork, which was above the counters. The
outside face of the counters was faced up with marble, with
moulded base course and cap mould, all anchored back to
the tile walls by means of brass-wire anchors. The marble
which was used above the base was Italian Pavanozza. On
account of the extremely fragile character of this marble,
all of the slabs were backed up with slabs of hard, sound,
cheap marble, the backing and the face being set together
with plaster of Paris, which insured a perfect adhesion be-
tween the two slabs. We examined all pieces of marble to
see that no fractured pieces were used, and that none of
the pieces were dowelled along the line of a fracture, which
is sometimes done with this marble.

The screenwork above the counter tops was of bronze
and plate glass. The pilasters, cornice, frames, grills, and
wickets at the various windows were of cast and wrought
bronze. A continuous reflector which was set in a drawn
bronze frame ran around the inner side of the cornice, form-
ing the finish. The reflectors were carried along the tops

(Continued on page 158.)

156

ARCHITECTURE

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ARCHITECTURE

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158

ARCHITECTURE

(Continued from page 155.)

of the partition screens, and formed a cornice over them,
giving light to the desks on both sides. The backing of all
the screenwork and the cap plates of all the partitions was
number-sixteen-gauge cold-drawn bronze; all of the bronze-
work in the screens was the highest class architectural bronze.
All of the ornamental work was cast from carefully modelled
patterns; where five or more castings were to be made from
the patterns, metal master patterns were used. These pat-
terns were cast from the plastic models, and were then finished
by hand-chasing. Where not more than four reproductions
were to be made from a pattern, the moulds were made di-
rectly from the plastic model.

All of the castings were rechased from a chased master
pattern. All of the exposed surfaces of the moulded and
plain work had the fire skin removed by filing or grinding,
and brought to a true surface and finished with a draw file
ready for coloring. All of the bronzework was put together
in a most approved manner, by means of concealed screws
and rivets. All of the framing, blocking, reinforcements,
screws, and connections were of bronze, or other non-rusting
alloy, and where the bronzework was attached to the steel
framing, it was bushed with bronze or copper, and the con-
nections were made by means of bronze bolts and rivets.
No work the face of which formed a finished surface was
allowed to come in contact with the steel framing. All of
the steel framing was painted two good coats of graphite
paint before the bronzework was erected.

All of the glass used in the screens was a non-shattering
glass, which was made up of two pieces of polished plate
glass, with a sheet of celluloid between them and welded
together under a high temperature and a tremendous pres-
sure. This glass will not shatter or fly when struck by any
ordinary missile, strong impacts merely causing a multi-

tude of hairhke cracks, but no breaks or flying splinters.
The glass was held in place by means of stops formed of
rolled-bronze channels, held in place by means of oval-headed
bronze machine-screws.

The tellers' cages were framed up of bronze tubing,
one and one-half inches square at the angles and corners,
with roof framing of three-eighths-inch by two-and-one-
half-inch bronze bars; the panels were filled with one-and-
one-half-inch mesh. The finishing of the bronzework was
done by first cleaning it by dipping in a solution of sulphuric
acid and water, then washing thoroughly, and oxidizing
with a solution of sulphate of ammonia, and rubbing it down
to an even color with pumice-stone, and finally given one
coat of white wax, thinly and evenly brushed on.

The tops of all of the counters were formed of two-inch-
thick slabs of structural glass, making a smooth, impervious
surface. The space under the counters was filled in with
drawers and lockers made up of furniture-stock sheet steel,
finished in enamel. The drawers had slides with antifric-
tion-bearing surfaces, and all of the cases were completely
closed at the bottom with steel shelves to keep out mice
and vermin. All of the desks, filing-cases, etc., were made
up of sheet steel in the same manner. The dressing-rooms
for the clerks and the officials were fitted up with steel ward-
robes provided with hat-shelves, bronze coat-hooks, um-
brella-holders, and drip-pans.

With the installation of the lighting fixtures, which
were of bronze of an ornate character, the work of fitting
up the banking-room was completed, except for the installing
of the movable furniture and the rugs in the president's
and directors' rooms, and the rooms for the women custom-
ers, which does not come in the construction, so need not
be described.

Announcements

Roger C. M. Carl has opened an office for the practice
of architecture at 1012 Murchesin Bank Building, Wil-
mington, Delaware, and would be pleased to receive manu-
facturers' samples and catalogues.

Lewis H. Bacon, architect, announces the removal
of his office from 50 Bromfield Street to Rooms 521-522
Walker Building, 120 Boylston Street, Boston. Telephone
changed to Beach 6768.

C. E. Schermerhorn, architect, member American
Institute of Architects, 430 Walnut Street, Philadelphia,
Pa., announces resumption of practice, having completed
his services with Military Intelligence Section, Plant Pro-
tection Division, General Staff Corps, United States Army.

Rudolph E. Lee, A.I.A., of Clemson College, S. C.,
T. A. MacEwan, of Pittsburg, Pa., and A. R. Turnbull, of
Charlotte, N. C., have opened an office at 1214 Realty
Building, Charlotte, N. C., under the firm name of Lee,
MacEwan and Turnbull, for the practice of architecture and
engineering. A. R. Turnbull is the business manager of the
firm, and they will be glad to receive manufacturers' samples
and catalogues.

We note with regret the death, on March 31, of Mr.
Louis M. Even, who was well known to the architectural
profession as a sculptor and modeller. His marked skill and
acknowledged ability, his devotion to his work, and his en-
gaging personality had secured for him many friends among
the architects.

Rayburn S. Webb, formerly of the firm of ParlowcS
W 7 ebb, architects, Cape Girardeau, Mo., announces the open-
ing of an office for the general practice of architecture at
Room 519 Himmelberger-Harrison Building, Cape Girar-
deau, Mo. Manufacturers' catalogues and samples are re-
quested.

Mr. Ralph Mornington Weinrichter, F.A.S.L.A., land-
scape architect, of Rochester, N. Y., takes pleasure in an-
nouncing the opening of a New York office at No. 10 East
43d Street.

Fulton & Taylor and Paul T. Cahill desire to announce
the formation of a new partnership, Fulton, Taylor &
Cahill, architects, and the removal of their office after
April 1, 1920, from 631 Hippodrome Building to 8120 Euclid
Avenue, Cleveland, Ohio.

Messrs. Edward C. Van Leyen and Edward A. Schilling,
architects, Henry J. Keough and Robert A. Reynolds, en-
gineers, wish to announce that they have associated under
the firm name of Van Leyen, Schilling, Keough and Rey-
nolds for the purpose of supplying at the least cost complete
service in architecture, engineering, and supervision, and to
further announce the removal of their offices from the Union
Trust Building to 556 Cass Avenue, Detroit, Mich.

C. P. H. Gilbert, architect, announces the removal of
his offices to the Metropolitan Tower, 1 Madison Avenue,
New York.

ARCHITECTURE

Frederick G. Frost, architect, 19 West 44th Street,
has removed to 144 East 54th Street, New York.

Harry Leslie Walker, architect, announces the removal
of his offices from 19 West 44th Street to 144 East 54th
Street, New York City.

The death is announced of Miss Eliza Codd, architect,
at Nantucket, Mass., on Easter Sunday, 1920.

A group of architects have rented the building at 27
East 40th Street, New York, which has been remodelled for
architects' studios. The following architects have taken
spaces in the building: Eugene J. Lang, Harry St. Clair
Zogbaum, A. Wallace McCrea, Arthur Loomis Harmon,
E. F. Murgatroyd, Wm. F. Dominick, and Donald P. Hart.

IMPORTANT COMBINATION OF Two LARGE ENGINEERING AND
CONSTRUCTION COMPANIES WESTINGHOUSE, CHURCH,
KERR & Co., INC., AND DWIGHT P. ROBINSON & Co.,
INC., ARE MERGED NEW COMPANY TO BE CALLED
DWIGHT P. ROBINSON & Co., INC.

Of general interest is the combination recently an-
nounced of the organizations of Westinghouse, Church,
Kerr & Co., Inc., engineers and constructors, New York,
and Dwight P. Robinson & Co., Inc., constructing and con-
sulting engineers, of New York.

The new company will be called Dwight P. Robinson
and Company, Inc., and will occupy executive offices at 61
Broadway, and engineering and designing offices in the Grand
Central Palace, 125 East 46th Street, New York.

The Eleventh Annual Convention of the American

Federation of Arts at the Metropolitan

Museum of Art

A GOOD sign of progress in our land is the concrete evi-
dence of the work of that live, hard-working art or-
ganization the American Federation of Arts, which holds
its annual convention in New York at the invitation of the
Metropolitan Museum of Art, which celebrates its own golden
anniversary this' year. For eleven years this national soci-
ety, consisting of two hundred and twenty-four affiliated
chapters in forty States, besides thousands of individual
members, has been building up a reputation for solid service
along lines of great value to the American people.

This year's convention, of which all sessions are public,
will be held May 19 to 21. There will be two sessions May
19. In the morning President de Forest will deliver the
opening address and reports of the secretary and treasurer
will be heard. Vice-President Hutchinson will speak of the
extension work of the Federation; Francis C. Jones will lead
discussion on "Travelling Exhibitions," which constitute
an important part of the Federation's work, and Allen
Eaton, field secretary, will discuss the Federation's new ven-
ture under the slogan "Art in the Home," now applied to a
group of exhibitions of prints and photographs for home
decoration but later to be extended to other fields.

The Federation works for better art education, uniform
art legislation, establishment of competent art commissions;

it supplies art information and study courses. It has thrown
its weight in favor of the rapidly growing movement toward
industrial arts design worthy of the stamp "Made in the
U. S. A."

To advance these many lines of usefulness the Federa-
tion counts upon the services of many public-spirited men
and women. Its president is Robert W. de Forest, who is
also president of the Metropolitan Museum of Art. Its
first vice-president is Charles L. Hutchinson, who is presi-
dent of the Chicago Art Institute; while Charles D. Norton,
vice-president of the First National Bank in New York, is
its treasurer. The board of directors includes men and
women of like importance from a number of cities in various
parts of the country, from St. Paul to Santa Fe, from San
Francisco to Savannah.

Some of the things the Federation does: Sends out
travelling exhibitions selected by experts. Circulates il-
lustrated lectures by authoritative writers. Publishes a
monthly illustrated magazine (The American Magazine of
Art). Issues a yearly art directory (The American Art An-
nual). Conducts a campaign for better war memorials.
Holds annual conventions. Serves as a national art clear-
ing-house. Supplies art information, study courses, etc.
Aids in establishing art commissions.

jinn

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iiiiiiiiiiiiiiiiMiiiiiiM niiiiii i mimimimiiiiim iiimiimiinm IIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIL

The Pennsylvania Academy
of the Fine Arts

The Oldest Art School in America

Summer School at Chester Springs,
Chester Co., Pa.

Open-air instruction. High, rolling land. Beau- 1
tiful and historic scenery. Tennis courts, cro-
quet grounds, etc. Board (including tuition),
f 12.50 per week and upwards. Open Now. No
student, without special permission, will be ac-
cepted for less than two weeks. Send for cir- |
cular. Reference required.

Resident Manager, D. ROY MILLER
Chester Springs, Box B Chester County, Pa.

MlilliiiliiiiiiiriiiMiiin I I lllllll MIIIIIIMIIMIIIIIII mimiiinim , n,

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ARCHITECTURE

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/Vow a drawing by David Varon.

ARCHITECTVRE

THE PROFESSIONAL ARCHITECTVRAL MONTHLY

VOL. XLI JVNE, 1920 NO. 6

iwayi^

The Certosa of Pavia

By Frank Jewett Mather, Jr.

THE Certosa of Pavia lies vacant and solitary in the
endless Lombard plain. From afar one sees the light
arcades of the octagon drawing in tier by tier to uphold the
slender lantern, but the rest of the big monastic pile squats
sullenly behind its walls, as if it renounced its site and sur-
roundings. And
this forbidding
quality persists
even when one en-
ters the close. This
Carthusian abbey
has nothing of the
pathos of a dead
building giving it-
self back to the soil
under the influence
of sun, wind, and
rain; it displays
instead the aggres-
sive spick-and-
spanness of a well-
kept national
monument. Have
you ever seen a
bedizened Pharaoh
exposed in a muse-
um, mortal but
hopelessly incor-
ruptible, a butt for
the chatter of
guides and tour-
ists ? That is the
plight of the Cer-
tosa of Pavia.

Such it was, for, incredible as was the elaborateness of
this design, it was promptly outbid by the terra-cottas of the
great cloister. By the simple expedient of alternating white
columns with rose-colored, and enlarging the tiny caryatids
to nearly life size, a new note of color and a whole battalion
of imposing effigies were obtained. And then both cloisters
were outdone in marble on the fa9ade, where for the space
of two generations Gian Galeazzo's money was cheerfully
chipped away.

I have no wish to follow the story through the building,
or rather the embellishment, of this front. Three better
designs had been considered and rejected before it was com-
mitted to the Amadeo and Mantegazza families, shrewd
artisans who had come to the Certosa in the humble capacity
of stone-cutters and had grown up with the building. They

That fair but false miracle, the facade.

knew a good job and according to their lights tried to give
a good money's worth. Wherever a bas-relief or a statue
might be put they put one or several. The facade blossomed
into profane effigies and sacred stories, as the routine im-
agination of the monks directed the chisels of the master

workmen. In the
borders, capitals,
columns, bases,
sills, and buttresses
they lavished an
invention always
ingenious, and
sometimes exqui-
site in its over-
blown fashion.
Considered as so
much mellowed
and corrugated
marble, it is very
beautiful, especial-
ly as glimpsed from
the outer portal.
But it exercises,
after all, merely the
charm of fancifully
intricate workman-
ship. It goes with
carved cherry-
stones, or, more
amiably, with the
frost crystals on
the window-pane.
Borgognone, after
the first architects

the single fine and restraining influence in the enterprise, is
supposed to have had a hand in the riot of stone-cutting he
surely must have disapproved. One is tempted to credit him
with some of the charming decorations that ripple about the
windows, and we perhaps have better warrant for believing
that he designed the bas-reliefs of the entrance, depicting the
founding of the Certosa by Gian Galeazzo and the transporta-
tion thither of his body. In any case, these st;ories, with
their exquisite setting of biblical subjects in a trellis, sur-
pass anything we have from the stolid talents that con-
trived the rest of the front. On the whole, one shares
Erasmus's lack of patriotism. Indeed, even the enthusiasm
of the monks gave out after a time, and they hastily finished
the half-done task byembedding the left-over bits of sculpture
in the papery panels above.

161

162

ARCHITECTURE

Gian Galeazzo laying the first stone, August 28, 1396, of the church portal, executed about a century
later. The design is ascribed to Ambrogio Borgognone.

Had the Carthusians rested there, one would feel more
kindly toward them. But they merely arrested the upcreep
of sculpture on the fa$ade to start a fury
of decoration in the side chapels within.
These quiet recesses, which at the best
had been tastefully decorated by painters
of the early Renaissance, and at the worst
remained in seemly rough cast, were with
a few blessed exceptions to be turned
over to the sugariest and most flamboyant
artists of the baroque period. A tedious
Pavian family named Sacchi, whose forte
was transposing embroidery designs into
semiprecious stones, was to succeed to
the Mantegazzas and Amadeos. Of all
this work there is little left to be enjoyed
except the admirable gratings and occa-
sional fine bronzes. Metal seems anti-
septic. In periods of decline, the art of
the smith retains something of primitive
vigor, and possibly one might best illus-
trate the true continuity of art by stick-
ing to iron and bronze. As for the
chapels, about the best one can say is
that the architectural arrangement hap-
pily conceals them, and that the founder
would probably have approved heartily
of their over-decoration.

It may seem that one does Gian

Galeazzo an injustice in holding him responsible for
the extravagances he did not live to witness. But
study his face as it meets you in the outer portal, in
the lovely reliefs of the entrance, over the door of
the old sacristy, high up in Borgognone's fresco,
in miniatured choir books, and over the exit to the
cloister where at last you shake him off and you
will find that these many portraitists have united in
one, and not an agreeable, interpretation. The fore-
head projects in a keen ridge over the full orbits,
only to recede unpleasantly under the long hair
brushed straight down the temples. Beneath the
inquisitive and acquisitive nose the smooth-shaven
lips are firmly set. The chin protrudes stubbornly
an effect exaggerated by a wisp of pointed beard,
but this impression of power is somewhat cheapened
by the grossness of the pendulous double chin. In
all these portraits there is an incongruous hint of
the devilish sly Yankee deacon of caricature, but the
large eye, with its massively cut socket and lid, tells
quite another story of passions, or at least of indul-
gences, more rightly to be associated with the Mother
Church than -with the meeting-house.

Here, unless his features belie him, was a man
not given to fastidiousness. In honoring his memory
with a magnificent church, that was mostly a dec-
orator's church, the monks did about what he
would have done himself. They wanted, as he would
have wanted, something more dazzling and costly
than Lombardy had yet seen, and the Mantegazzas
and Amadeos were precisely the men to enlarge
upon such instructions. It all corresponded to the
dynastic ambitions of the donor. In the few years
between the Duchess Caterina's vow and the laying
of the first stone in 1496 his intentions for the Certosa
were growing rankly. Toward the last actual delu-
sions of greatness seem to have centred about the

temple, or rather the pit that represented it. In his im-.

agination it rose no longer a simple memorial to Caterina-or

The Certosa of Pavia seen from behind.

ARCHITECTURE

163

The facade capitals with entablature and cornice.

an offering to Our Lady, but a mausoleum for the
dynasty he believed he had founded. Gian Galeazzo
entertained kingly ambitions, and with a certain
warrant, for kings craved his alliance, and his
domain had stretched to Sienna and Spoleto, en-
veloping redoubtable Florence. The regalia had
been ordered, so the chronicler Poggio tells us,
when Gian Galeazzo fled from the plague at Pavia,
only to die at Melagnano in September, 1402, in his
fifty-second year. Seven years earlier he had
ordered his tomb at the Certosa in royal state. At
Milan he had treacherously slain his uncle Bernabo,
co-heir of Lombardy, so he preferred to lie rather
in the abbey that was to rise near Pavia than in
the great white cathedral that already towered
above the scene of his foulest usurpation.

So he commanded "a marble chair nine steps
high to be built behind the high altar, and on that
chair to be cut the figure and effigy of this testator,
as seemly as may be in marble, the ducal form and
costume, in and under this chair a marble sarcoph-
agus ... in which the body and heart shall be
buried and concealed." Having provided for his
own splendid sepulchre, he ordered as well on his
right a tomb and effigy for his first wife Isabella, and
on the left similar honors for his second wife Cate-
rina, their offspring to be buried in the order thus
established for the entire line of Visconti.

You may seek in vain for the towering throne
and ducal image behind the high altar; you shall
find in the Certosa neither the grave of Isabella nor
of Caterina. It was seventy years before the body
of Gian Galeazzo lay in the church in a kind of
makeshift state. It had passed from the Abbey of
Viboldone, where the first masses were sung, to the
Cathedral of Milan, where the draped coffin hung in
the choir arch for a generation. It approached its

last resting-place by way of the venerable church of S. Pietro in
Ciel d'Oro at Pavia, and was fairly forced into the Certosa by
the indignant urgings of a descendant, Galeazzo Maria Sforza. For
a time it lay behind the high altar, indeed, but surmounted not by
the throned figure required in the will. An equestrian portrait,
presumably made for another purpose, guarded the coffin when
the gossiping Commines saw, and, he assures us, smelled, the
bones of Gian Galeazzo. Later they were relegated to the right
transept, in contravention of his wish, and enclosed in the fine
tomb which we still see, and it has been twice violated. His wish
that the Certosa should be the mausoleum of the Visconti is
fulfilled most imperfectly by the lovely cenotaph of Lodovico il
Moro and his wife Beatrice d'Este. For if Lodovico was remotely
of Gian Galeazzo's blood, the Sforzas had in turn usurped the
Lombard state.

If I have recounted perhaps at undue length these disregarded
ambitions of the founder and the odyssey of his mortal remains,
it is because in a manner these facts explain the somewhat com-
posite and inharmonious nature of the Certosa itself, and because
they go far toward answering Erasmus's query as to the sense of
it all. We have seen that it quickly outgrew its finer and simpler
origins in the zeal of a monk and the fears of a godly woman, and
came to express mainly the pride of a prince, inherited and en-
hanced by many generations of too prosperous monks. Its his-
tory, or absence of history, betrays the barrenness of such a
foundation. Let us trust that after a reasonable interval of in-
tercession the soul of Gian Galeazzo was in a position to face St.
Peter; his lands and money, so far as the annals show, were less
productive of piety and scholarship than so shrewd a dealer in
futures had reason to expect. It is part of the divine irrelevance

A window of the facade.

164

ARCHITECTURE

St. Ambrose enthroned, with four I,ombard saints, by Ambrogio Borgognonc.

Tomb of the founder, Gian Galeazzo.

of art to convert to finer purposes the narrow designs of
donors and patrons. If the Certosa is something better
than a museum of Renaissance decoration, if one still finds
in it a higher pleasure than one gets from the picturesque,
or from sentimental reconstruction of the princely life of
the monks, it is because the work enlisted at least one ex-
quisite artist, Ambrogio Borgognone, and something of fine
original purpose persisted through all changes. The temple
itself has never quite forgotten that it must symbolize the
beauty and simplicity of holiness. We know the names
of the three architects who drew the plans, Bernard of
Venice, Giacomo da Campione, and Cristoforo Beltramo,
but we may only surmise who it was that gave this, almost
the last of Lombard Gothic churches, the form it still re-
tains. One likes to think that Stefano Macone, who had
inspired the Duchess Caterina's vow, may have had a voice
in the matter. In any case, when work was resumed on the
old foundations after a lapse of fifty years, an aged archi-
tect, Cristoforo da Conigo, who had been present at the lay-
ing of the first stone fifty-six years earlier, was called in to
advise the new architect, Giovanni Solario. We may sup-
pose that this single survivor of the Gothic beginnings saw
to it that they should be respected by these builders of the
classic revival. Only through some such piously conserva-
tive influence could a building of the Renaissance remain
so loyally Gothic in spirit.

Without the touch of Ambrogio Borgognone the Cer-

(To be

tosa would be merely one of many fine Lombard interiors,
notable for the light spring of its massive vaults, for .tRe
beauty of its painted windows, but, after all, the counter-
part of dozens of churches of the plain. It remained for
Borgognone to lend it a peculiar decorative elegance which
dignifies it not merely among Italian churches but also
among those of Europe. He came to the work in 1490,
and while the journeymen sculptors outside were chiselling
the fa?ade like a sugar-cake, he and his brother Bernardino
were drawing delicate borders along the stout vaulting ribs,
crowning the main arches and wreathing the little chapel
arcade with similar patterns everywhere imposing upon
the roseate brown of the interior a celestial hint of blue. In
the vaults they dared more, raising the pale tone to a vivid,
and near the crossing, where the eye rests, tracing a simple
geometrical pattern. In the transept again they stretched
the blue behind the two apsidal groups of Viscontis and
Sforzas who kneel by the Virgin's throne, proudly, as- great
lords may before so great a lady. On the transept walls
they set graceful whorls of ribbon against the blue, and up
and down the nave above the piers they placed medallions
apparently opening to the sky, to bind the azure of the ceiling
in with that of the two ranges of supporting arches. Thus
they decked the abbey discreetly in the Virgin's color, mod-
estly, as should be adorned the lady of the land, while
outside the sculptors were providing it with a stone breast-
plate more ornate even than a Milanese corselet of the time.

continued.)

For the Student of Architecture

By David Varon

Author of " Indication in Architectural Design "

BEFORE taking up the study of architecture one should
feel the calling, else it is no use starting. For archi-
tecture is an art, and while one may guide an art-student's
efforts, one can hardly do more than to instil in him the
enthusiasm which belongs truly only to those who feel the
calling of the profession.

Once there is started the sacred fire of love for an ideal
and the desire to express it in architectural forms, the stu-
dent can be helped to find the way toward practical archi-
tectural design.

What is commonly termed the appreciation of archi-
tecture is mainly associated with the laymen and he should
be encouraged in his patronizing of art or architecture by
a genuine love for them. It seems to be incumbent upon
the architect to help to further the educational work so
essential in bringing up the masses to the realization of what
a real work of art is, which is a hard enough thing to do
when dealing with sculpture aad painting, but how much
harder with architecture.

The commonest way of reaching the stage of good de-
sign is not unlike that of good writing. First comes the
vocabulary, then the forming of phrases, paragraphs, and
chapters, finally treatises and books. The process is also
about the same in the cultivation of the other arts. But
while one may learn correct use of English, and clearness in
the study of grammar, one will never find in it inspiration.
And this is what gives a soul to a creation. A masterpiece
of painting is, as well as sculpture, the expression of an idea
in terms comprehensible to the public at large. It is to
learn the interpretation of great ideas in a natural yet dis-
tinguished manner that keeps students for years in search
of master works, comparing them to their surroundings and
analyzing the qualities which give each work its attraction.
It is in this same manner that the architects of the Renais-
sance studied Roman antiques with a desire not to copy, but
to receive inspiration.

Not only is there similarity in the process of studying
the various arts, and architecture, but they all tend to
express more or less the same feelings or moods in different
manners. And he can best say he is thoroughly familiar
with one particular mood or expression in architecture,
when he appreciates the corresponding one in one of the arts.
It is well to remember that in the time of the Renaissance,
architects were nearly always painters as well as sculptors.

The above points the way to proficient study. First,
we must see types of structures, edifices of the same family
treated in about the same manner, then go over edifices of
another class. From the mere comparison of these analogies
and contrasts will come forth a fertile teaching.

All this can be done in one way: observation, which will
be greatly helped by drawing from the work itself with en-
thusiasm not only for the details, but especially for their
distribution on the main lines. The* mechanical reproduc-
tions of proportions and details may give an idea of camera
resemblance, but never the artistic impression that results
from just a few strokes of properly selected elements in the
right proportions.

Drawing, more drawing, and constant drawing, is the
essential to make the qualities of a good analyst first, and,
next, a designer. The latter will find interest before a

mere enclosure wall with its gate like those we meet in
Italian villas as much as in the most gorgeous monument,
and it will help develop a sense of fitness and of measure,
in a word of harmony.

Nature will teach us more than one lesson of architec-
ture whether it be by the differentiation of species in animals
and plants or by showing us in a striking man-
ner the difference between beings and plants THE STUDY
created for a definite constructive purpose; OF NATURE
some requiring adequate equipment, prohibit-
ing purely ornamental accessory and, on the other hand,
species whose unique purpose seems to be the charming of
the eye or the ear as flowers and ornamental trees, song and
plumage in birds, etc.

Many a modern artist has gone to nature not only to
get some ideas, but direct inspiration. Not long since one
of them, Binet, made special studies of aquatic creations
and applied his observations in a very decorative manner
in his architectural ornamentations.

The study of nature is the one thing in which a true
lover of art should be indefatigable. He will see in the tini-
est and simplest as well as the most complex plant or animal,
a programme of nature solved in a clear, definite manner.
Our inspiration will be greatly helped through an understand-
ing of the relation between the animal or plant and its func-
tion.

Whether we can explain the place occupied by the wood-
pecker or the warbler in creation, it matters comparatively
little once we notice the change in physical appearances
correspond to functional differences. The existence of the
peacock is a pretty clear demonstration of the need of purely
aesthetic beauty in the world. On the other hand, other
species show the idea of service stretched to its limits. But
with a few exceptions, we find in creation almost every-
where a touch of grace. This is the great lesson for us, that
no matter how utilitarian our programme be we ought to
instil in it a touch of beauty, be it in shape, in line, or in
color, according to the case, and take advantage of every
possibility to do so. Furthermore, we will find that in many
cases what is thought to be a superimposed element, beauty,
is merely dictated by necessity, order, safety, protection of
the structure itself.

It is such a moral help to find in nature, the ocean of
great inspiration constantly working for us, constantly re-
juvenating itself. The study of nature and man helped the
Greeks to foster their architecture, and to be thoroughly
understood it ought to be seen under this light. The natural
inference of this is that we ought to draw from life, nature,
and architecture simultaneously, so as to understand and
appreciate better all of them.

The beginning of real architectural design is not to be
found in the work done with dividers and all sorts of instru-
ments, but in free-hand drawing from a
well-liked feature. Those efforts are most THE VALUE OF
fertile in results which are exerted before FREE-HAND
the masterpiece in an attempt to reproduce DRAWING
free-hand the best qualities of the model.
Many will be the stumblings, but as many times the student
will pick up his courage and at last triumph over all the
difficulties.

165

1 66

ARCHITECTURE

To the true lover of architecture there is hardly need
to urge the amount of time he should devote to drawing for
he will be doing that all the time almost unconsciously, prac-
tising not only from the model, as a pianist from his notes,
but trying himself at memory work. Students who have
practised long enough reach the point where they can re-
produce pretty faithfully a well-known edifice or architec-
tural composition from memory. We can see no reason why
it should be different in our art than in other arts or litera-
ture. Macaulay is said to have been able to memorize
"Paradise Lost" and many other long poems.

The advantage of this memorizing work is self-evident
especially when it has been assimilated, which cannot be
without a thorough analysis going to the very core of the
compositions, to the very principles embodying their beauty.
It is a blessing to be able to carry faithful memory impres-
sions, and to sift them in the light of art, analyzing in leisure
moments the merits or demerits of such and such a composi-
tion in the whole or in details. What Macaulay did for
literature we ought, each one of us, endeavor to do for our
art, first for the pure enjoyment of it, and then for the profit
ensuing from it. It is like supplying the brain with ines-
timable stores of ideas in which you may delve at your
leisure, and nothing helps better to do this than drawing
after deep scrutiny.

It is obvious that the mere camera eye will not be able
to fix alone the feature in the mind. Historical facts will
give it much strength and the observations made by the
student, the relations which he may establish between each
feature and some outer fact, will still more favor the fixing
of the impression on the brain.

In this respect the good instructor is the one who can
give the student the key to the secret of studying by himself.
No matter how valuable the instructor's work is in helping
us, it is by our own efforts that we advance, if we do not
become too well satisfied with what we have done. The
real beginning of our achievement is when we can ourselves
see our shortcomings and be ready to profit by intelligent
criticism.

Memorizing is not to be encouraged for mere copying
purposes. A true artist will never indulge in such practice,
but only for reference and inspiration.

It is self-evident too that it is best for the student-
architect to do this work in the light of the science of corv-
struction. He will thus learn to discern between what is
purely architectonic and what is architectural. The former
owes its merits to merely well-proportioned structural ele-
ments; while the latter sometimes adds additional elements,

symbolical or decorative ornaments, either to perpetuate
some tradition or to commemorate a new deed. For in-
stance, the architectonic beauty of a vaulted ceiling consists
of the emphasis of its structural elements leading to coffers,
ribs, etc., confining itself strictly to the main organs of the
structure, whereas the architectural beauty will come out of
an attempt of the artist to take advantage of the possibility of
the structure to extend its effector to give a structural element
a decorative function to fulfil. Such for instance as detached
columns supporting a statue or an ornament. To what
extent and in what way this can be done successfully with-
out violating the very fundamental principles of architecture,
a comparative work between various masterpieces may
determine. The works of many thinkers and critics cannot
be ignored, especially since their endeavors tend to retrieve
the art of architectural design which now and then falls so
low that the public begin to doubt whether architecture is
an art at all. Most interesting of all it is to find out how
merely structural forms assume a sculptural character. Such
is the impressive Greek Doric cap, the ribs in the so-called
Gothic architecture, romanesque caps, etc., in fact most
structural elements of the Gothic architecture are vested
with architectonic beauty. Prominent among them all are
the Greek coffers in their temples and the Roman in their
Pantheon. The late Professor Guadet used to expatiate
on the Greek Doric order as being the very expression of
perfection in architectony, "because," he would say, "in
this order every part, every element, is so because it could
not be otherwise, from the shape of the echinus, crowning
the entablature, which obeyed the law of necessity, it serv-
ing as gutter, to the mutules which were an interpretation
of the wooden elements in the wooden shrines, showing a
beautiful alloy of common sense and the respect of tradition
so essential at the time when the Parthenon was erected."

In undertaking the task of analyzing and memorizing
famous structures, wisdom seems to indicate the simple
features first. As in music, after the first exercises simple
melodies are played and gradually with the increased skill
in exercises more intricate compositions are tried, so too in,
architectural design programmes may be very small yet
differ so much in their character. To interpret them in
drawing and rendering according to their meaning in the
proper atmosphere is to comprehend thoroughly the grand
art of architecture. Even in these small programmes there
have to be taken into consideration such items as scale,
proportions, silhouette, units, etc., which will be used like-
wise in more elaborate examples becoming more complex.

We Must Protect Our Forests

GREATER conservation of wood and wood products
through protection for the raw material in the forests
of the United States is urged by Secretary Houston's as-
sistants in the Department of Agriculture. The secretary's
annual report also advocates provisions for pushing more
rapidly the improvement work in the forests, for a greater
number of forest guards, and for earlier organization each
fire season of the protective system.

It is declared that protection of the forests during the
present year proved an exceptionally difficult task. An an-
nual strain was imposed on an organization somewhat de-
pleted in numbers and much weakened by the loss of many
of its most experienced men. Added to this was the diffi-

culty of securing good men for temporary appointment as
guards during the fire season, and parties of men for fighting
large fires. An unusually early and severe dry season
caused the outbreak of serious fires before the summer pro-
tective organization was fully ready.

The department declares that some embarrassment in
meeting the situation was caused by the failure of the an-
nual appropriation act to pass Congress until after the fire
season was virtually over. Relief was furnished by the
President, who placed $1,000,000 at the secretary's disposal
as a loan from the President's emergency fund. It may be
necessary, the secretary says, to seek from Congress again
a deficiency appropriation of $750,000.

An Economical House

Samuel A. Hertz, R.A., Architect

THE purpose is to build an economical house of refined
proportions in the colonial style. The dimensions
of the building are 31' 0" front by 27' 0" in depth, and the
sun parlor 10' 0" by 24' 0" in depth.

In planning the house the idea uppermost in the mind
of the architect has been a structure of minimum dimensions,
that would enable the builder to keep the cost of construc-
tion at the lowest possible figure and yet offer the prospec-
tive client a plan containing every convenience which the
modern housewife might desire to save time and avoid waste
of energy.

The plan of the building is in the form of a square. In
this plan a difficult problem arose in the preparation of a
suitable fafade, but it is believed to have been solved with
attractive results.

The entire roof is covered with a good grade wood
shingle, which should be Stained in green; and the shutters,
sash, window and door trim, together with the hanging shut-
ters at each projection and the bay window on the second
story, are of the same color. The body of the building should
be painted white. The main entrance door will be of a ma-
hogany finish. The upper section of this door is provided
with leaded-glass sash to give light to the entrance vestibule.
The main entrance is provided with an open porch, the pedi-
ment above gracefully supported by two colonial columns
flanked by a seat on each side resting on a floor laid in tapes-
try brick and approached by brick steps. The house has
been kept 3' 0" above grade; an unusually high level, yet
most desirable. It saves 2' 0" of unnecessary excavation,
permitting construction of the basement floor 4' 0" below
grade, and allowing for the installation of good-sized win-
dows for plenty of light and ventilation. The basement
contains a laundry, storage-room, toilet, space for coal stor-
age, and heating plant. The foundation walls are built
of concrete 12" thick, properly water-proofed, together with
a concrete floor and \%" cement finish.

The laundry tubs are placed upon a wood-slat plat-
form as close as possible to the staircase, so that the laundress
will be saved unnecessary walking. The same holds true
for the location of the storage-room, while the coal storage
space is in the rear of the house, accessible from the exterior
by a window opening in which will be placed an approved
iron coal hopper. While the basement can be reached from
the staircase at the service entrance situated in the rear of
the building within 3' 0" of the rear door, the owner, if he
so chooses, can readily install a staircase in a rear area in
which area can also be placed an economical ash-hoist lift.

In designing the first floor the idea has been to submit
a practical as well as a symmetrical layout. The sun parlor
is of good size and proportions, and can be entered from the
living-room by two French casement doors, making it pos-
sible to shut off this from the remainder of the house, there-
by affording ample space and quietude for various social
functions. The sun parlor is enclosed with glass sash on
all sides which can be removed during the warm weather
and can be used as sleeping porch. The living-room oc-
cupies the entire depth of one side of the house and is pro-
vided with a handsome fireplace built of red tapestry brick
set in a neat pattern with a wood mantel over it. The living-
room is finished in chestnut, and if the owner chooses he

can also install a beam ceiling, in the same finish, at a small
additional expense. The floor is of oak parquet with a bor-
der. It will be noticed that a vestibule has been provided.
This tends to keep the house warm in the winter. The vesti-
bule is made attractive by the installation of a Welsh quarry
tile floor with a neat insert and walls of imitation Caen stone.

The plan contains a good-sized dining-room and kitchen
with service entrance and place for the installation of a
refrigerator, readily accessible from the kitchen as well as
from the service entrance. The kitchen contains all facili-
ties needed in a modern household including a good-sized
gas-range set on a tile hearth and protected on the back by
filling the wall with brick between the studs, three feet high
and one foot wider than the range. This arrangement helps
considerably to minimize the fire hazard. Large dressers
are provided together with a broom closet. An enamelled
iron sink is shown set beside the window with a large drain
board on each side. This sink is provided with hot and cold
water faucets. There is ample space left in the kitchen for
one or two tables.

The entrance door from the kitchen to the dining-room
is a double-action door. The dining-room is well propor-
tioned, has two large windows and is finished with a parquet
floor similar to that in the living-room and hall. The walls
are panelled with a Dutch shelf together with a beam ceil-
ing. The woodwork is of chestnut and finished like the
living-room. It is entered from the hall through French
casement doors. A main staircase has been provided with
treads and risers. The newel post is of brick, with a ma-
hogany finish, while the stair railing is finished in white
enamel. The second floor contains four large chambers
with good-sized built-in closets. The two main chambers
are connected by a private passage. The balcony over the
sun parlor is provided with a canvas roof, and is accessible
from the two main chambers by casement doors, allowing
the balcony to be used as an additional feature of the house.
The chambers and the hall are finished in white enamel,
applied to white wood trim. The doors are birch and finished
in mahogany. Each closet door has a mirror insert, full
length of panel. The floors throughout are of parquet. The
hall contains a good-sized linen closet. The bathroom has
a built-in tub and shower-bath. All plumbing fixtures are
of modern type with hot and cold water connections. The
bathroom contains a tile wainscot 4' 6" high with a tile floor
and base. As already stated, the attic floor contains two
finished chambers and a bath which may be used for guests
or servants. Suitable storage space is also provided for in
the attic in another separate room facing the hall. Below
is an itemized list made in accordance with present-date
prices, from which it will be seen that the house can be
erected for a sum not to exceed $12,000.00.

Masonry work $ 2,600.00

Carpentry work 6,400.00

Electric wiring 450.00

Plumbing 800.00

Steam-heating 750.00

Scraping and varnishing 200.00

Painting 6oo.OO

Tin work. . 200.00

$1 2,000.00

167

1 68

ARCHITECTURE

169

H" *? r .** ~7 '.T' + .T-r T-:T ; C -> r : < f .*i 4

j S

170

ARCHITECTURE

3CCOflD -f-LOOt.- PLAN

SCALE-

'fllLST

COTTAGE AT MOUNT KISCO, N. Y.

Morrell Smith, Architect.

In construction the house is of frame with exterior walls of light-gray stucco with a rough-cast surface. The foundation-walls, chimneys, porch columns, etc., are constructed of field
stone taken from the adjacent fences on the property. The roof is shingled with 24-inch cedar shingles, which are laid in wide courses at the eaves and gradually diminishing in the spacing to
the weather as the ridge is approached. All exterior wood trim will be stained a rich brown color and the roof-shingles a moss green. The interior treatment is very simple. All interior
woodwork will be painted white and the floors, which are of comb gram N. C. pine, will be stained and waxed. The house will be heated with a steam-heating plant and will be equipped with
electric-lighting fixtures, screens, etc. The house will cost approximately $11,000.

Luxuries vs. Homes

RECENT editorials in two great metropolitan news-
papers, one in the East, the other in the West, dealing
with the subject of the shortage of material in the building
trades, dwelt at considerable length upon the diversion of
enormous quantities of metal and glass for use in industries
that come under the head of luxuries. The demand has
been so great as to affect very seriously the supplies avail-
able for use in building. Emphasis is laid also on the thou-
sands of laborers engaged in the trades associated with
building who have transferred their services to industries
that are more or less given to the production of what may be
considered luxuries.

Our own building problem has been also the subject of
serious inquiry in Europe, and it is becoming more and more
a dangerously critical problem. There seems to be abun-
dant capital for the building of great factories, all kinds of
industrial buildings, great office-buildings, and the transfor-
mation of thousands of old-fashioned houses into places for
business use. In the meantime there is growing every day
an increasing shortage of places where people may live in
all of our cities. A place to live within easy access of their
places of employment is becoming practically impossible for
thousands, and the adjoining suburbs within commuting
distance of the city are already overcrowded. It does seem
as though some immediate united and heroic effort should
be made to use every possible resource toward the question
of housing development. The present too often unscrupu-
lous and unreasonable boost of rentals, not only in the mat-
ter of living places but in offices, it would seem must reach
a limit before long.

From London we hear "that a crisis in the building
trades has been reached, and that the London County
Council has been obliged to stop all building except resi-
dences, under the powers granted by the Health Ministry,
to overcome the housing shortage. Dry-goods stores, office-
buildings, and other construction have to wait because the
demands of housing are so great."

There are already signs made known in recent de-
spatches, from the West especially, that the era of reckless
spending for luxuries is nearing an end, and the sooner it
does the better, and perhaps some of the money that has
been used in this way with nothing t;o show for it can be
diverted in the way of investments in new housing construc-
tion. There are hundreds of architects who have in mind
thoroughly practical ideas for extensive housing schemes
that need only the encouragement of capital to be de-
veloped successfully. Certainly it is high time to make a
searching investigation of the conversion of building essen-
tials into the manufacturing of things that are not vitally
necessary in the ordering of the average life.

The Chicago Tribune says: "When mahogany is used
for talking-machines, it is not so bad, because we can build
without mahogany if necessary, but when metal that could
be converted into necessary gutters, flashings, plumbing,
and fire-resisting lath, or rubber and asphalt that could be
converted into roofing, are used in the manufacture of lux-
uries to such an extent that the national living conditions
are at stake, the matter becomes of public concern, and the
construction industry must be welded into one compact
organization to deal with the situation."

Give the Architect His Due

WE are in receipt of an interesting letter from a well-
known architect, calling our attention to some mis-
information contained in a more or less popular handbook
dealing with the history and development of the city of
New York. The quotations would be amusing if they were
not so exasperatingly lacking in any sense of knowledge,
accuracy, or respect for the truth. The proper attribution
of the name of an architect of a great monumental building
should be as important and as carefully authenticated as the
name of the painter of a famous picture. The genius and
skill of the architect of distinction is usually writ large in
his work to the knowing observer, but to the average man
in the street his creation is probably merely known as the
office of such and such a trust company, such and such a
court-house, or perhaps the residence of a multimillionaire,
or mayhap a library or a museum. No one with even a
mild interest in pictures or sculpture but finds added interest
in being able to associate a particular work with the name of
the artist. Visitors to our galleries take pride in their ability
to talk of this and that painter and to be able to identify the
work by the same artists when exhibited elsewhere. The
same interest should apply to the work of the architect.

"The fact .that architecture is first an art and sec-
ondly a science, and should be taught primarily as an
art," is one of the chief considerations as announced in
the prospectus of the new school of architecture at one
of our greatest universities. If the position of the archi-
tect and his work are not more widely appreciated, it is
because so few of their names are associated in the pub-
lic mind with their representative work. The average lay-
man probably thinks of a building first in questions of com-
mercial terms does it pay ? Is it a good business proposi-
tion ? Is it up to date in all its modern conveniences ?
Many of our great financial institutions have realized the
advertising value not only of buildings that are notable for
their mere size, but as well for their dignified exteriors and
luxurious and beautiful interiors, that make them notable
and distinguished from the great mass of buildings that
surround them.

172

ARCHITECTURE

The question has often been discussed as to whether the
architect should sign his work, and in a number of instances
the architect's name appears in a more or less prominent
place in or on the building he has created. From the letter
which has prompted this, with thanks to the architect, we
quote the following illuminating paragraphs:

"At No. 52 Broadway, below Wall Street, stood until
recently a building of more than ordinary interest the first
Successful Skyscraper erected in New York (1884). It was
only eight stories high, but will tower historically higher
than any building that will ever stand on the Island; it
demonstrated the feasibility of skeleton steel construction
and caused Manhattan to develop up into the air instead of
along the ground. Bradford Lee Gilbert, the architect
whose genius gave to New York and the World this remark-
able type of building, in telling the story to friends, said
that the idea of an iron building had come to him in a
dream."

Of the Municipal Building, "it is striking architec-
turally, and its massive sculpture is very impressive."

"Critics go in raptures over Doctor Parkhurst's Church
and point out its many artistic qualities. All this may be
art, but for a sacred edifice it is the most frivolous-looking
structure ever conceived by the mind of man. For a Movie
house it would be fine. The site has recently been pur-
chased by the Metropolitan, and this Burlesque on religion
will be removed, for which much thanks."

"With a sigh one recalls the sudden death by accident of
the great architect whose brain planned this classic edifice
(The New York Public Library) just a week before its for-
mal opening. The doors of the still unopened building
swing back to permit the body of John M. Carrerre to rest
for a moment in the rotunda of what was to be the crowning
achievement of his career. It was a graceful and beautiful
tribute."

"At 96th Street is the Cliff Apartment House. Above
the second elevation is a frieze in low relief, carrying out
symbolically the mountain lions, rattlesnakes, buffaloes'
skulls and other local environments of a genuine cliff dwell-
ing in Arizona. It is a clever idea and never fails to attract
attention."

We hope this will not seem trivial to our readers, but if
stuff of this sort goes into one popular guide that, no doubt,
accompanies many visitors that travel about in our sight-
seeing busses, other similar misinformation is, no doubt,
available.

To Assist in Home Building

Council of Architectural Registration Boards

DURING the recent Institute convention at Washington
it was decided to form a permanent organization to
be known as the Council of Architectural Registration
Boards, with Professor Emil Lorch, of the Michigan State
Board, as president, and Emory Stanford Hall, president of
the Illinois State Board, as secretary. The primary purpose
of the organization is to bring together the experience of
those actually engaged in the work of registration, to make
a comparative study of all existing laws, and to work out
a plan to facilitate reciprocity between States having such
laws. Mr. W. P. Bannister, of the New York State Board,
Mr. W. H. Lord, of North Carolina, and Mr. M. I. Kast,
of Pennsylvania, together with Mr. Richard E. Schmidt,
chairman of the Institute committee on registration laws,
are to make a digest of the various laws.

All those interested in this work should write Mr. Hall,
Secretary, 64 East Van Buren Street, Chicago, Illinois.

THE "instalment mortgage" is one of the features grow-
ing out of the shortage of homes. Its inauguration
is due to the efforts of some of the large industrial concerns
in Chicago and other cities to promote the interests of their
employees. The shortage of homes adds not only to the
financial burdens of many classes of people, but has a gen-
eral disturbing effect that fosters unrest and a decrease in
production.

In one of the plans involved the employees are to make
an initial payment of 10 per cent of the cost of the home,
and then pledge themselves to pay the balance in monthly
instalments covering a period of ten years, the total cost
being just what the cost has been to the corporation. It is
believed that such plans can not fail to have a helpful effect
on general industrial conditions, for nothing has a more
stabilizing influence on those who perform the country's
work than adequate and comfortable homes.

During the first four months of the present year more
than one-half of the total valuation of new construction
work has been for industrial and business buildings. While
there is great need for these, there is a vital necessity that a
larger percentage of the nation's building activities should
be directed to the construction of homes. Only about 20
per cent of the total construction of the country so far in
1920 has been given to home building, which is at least '
10 per cent below normal.

Book Reviews

"WESTMINSTER CATHEDRAL AND ITS ARCHITECT." By

WINEFRIED DE L'HOPITAL. With an Introduction by PROFESSOR

W. R. LETHABY, F.R.I.B.A. Two volumes with 160 illustrations,

including some in color. Dodd, Mead & Company, New York.

It would be difficult to find two great churches more widely contrasted
or more typical from a stylistic point of view than Westminster Abbey and
Westminster Cathedral one a splendid example of English Gothic, the
other a modernized version of the Byzantine.

This great Roman Catholic cathedral in London is built on the site
of the old Middlesex County Prison of Tothill Fields, a part of the land of
the Abbey of Westminster.

Begun under Cardinal Manning and carried on by Cardinal Vaugha.n,'"
the cathedral has been a source of pride and labor of love to all concerned.
Westminster Cathedral, as first conceived by the architect John Francis
Bentley was to carry on the traditions of the Gothic, but after an extended
journey in Italy, where he made an enthusiastic study of the churches of
Byzantine type, he returned full of a new purpose and new ideals that
expressed themselves in Byzantine terms.

This record of the prime achievement of a life, written by the architect's
daughter, Winefried de L'Hopital, is first of all a fine human document.
In its narrative is revealed the architect's beginnings, his intense love for
art as a boy, his interest in the work of the local joiners and carvers. His
education was that of so many men who have distinguished themselves in
the arts, the education founded on natural inclinations, and in doing things
he loved. For a time he was a pupil of Henry Glutton.

In volume I is told fully the story of the building of the cathedral from
the ceremonies attending the laying of the foundation-stone. Each devel-
opment of the work is dwelt upon in considerable detail, and includes full
descriptions of the architectural problems involved and the various mate-
rials used. The illustrations show plans and cross-sections, as well as many
plates from photographs of details of both exterior and interior.

No matter what may be the first impression of the exterior of the
cathedral, and it may at first strike the casual observer, especially in its
contrast with Westminster Abbey, as an unusual conception of the modern
Christian church, there is no denying that it grows more impressive with
further study, and that the richness of color of the interior is strikingly
beautiful and impressive. The love of color and the design of the East
are manifest on all sides.

Bentley lived only to see the shell of his dream realized, but he knew
that his work was to go on and live after him. From 1860 to 1870 he had
become well known as an architect associated with ecclesiastical commis-
sions as well as domestic architecture, and he was widely known as a skil-
ful designer of stained glass, metal work, and ecclesiastical furniture.

It is of especial interest to American readers to know that he visited
the United States in 1898 at the request of the Bishop of Brooklyn, to give
advice with regard to a proposed cathedral in that borough, and that he
made drawings for a fine Gothic church 350 feet in length, with two west-
ern towers.

Bentley, never robust in health, died at the age of 63. In the great
church associated with his name he put himself, his very body and soul.

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JUNE, 1920.

ARCHITECTURE

PLATE LXXXIV.

PRIVATE OFFICES, CENTRAL UNION TRUST CO., NEW YORK.

Arthur Loomis Harmon, Architect.

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ARCHITECTURE

PLATE XCIII.

RESIDENCE, MRS. JAMES HARDEN, HARTSDALE, N. Y.

Eugene J. Lang, Architect.

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JUNE, 1920.

ARCHITECTURE

PLATE XCVI.

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The Fiftieth Anniversary of the Metropolitan Museum of Art

The great entrance-hall on Fifth Avenue has been especially decorated for the celebration from designs executed under the direction of McKim, Mead & White, to whom the
Museum acknowledges their indebtedness for their generous contribution. The emblems in the medallions surrounding the hall are those of countries or cities represented in
the collections of the Museum. The four heads on the sculptural piers Painting, Sculpture, Architecture, and Decorative Arts are the work of Ezra Winter, late of the
American Academy in Rome.

celebration of the fiftieth anniversary of the Metro-
1- politan Museum of Art is not only of great interest
to New York City and its environing neighbors but as
well to the country at large, for the Museum is much more
than a local institution. It is national both in its purposes
and in its dissemination of useful art knowledge throughout
the country. For this celebration of the fiftieth anniversary
the Museum has gathered from many sources, including some
of the famous private collections, rare pictures and other ob-
jects of art that are but little known to the general public.

Among the famous paintings loaned are: "Bacchanal,"
by Giovanni Bellini, lent by Carl W. Hamilton; "The
Smoking Party," by Adrian Brouwer, lent by Michael
Friedsam; "Lady Guildford," by Hans Holbein, lent
by William K. Vanderbilt; "Portrait of a Musician,"
by Hans Holbein, and "Portrait of a Man," by Titian,
lent by Henry Goldman; "Cardinal Pietro Bembo," by
Titian, lent by Charles M. Schwab; "Two Wings of an
Altarpiece," by Hans Memling; "Three Saints," by Mar-
tin Schongauer, and "Christ Appearing to His Mother,"
by Roger van der Weyden, lent by Michael Dreicer; trip-
tych, "Christ and Saints," by Cimabue, lent by Carl W.
Hamilton; "Judith with the Head of Holofernes," by

Andrea Mantegna, lent by Carl W. Hamilton; "Madonna
and Child," by Giovanni Bellini, lent by John N. Willys;
"Giuliano de' Medici," by Botticelli, lent by Mr. and Mrs.
Otto H. Kahn; "Victor Guye," by Francisco Jose Goya,
lent by J. Horace Harding; "Portrait of a Girl," by Velas-
quez, lent by John N. Willys; "Portrait of a Man Seated,"
by Franz Hals, lent by Henry Goldman; four paintings
by Rembrandt: "Philemon and Baucis," lent by Mr. and
Mrs. Otto H. Kahn; "The Savant," "Saskia," and "Hen-
drickie Stoffels," lent by Mrs. Henry E. Huntington; "Por-
trait of Mme. Cezanne," by Paul Cezanne, lent by John
Quinn; "Reverie" and "Fisherman," by J. B. C. Corot, lent
by George F. Baker; "The Drinkers," by Honore Daumier,
lent by Adolph Lewisohn; "Before the Race," by Edgar
Degas, lent by Miss Lizzie P. Bliss; "la Orana Maria" and
"Women by the River," by Paul Gauguin, lent by Adolph
Lewisohn; "Still Life," by Edouard Manet, lent by Mrs.
Eugene Meyer, Jr.; "Apple-trees in Blossom," by Camille
Pissarro, lent by William Church Osborn; "In the Meadow "
and " A Landscape," by Pierre Auguste Renoir, lent by
Adolph Lewisohn; "Morning Effect The Fisherman," by
Theodore Rousseau, lent by George F. Baker; "Portrait of
the Artist," by Vincent van Gogh, lent by John Quinn.

173

ARCHITECTURE

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O O O O O C> O

RESIDENCE, JONATHAN JENKS, MERION, PA.

Erank Seeburger and Charles P. Rabcnold, Associated Architects.

Notes for Architects on Engineering Moments

Second Article
By DeWitt Clinton Pond, M.A.

IN the last article the general definition of moments
was given and the method of determining a moment in
the case of a simple cantilever was shown. There was also
shown how moments were used to find the maximum ten-
dency toward bending in a simple beam with a concentrated
load located directly on its centre, and how the loads at the
ends of beams could be determined by the use of the same
units.

All these cases were comparatively simple and would
only serve as an introduction to the more complicated en-
gineering problems found in the designing of beams, girders,
columns, and footings. It will be necessary to expand these
conditions in order to furnish the reader with a more com-
prehensive foundation for engineering calculations.

In Figure VII, article I, the method of using moments
in order to obtain the loads at the ends of beams was shown
graphically. The same kind of problem but with more
complicated loading is shown in the diagram in Figure
VIII. Here the span of the beam is represented as being
24 feet and 6 inches long and the loads as 125, 260, 85, and
42 pounds respectively located 3 feet, 5 feet, 13 feet, and
18 feet from the left-hand support R\. The first step in
designing a beam that will withstand such loading is the
determination of the loads at the reactions, at ^?i and /? 2 -

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As has been pointed out in the last article, the method
by which the load at one end is found is to take moments
around the other end. Usually the right reaction /? 2 is the
one first determined, and in this case the centre of moments
must be considered as being at the left support or at R\.
The moments caused by the four loads on the beam will be
found as shown below.

125 X 3 = 375 foot-pounds
260 X 5 =1,300

85X13=1,105

42 X 18 = 756

Totals 512

The total moment around R\ is 3,536 foot-pounds, and
this must be counteracted by the moment caused by R z .
The lever-arm from the left reaction to the right reaction
is 24 feet and 6 inches. This lever-arm, multiplied by the
right reaction, should give the total moment shown above,
or Rz X 24.5 = 3,536. In order to determine the value of
/? 2 it is only necessary to divide 3,536 by 24.5. The answer
will be 144.3 pounds.

The value of RI can be found by simply subtracting
this figure from the total load, or from 512 pounds. 512 -
144. 3^= 367.7 pounds. It would be well for the beginner

to check this result by taking moments around Rz in order
to determine RI. The method of doing this will be given
below.

42 X 6.5 = 273 foot-pounds

85 X 11.5 = 977.5
260 X 19.5 =5,070
125 X 21.5 =2,687.5
5l2

Totals

9,008.0

9,008 -=- 24.5 = 367.7 pounds.

This result checks with the one given above. It is
usually a good practice to check results in this manner.

It might be well in passing to note that if foot-pounds
are divided by feet the answer is found to be in pounds.
On the other hand if foot-pounds are divided by pounds the
answer will be expressed in feet.

The next step in the design of a beam is to determine
the point at which it will have the greatest tendency to fail
by bending. In the case of the cantilever it was obvious
that the point at which the beam would fail was at the point
at which the beam projected out into space. In the case
of the simple beam, where the load was directly in the cen-
tre, the point of failure would be directly under the load.
In the example under consideration it would be difficult to
tell without investigation the exact point at which the great-
est tendency toward failure will be. In order to thor-
oughly investigate this problem use is made of the shear
diagram.

Until now no mention has been made of "shear."
There are two ways in which a beam may fail. The first
is by bending, which is the most common method by which
failure occurs. When a beam fails in this manner the
upper fibres of it are crushed together and the lower fibres
are pulled apart. The second way in which it could fail is
by shear. When a hole is punched in a steel plate the steel
is simply sheared out. Shear is that method of failure in
which particles slide by each other. The most common case
in which a beam will fail by shearing is in the condition
where the beam is short and the load is heavy. Figure V,
article I, shows a condition where the beam would fail by
shear rather than by bending.

Where a heavy load comes on a short beam the load
acts as the punch and the supports as the die and the beam
is sheared off" at the supports in much the same manner as
a piece of steel is sheared off" by machinery in a steel-mill.
Shearing depends upon the dead weight upon the beam and
does not depend upon the distance such a weight acts away
from a support. The greatest tendency toward shear-
ing is found at the supports, and is equal to the load at the
reaction. The value of shear is measured in units of weight.
In the case of the beam shown in Figure VIII the greatest
shear is found at the left reaction and is equal to 367.7
pounds.

It is sometimes difficult for the student of engineering
to grasp what is implied by the word shear. If, in the case
given above, he should look upon the force exerted in an up-

176

ARCHITECTURE

177

ward direction by the reaction as the force imposed by one
blade of a pair of shears, and if he should look upon the
force caused by the loading on the beam as imposed by the
other blade he will obtain a fairly graphic idea of this method
of failure. The upward shearing force is equal to the down-
ward force and both are equal to the reaction.

This shear will exist between the support and the first
load. Between the first and second loads a smaller shear
will exist as the shear will be diminished by the exact amount
of the first load. In other words, the value of the shearing
force between the left reaction and the first load is 367.7
pounds, and between the first and second loads is 242.7
pounds. Between the second and third loads the shear be-
comes a negative shear, because the second load of 260 pounds
is greater than the shear at the left of it. At the left of this
load the shear is 242.7 pounds; at the right of it the shear
becomes minus 17.3 pounds. In the parlance of the engi-
neer "the shear changes sign." The negative shear increases
as the other downward loads are encountered. After the
third load is passed the shear becomes minus 102.3 and after
the fourth it becomes minus 144.3 pounds. This negative
or downward shear continues until the right reaction, or
RZ, is reached, when this upward load will exactly counteract
the downward shear and the result will be zero.

This condition is shown graphically in the "shear dia-
gram" in Figure IX. This is a typical diagram for the con-
dition where all the loads on the beam are concentrated at

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points along it. It resembles a crude flight of steps in which
the "treads" are the distances between loads, and the
"risers" are the loads themselves. A diagram such as
this may be laid out at any scale with different units repre-
senting length and weight.

The important thing about a shear diagram is that from
it one can tell at what point the beam is liable to fail by
bending. At that point where the shear changes sign or
becomes zero is the point where the greatest tendency toward
bending is found. One must delve into the mysteries of
calculus to prove this as far as formulas are concerned, but
the reader may prove it practically by actually investigating
the case of the beam with unequal concentrated loads, shown
in Figure VIII. It might be well to investigate the tendency
toward bending at all points where loads are concentrated.

The first load is concentrated at a point 3 feet from the
left support. The tendency toward bending at this point
will be caused by the left reaction, as this is the only load
acting to the left of the one under consideration. The re-
action is 367.7 pounds, the distance from the present centre
of moments is 3 feet, and the moment is*l, 103.1 foot-pounds.

The second load is located 5 feet away from the left
support and there is one load between it and the left reac-
tion. The method of determining the bending moment at
this point is to find the upward or positive moment due to
the upward reaction and to subtract from it the downward or
negative moment due to the downward load. The upward
moment is found by multiplying 367.7 by 5 feet. The re-
sult, 1,838.5 foot-pounds, is the positive moment. The

downward moment is found by multiplying 125 pounds by
2 feet, and the negative moment is determined as 250 foot-
pounds. By subtracting the negative from the positive
the actual moment of 1,588.5 foot-pounds is found.

The third load is 13 feet from the left reaction and the
positive moment is 367.7 X 13 = 4,780.1 foot-pounds.
There are two negative moments, as there are two downward
loads at the left of load number three.

125 X 10 = 1,250 foot-pounds.
260 X 8 = 2,080
3^330
4,780.1 - 3,330 = 1,450.1 foot-pounds

The fourth load is 18 feet from the left reaction. The
moment at this point can be found by the same method as
has been given.

367.7 X 18 = 6,618.6 (positive moment)

125 X 15 = 1,875

260 X 13 = 3,380

85 X 5 = 425

5;680 (negative moment)
6,618.6 - 5,680 = 938.6 foot-pounds.

In this manner are found the tendencies toward bend-
ing at four different points on the beam. It will be noticed
that in taking the points at which the moments were deter-
mined the process was to read from left to right, and that
the negative moments were always caused by loads at the
left of the point under discussion. Exactly the opposite
process could have been used and the points read from right
to left and the negative moments would then be caused by the
loads at the right of the point. As a check on the last result
and in order that the last statement can be shown to be true,
the moment at the fourth load will be determined by
finding the moment caused by the right reaction around this
load. The right reaction R^ exerts an upward force of
144.3 pounds, and it acts at a distance of 6.5 feet from load
number four. The moment then will be 144.3 X 6.5 =
938 foot-pounds. It will be noticed that this result does
not check exactly with the one given above, but this is due
to the fact that the two reactions are determined only to
the first place beyond the decimal point, which is accurate

MOrttnT
FiGvur. X

BENDING

enough for all practical purposes, but does not give the
exact amount when moments are determined at the right
or left of a certain point.

A bending moment diagram is shown in Figure X. The
figures are the same as those already determined. The
maximum bending moment is discovered under the second
load, and this is in accordance with the statement, that the
maximum moment will be found at the point where the shear
changes sign. An investigation of the shear and bending
moment diagrams will show this to be the case.

This discussion has. been largely theoretical, and may
not seem to have much value. Actually the shear diagram
is a very practical time-saver. It has been shown that by
means of this diagram the point at which the maximum
tendency toward failure by bending is found. This is im-

i 7 8

ARCHITECTURE

portant as beams and girders are designed to withstand
the maximum bending moment, and once this is found, it
is only necessary to find the size of the beam which will
answer this purpose.

As an actual example of this the maximum bending
moment found above was 1,588.5 foot-pounds, or 19,062
inch-pounds. The formula given in the last article for the
design of a wood beam is M = S X \bd' i . We will assume
that S the strength of wood is 1,200 pounds per square
inch, that b the breadth of the beam is 2 inches, and that
it will only be necessary to find the value of the depth d.

The formula becomes, when all the values are sub-
stituted, 19,062 = 1,200 X | X 2 X d\ or, 19,062 = 400A
It can be found from this that d 2 will equal 47.7 inches and
that d becomes 6.9 inches, and that the beam that will
withstand the loading given in the problem will have to
be a 2-inch by 8-inch beam.

So far all problems have dealt with concentrated loads,
but as a rule, the most common loading on beams is known
as uniform loading. By this is meant that most loads on
beams are spread over a part of, or over their entire lengths.
The first example of this kind of a problem is shown in Fig-
ure XI which is a diagram representing a simple beam with
a uniform load extending over the entire span. For a
condition such as this the formula M = \Wl can be used
and the beam designed without much effort, but as there are
many conditions where a beam is loaded with both concen-
trated and uniform loads it is important that the reader
understand all the principles involved in the derivation of
this formula.

In Figure XI is shown the shear diagram. It will be
seen that this diagram differs from the one shown in Figure
IX as the shear changes not in a series of steps, but as an
inclined straight line which passes through zero at the cen-
tre. This is the point at which the shear changes sign, and
where the greatest tendency toward bending will be found.

R,= 2,000 1 g

a = 2,oc.o*

It is obvious that the beam will bend more in the centre
than at any other place.

It will be necessary to determine the bending moment
at this point, and an actual condition of loading will be as-
sumed. The span will be considered as 20 feet, and the
load as 200 pounds per foot. The total load on the beam
will be 4,000 pounds, and the load at each end will be one-
half of this or 2,000 pounds. The upward moment around
the centre caused by the reaction will be 2,000 X 10 =
20,000 foot-pounds. It is sometimes difficult to understand
the next step. This step consists of determining the down-
ward or negative moment which is caused by part of the uni-
form load at the left of the centre point. The half of the
uniform load that is at the left of the centre point will cause
a downward or negative moment around this point. The
amount of this load is 2,000 pounds and the lever-arm will
be the distance between the centre point and the centre of
gravity of that part of the uniform load that is causing the

moment. In other words it will be the distance between
the centre and a point 5 feet to the left of it. The moment
will be 2,000 X 5 = 10,000 foot-pounds. This should be
subtracted from the positive moment and the result
10,000 foot-pounds will be the total moment at this point
and the maximum for the beam.

Suppose that algebraic letters were substituted in place
of actual loads and distances then the load will be designated
as W, which will stand for the total load of 4,000 pounds,
and the span will be denoted as /. Then the loads at the
supports the reactions will both equal \W, and the dis-
tance from the centre to the reaction will be \l. The posi-
tive moment will be \W X \l = \Wl. The negative moment
will be caused by one-half of the load, which extends over

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the beam to the left of the centre, and the lever-arm will
have a length equal to one-quarter of the span. This length
was equal to 5 feet in the example given above. With the
downward load equal to \W, and the lever arm equal to \l
the negative moment will equal \Wl. Subtracting the nega-
tive from the positive moment the result will be \Wl -
\Wl = \Wl.

The formula M = \Wl is one of the most useful in all
engineering work. It is used to develop all tables giving
safe loads uniformly distributed on beams as well as deflec-
tion tables, and in all calculations involving uniform loads.
On the other hand the reader must not make its use too
general. It will not apply to a condition where concentrated
loads are encountered or where the uniform loads do not
extend over the entire spans.

If there is need of proof of this formula, other than that
already given, it may be well to substitute in the formula
the load and span in the previous problem. In this example
the total uniform load was 4,000 pounds, and the span 20
feet. Now the formula is M. \Wl. Substituting in it
the result is M = \ X 4,000 X 20 = 10,000 foot-pounds,
which is the result obtained without the use of the formula.

There is only one other condition to be investigated.
This is the case where there is a combination of uniform and
concentrated loads. Diagrammatically this is shown in Fig-
ure XII. There are two concentrated loads on the beam;
one is 500 pounds, located 5 feet from the left support, the
other is 1,200 pounds, located 12 feet from the left support.
The uniform load is 900 pounds and extends from a point
8 feet from R\ to a point 5 feet to the left of R?.. The method
of finding the reactions does not differ from that given above,
but there is a difference in procedure when the uniform load
is encountered. This load is regarded as a concentrated
load with the entire 900 pounds concentrated at the centre
of gravity, which in this case is one-half of a foot to the
right of the 1,200 pound load and 12 feet and 6 inches from
the left support.

ARCHITECTURE

179

500 X 55 = 2,500 foot-pounds
1,200 X 12 = 14,400
900 X 12| = H>250
27*66 28,150

28,150 -=- 22 =1,279.5 pounds = R 2
2,600 - 1,279.5 = 1,320.5 pounds = /?i
The shear diagram shows that the shear changes sign
under the 1,200 pound load, and this is therefore the point
of no shear or maximum bending moment. The bending
moment at this point is obtained in the usual manner.
Positive moment,

1,320.5 X 12 = 15,846 foot-pounds
Negative moments,
500 X 7 =3,500 foot-pounds
400 X 2 = 800

4~30T "
15,846 - 4,300 = 11,546 foot-pounds

No matter how complicated a problem in the design
of beams or girders may appear it cannot involve any con-
siderations which have not been investigated in these two
articles. It can be seen that all problems involve the use
of moments. This will be true of nearly all problems in
the design of beams, girders, slabs, footings, or foundations.
The importance, therefore, of the knowledge of the use of
moments should be appreciated.

Practice is as important in the profession of engineering
as in the game of golf. No one would expect to be able to
play golf because he has read a book about the game. In
the same manner unless the reader practises the use of mo-
ments he will never be expert in the design of structures.
It is therefore suggested that he invent problems for hisiown
practice and check each result. One of the encouraging
things about the study of engineering is that all results can
be checked.

A Fine Memorial

The Burnham Library of Architecture at the Art Institute, Chicago

WITH the opening of the Burnham Library of Archi-
tecture, says the Bulletin of the Art Institute of Chicago,
one of Daniel Hudson Burnham's cherished projects for
the civic beautification of Chicago approaches realiza-
tion. At his death in 1912 he bequeathed a fund of fifty
thousand dollars to be administered by the trustees of
the Art Institute for an architectural library. Before
the end of that year the president of the board of trustees
had appointed a committee of five architects, who have
outlined, and are now consummating, a policy of obvious
soundness their declared aim being "to cover the field of
architecture and landscape architecture, in books and photo-
graphs, as generally as funds will allow." An agreement
with the libraries of the city is leaving the field of architecture
clear for the Burnham Library. First were purchased the
books on architecture in the Ryerson Library, later the
architectural magazines in the John Crerar Library all of
which were temporarily housed- in the Ryerson Library.
In accordance with a well-worked-out plan the most neces-
sary additions have been secured, even when the works
sought have been rare and costly. The collection at present
numbers more than 2,500 volumes. Howard Van Doren
Shaw, Peirce Anderson, Hubert Burnham, Edward H. Bennett,
and Walter F. Shattuck (who has been succeeded by Edmund
S. Campbell, head of the Department of Architecture in the
school) formed the original committee. Mr. Shaw, its chair-
man from the beginning, designed the new library.

A striking contrast with the character of the Ryerson
Library is presented in this new room opening from it. The

Renaissance feeling is replaced by the mediaeval, the circular
form of chamber by that of a long barrel-vaulted hall. The
doorway is in the middle of the north wall. High-leaded
lights in that wall permit a beautiful play of light and shadow
on the vaulted ceiling. The lamps, concealed in inverted
opaque bowls suspended from the ceiling, cause a diffused
glow in the room. The decorative value of the long shelves
of books, with their bright colors, in this room of gray oak
and rough plaster, the high windows, the furniture with
its slightly monastic character, the hooded reading-lamps,
the high reading-desks placed at intervals near the book-
cases, the vaulted ceiling, and the sparse use of ornament,
give the room a compelling character. Zorn's fine portrait
of Daniel H. Burnham, lent by Mrs. Burnham, faces the
entrance.

Already the library is a daily necessity to the students
of the Chicago School of Architecture, who work at the Art
Institute. What it may do for architecture through these
students is more than a pleasant conjecture. Its wider op-
portunity is plain. In this city of departmental libraries
here is a well-laid foundation for the architectural collection
of the city.

A comprehensive library on civic art is needed for the
new Chicago. The home-builders, landscape gardeners,
and all the younger architects, may find here the plates and
periodicals which are beyond their means of owning. And
with the growth of the collection of books and magazines
will come the gradual realization of the policy implied in
the bequest of Daniel H. Burnham.

A Roosevelt Tree Road

AT a memorial-tree planting in memory of Theodore
Roosevelt and Quentin Roosevelt, Charles Lathrop
Pack, president of the American Forestry Association, said
in a recent address at Flushing: "A Roosevelt Road of
Remembrance, planted with memorial trees from ocean to

ocean, would be the greatest of all memorials that could
be erected in honor of the former president." Two white
oaks that have been registered on the association's
honor roll were dedicated in honor of the president and his
son.

i8o

ARCHITECTURE

RESIDENCE, H. P. BENSON, MARBLEHEAD NECK, MASS.

John P. Benson, Architect.

ARCHITECTURE

181

The Place of the Institute

IN his address at the Fifty-third Annual Convention of
the Institute in Washington, President Kimball said:
"I know of no organization whose possibilities are greater
possibilities for service to society, I mean."

If these possibilities are yet to be realized it is not
through lack of high ideals in the past nor want of sincere
endeavor. Perhaps no factor has more determined and
limited the achievements of the Institute in its wider use-
fulness than the fact that it represents but 10 per cent of
the architects of the country. It has been in the nature of
a close corporation, and in these expanding and progressive
days there is need
for the closest co-
operation and
unity of purpose
of the entire pro-
f e ss io n . We
quote the follow-
ing significant
paragraphs from
President Kim-
ball's address:

"For the
sake of argu-
ment, let us keep
in mind the fact
that while the
American Insti-
tute of Archi-
tects is still far
from being nu-
merically repre-
sentative of the
profession, it has
from its birth
furnished to the
profession the
ideals and ex-
amples after

which the - Little Greek Theatre, Corcoran Art Gallery, Washington, D. C. Waddy B Wood, Architect.

tectural practice

of this country has been patterned, and has always been the
court of last resort before whose bar all its serious and most
important questions have been decided. Wherefore, in
assuming for the Institute the credit of such leadership, we
are debarred from disclaiming our share of the blame, where
blame exists, for conditions that are not consistent with
what should be present-day architectural heritage. Dur-
ing the sixty-three years of the life of the American Insti-
tute, profound changes have taken place in almost every-
thing but the Institute itself; possibly out of love for its
traditions, possibly largely the result of habit, those re-
sponsible for the A. I. A. have not seemed to take into
account that its work has grown out of all proportion to its
membership and machinery. The official instrument to
adequately represent and make the most of a great public
servant, such as is our profession, should count as mem-
bers approximately one-half of those who legitimately prac-
tise that profession, which means we owe it to our pre-
tenses to promptly secure a membership of at least 3,000,
which in turn means better than doubling our present list.
To do this, and do it fairly, changes are essential, member-

ship must be made both more attractive and more easily
attained. I place representation, adequate representation,
as one of possibly three essential fundamentals in which
the American Institute is not quite filling the bill.

"A second important item, in which we must assume
for the Institute full responsibility, is the example set to
all architects as well as to all professions, of valuing pro-
fessional service upon a percentage basis. To the baneful
effects of this one. faux pas I ascribe most of our really seri-
ous troubles. Certainly failure to hold, in a higher degree,
the confidence of the public and of the client is traceable

directly to this
fallacious and
mischievous
source of sus-
picion which we
have erected into
a barrier between
ourselves and our
clients and so-
ciety. Until ar-
chitects as a class
realize this and
better under-
stand the nature
and extent of the
harm done, I
feel perfectly
sure they will
never enjoy that
position of trust
in the commu-
nity to which
their qualifica-
tions should en-
title them, nor
will they achieve
that degree of
usefulness which
the public has a
right to expect of

them; and until the American Institute has set the example
of changing this, to me, perfectly indefensible system to
one which by its nature removes the cause of suspicion, I
feel the Institute will continue to occupy a position of not
quite 'filling the bill.' This item of a right basis for pro-
fessional charges is, to my mind, one of those three funda-
mentals in which we are not quite measuring up, and for
which I earnestly bespeak a cure."

NEW OFFICERS OF THE AMERICAN INSTITUTE OF ARCHITECTS FOR

1920-1921

President Henry H. Kendall, Boston

First Vice-President Charles A. Favrot, New Orleans

Second Vice-President Wm. B. Faville, San Francisco

Secretary Wm. Stanley Parker, Boston

Treasurer D. Everett Waid, New York

BOARD OF DIRECTORS

For One Year 1920-1921

Edward W. Donn, Jr., Robert D. Kohn, Richard E. Schmidt

For Two Years 1920-1922
Edwin H. Hewitt, William B. Ittner, Ernest J. Russell

For Three Years 1920-1923
Charles H. Alden, N. Max Dunning, Abram Garfield

182

A New Idea in Architecture

Model for the Bahai Temple of Peace.

ON the shore of Lake Michigan,
the Bahai movement is soon to
of a great Temple of Peace.

The doors of the Bahai Tem-
ple of Peace will never close, day
or night, and all may worship
there regardless of creed. The
Temple will cost about $1,500,-
000. It will be 225 feet in
diameter and 180 feet high, its
outer walls covered with cream-
colored terra-cotta.

The model submitted by Louis
Bourgeois was selected by a com-
mittee of forty-nine. This com-
mittee approved the design, but,
because the structure differed
from any other building that had
ever been erected, they felt that
they needed expert guidance from
an architect who could tell them
whether it was practical, before
making the formal acceptance.

Mr. H.Van Buren Magonigle,
president of the Architectural
League, was consulted, and with-
out knowledge of the committee's
choice he studied all the models
submitted and quickly selected
that of Mr. Bourgeois. His corn-

north
begin

ot Chicago, ment was: "It is the
the erection the thirteenth century;

v " ' 4 T= 3- * ' "<r

: \>^- + : :

} ' 4-' ^C s >

.^s* * * -.. * .

& i

first new idea in architecture since
I want to see it erected."

The first story in its simplicity
suggests the Greek and Egyptian
temples, while the treatment of
the doors and windows is Roman-
esque in form, and the intricacy
and beauty of the ornamenta-
tion suggests the Gothic and the
Arabic.

The second story, in its win-
dowed elegance, is Renaissance in
line but purely Gothic in the in-
terlaced arches of its openings.

The third story is Renaissance
in feeling, restful and quiet.
Above it rises the dome which
suggests the Byzantine, while
above the closed top is a unique
feature the beams of the dome
arising like hands clasped in
prayer, so as to give the feeling of
ascension and aspiration hereto-
fore found only in Gothic towers.

An intricate system of orna-
mentation covers the columns,
surrounds the windows and doors,
and comprises the dome itself,
and in this one deciphers symbols
of all the religions of the world.

183

1 84

ARCHITECTURE

PLAN.

RESIDENCE, MRS. THOMAS T. HOPPER, PELHAM, N. Y.

Bloodgood Tuttle, Architect.

ARCHITECTURE

185

LIVING-ROOM MANTEL.

LIVING-ROOM.

DETAIL.

ENTRANCE-GATE.
RESIDENCE, MRS. THOMAS T. HOPPER.'.PELHAM, N. Y.

Bloodgood Tuttle, Architect.

An Architect's Office

By Alfred C. Bossom

WE have heard of the architect who runs a business.
Also, of the aesthetic member of the profession who
insists on making everything subservient to his point of
view. Also, of the man whose great leaning is toward practi-
cability at the expense of beauty, but to-day we are con-
fronted with the necessity of combining all three of these
points of view.

For five years general building has been at a very low
ebb, and the need for more structures has been slowly in-
creasing, so- much so that now we are confronted with the
task of erecting many buildings very quickly, and in doing
this it is the duty to carry high the standard of American
architecture.

So frequently in the past offices were laid out to ex-
press only the personal tendencies of the architect with-
out sufficient regard to being able to absolutely fulfil the
client's needs, which in the end are the controlling fac-
tors for which the office exists. When the opportunity oc-
curred in this case an endeavor was made to meet this con-
dition, and to so co-ordinate the functions of the office that
it would run as smoothly as business would through a well-
organized bank.

Having the opportunity of light on all four sides, and
with the utilities located in the centre, it was possible to so
arrange the different sections that the work travels easily,
from its inception from the client to its construction by the
contractor, without obstacles.

Having an open loft, there were no hindrances to
carrying out a preconceived plan. At the same time mak-
ing the path of the work easy, a great effort was made

to build up attractive surroundings for the workers in the
office and to make them as harmonious and agreeable as
possible.

In carrying out this work in leased quarters, the ex-

Drafting-room.

pense naturally formed a very important consideration,
and various expedients were adopted to do the work as
quickly and as inexpensively as practical.
For instance, throughout the entire suite of
offices there is not a single foot of plaster
other than that upon the exterior walls of
the loft. Cardboard upon stud partitions,
very heavily stippled, has been used to form
the walls, with chair-rails, etc., so that this
should not be damaged. The original ce-
ment floor has been tinted in various places
to give the effect desired, and where the
rooms are to be used for constant service
either linoleum or cork has been fixed upon
the same. Where a more finished treat-
ment was needed for the walls they were
boarded, and to this either marble was fixed,
or canvas applied, upon which a stencil treat-
ment was adopted. Everything has been
fixed throughout with screws, so that should
it be desirable to move later, all can be
taken away without undue difficulty or ex-
pense, and practically without defacing the
structure of the building at all.

1 86

ARCHITECTURE

187

Modern Building Superintendence

By David B. Emerson

CHAPTER X
HEATING AND VACUUM CLEANERS

ALTHOUGH no mention has been made so far of the
heating apparatus, it has not been forgotten or neg-
lected. As the construction work progressed the steam
mains, risers, and returns were installed. The boilers were
set early in the progress of the work, being delivered at the
building before the steel frame was erected, and were placed
in the sub-basement before the floor beams were set. The
heating of the offices, corridors, etc., was done by a vacuum
system of heating, using low-pressure steam.

On account of the large amount of radiation required,
steel boilers were used. The boilers, three in number, were
of the horizontal return tubular type, two being used for
heating the building, and the third being held in reserve.
A small auxiliary high-pressure boiler for heating water
and for supplying heat for the Turkish bath was also in-
stalled. The boilers were 16 feet long and 72 inches in
diameter, which gave a length of a little over 2^ diam-
eters, which is the ratio generally recommended in good
boiler-making practice. The tubes were of standard thick-
ness, 4 inches in diameter, which gave them a length of
48 diameters, which is the maximum length which should
be used. The boilers were made up of special high-grade
steel, tested to sustain a tensile stress of 60,000 pounds per
square inch, and each plate was so stamped. The boilers
were riveted in the best manner, all longitudinal seams
being butted, double-strapped, and triple-riveted, the ver-
tical seams and the flanges of the dome were double riveted.
The edges of all sheets were planed and bevelled before the
sheets were put together, and all of the seams were caulked
with round-nosed tools.

The shells of the boilers under the domes were not cut
away, but were perforated to afford the free passage of
steam and drainage. The boilers were thoroughly braced
with crowfoot braces, made of refined steel. A manhole
11 inches by 15 inches was placed in the top of each boiler,
and handholes were provided in the heads of the boilers.
Each boiler had three heavy cast-iron lugs on each side,
which set upon 12" x 12" x \Y^" cast-iron plates, set in the
brick setting. The two rear bearings were roller bearings,
to allow for expansion. The boilers had full sectional cast-
iron fronts, with double doors opposite the tubes, and feed
and ash-pit doors. All of the iron-work was extra heavy
and well bolted and screwed together, and finished with
pilasters and cornices.

As the boiler room was below the bed of the old stream
which was on the site, and there was considerable liability of
the boiler pit being flooded, the boilers were placed in a
water-tight steel pan. This pan was three feet deep, and
wide enough to accommodate all of the boilers, and of suffi-
cient length to allow room for firing; it was made up of
,^-inch plate, reinforced with steel angles and tees, but so
constructed as to present an unbroken floor surface. Three-
inch pipes, which were as long as the pan was deep, placed
so as to come between the boilers, were flanged to the bot-
tom of the pan, to give an air relief, so that the water pres-
sure would not lift nor buckle the pan.

The boilers were set with walls of hard-burned brick,

laid up in cement mortar. The side and rear walls were
18 inches thick, which included a 2-inch air space, the centre
walls were 24 inches thick, and the bridge walls were 24
inches thick at the top. The walls were provided with
6-inch steel I-beam buckstays, with tie bolts and anchor
rods. The tops of the boilers were levelled off with porous
terra cotta blocks, 4 inches thick, supported on steel tees
set 13 inches on centres. The walls of furnace, bridge walls,
and the back connections were all lined with fire brick laid
in fire clay. The fire brick were laid up dry, and the fire
clay was mixed to the consistency of thick soup, and the
brick were dipped in the clay and then laid in place, and
well hammered down, so as to get the thinnest possible
joints. The ash pits under the boilers were paved with
hard paving brick, laid on edge and thoroughly grouted with
cement mortar.

Each boiler had a separate smoke flue, so placed that
the fire gases passed under the boiler shells, then forward
through the tubes, and then across the front through the
vertical flues, which connected with the main flue, which
was increased in size for each boiler flue connection. The
smoke flues and connections were made up of No. 10 gauge
wrought iron, riveted with 3/" rivets, with 3" pitch, all of
the connections being made perfectly tight. The flues were
supported by means of wrought-iron hangers, fastened to
the steel floor beams above the boiler room. Each flue was
provided with cleaning doors, and had a pivoted hand
damper, and the main flue had a damper regulated with an
automatic damper regulator. The flues from the boilers
and the main flue were covered with No. 26 gauge, galvaq-
ized metal lath, securely fastened to steel angle framework,
which was built around the flue, and then plastered with
2 inches of magnesia covering. The boiler flue connected
with the chimney stack, which was made up of %" steel
plate, riveted with %" rivets, with a 4" pitch, all joints
being caulked and made gas tight. The flue was built up
in 20-foot sections, and it was erected in conjunction with
the steel framing. Each section of the flue was supported
by means of two 6" I-beams, bolted to the floor beams. A
horizontal section with an outlet flanged with 3" x 3" angles
extended into the boiler room and was connected to the
boiler flue. The stack had a cleanout, with a hinged door
at the bottom.

The boilers had 3" blow-off" cocks and valves, and blow-
off pipes to the blow-off tank. The blow-off pipes were
extra heavy pipe, to resist any sudden stress which might
be liable to occur in them. The blow-off tank was 3 feet in
diameter by 6 feet long, with a manhole at one end. The
shell was constructed of best open-hearth iron, -j\" thick,
and the heads were of flange iron, 3/" thick. The tank was
riveted, caulked, and braced, and had a drain-pipe connected
to the house drain outside of the vault wall, and it was also
provided with a vapor pipe which was carried up 10 feet
above the main roof, and capped with a galvanized iron
exhaust head. A cooling coil was installed in the tank, con-
nected with the water supply and with the discharge pipe.
(Continued on page 190.)

188

ARCHITECTURE

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(Continued from page 188)

Each boiler was equipped with a 2" feed valve, with stop
and check valves, and had a combination water and steam
gauge with try cocks, and brass safety valve, with lock-up
attachment.

The steam distribution was accomplished by means of
a down-feed system of piping. The main supply was taken
from the steam header over the boilers, and was connected
with the rising main, which ran up to the ceiling space over
the twentieth story. The riser had an expansion loop
located at the tenth-story ceiling. The loop was so con-
structed that all of the movement caused by the expansion
of the pipe was taken up by the turning of the pipes in the
fittings, and no strain was placed on any part of the piping.
The expansion loop was hung at the far end in an adjust-
able wrought-iron hanger secured to the steel floor beams.
The riser was anchored to steel framing at the fifth and
fifteenth floor levels, by means of adjustable pipe anchors.
From this main riser a series of distributing mains hung
from the roof beams by means of adjustable expansion
hangers, were run above the ceiling, to feed the down-feed
risers.

All of the pipe used in the heating system was standard
lap welded, puddled wrought-iron pipe, and all fittings were
standard cast-iron fittings. The fittings on the boiler
header, the main feed line, and the main riser were standard
cast-iron flanged fittings, with companion flanges on the
pipe, and they were put together with copper gaskets. The
ends of all pipe were reamed out to remove all burr caused
by cutting. Before installing the pipe each length was
stood on end and pounded, to remove all loose scale, dirt,
rust, etc. The use of red lead, or pipe cement, in the join-
ing of pipe and fittings was not allowed, joints having to
be screwed up and made tight, without the use of these
materials.

The connection from each boiler, of steam header, the
main supply, the main riser, the distributing mains, and
each down-feed riser were valved. The valves in all of the
horizontal lines were gate valves. All valves over 2 inches
in diameter had iron bodies, with steam metal mountings,
and all valves of 2 inches diameter or under were of steam
metal. The down-feed risers were run from the distrib-
uting mains down to the second floor, decreasing in size as
they descended. The return lines started at the twentieth
floor and ran to the sub-basement, increasing as they de-
scended. Wherever the pipes ran through the floor, they
were fitted with nickel-plated, hinged, floor and ceiling plates.

The radiator runouts were taken off the risers above the
floor, and care was taken to see that they were" pitched
toward the riser in all cases, and that there were no sags
nor pockets to cause trapping. The radiation in the corri-
dors, brokers' offices, and minor rooms on the first floor and
basement was supplied by an up-feed system, taken off the
main steam supply, the returns being taken into the main
return line. All of the radiators throughout the building
were plain cast-iron hot-water pattern radiators, the differ-
ence between steam and hot-water radiators being that
steam radiators have both the supply and return tappings
at the bottom, whereas hot-water radiators have the supply
tapping at the top, and the return tapping at the bottom.
This type of radiator is preferred for vacuum systems of
heating. All of the radiators were thoroughly washed out
at the foundry to remove all core sand and other foreign
matter. The air-vent tappings were plugged with perma-
nent iron plugs, and the supply and return tappings were
plugged with wooden plugs, which were not allowed to be
removed until the radiators were ready for connecting up.

The radiators had modulating valves on the supply end,
which allowed a regulation of temperature by the control-
ling of the circulation of steam, by throttling the inlet on
each radiator.

The vacuum traps on the return ends of the radiators
were of the sylphon type, operating on the thermostatic
principle, using a sylphon bellows made up of a multiple
construction of seamless brass folds. These traps allowed
the free passage of air and water, but were closed by the
action of heat and prevented the leakage of steam. The
return lines were connected to the return main in the sub-
basement. This line was graded in the direction of the flow
of the condensation, and ran to the vacuum pump. A suc-
tion strainer was provided between the suction end of the
pump and the end of the line, to prevent dirt and scale
entering the cylinder of the pump. The supply line and
the main riser were dripped into the vacuum return line,
and they were provided with gate valves, dirt strainers, and
sylphon traps. The vacuum pumps were electrically driven,
direct-connected, rotary pumps, with automatic float con-
trol switches. An air-separating tank for eliminating the
air from the condensation was placed between the vacuum
pumps and the boilers.

The heating of the banking-rooms and the safe-deposit
department in the basement was accomplished by means
of an indirect system of heating, with a fan and air washer,
and fitted with a temperature-regulating system. The
apparatus was located in the sub-basement. The fresh air
was taken through the intake into the fresh-air chamber,
which was made as nearly air-tight as was possible, to pre-
vent taking air from the interior of the building. The fresh-
air chamber was connected with the tempering coils, which
were made up of 1" wrought-iron pipes, in four-row sections,
set into a cast-iron base, which was connected with the
steam header. These coils were encased in galvanized sheet
casings, firmly braced with steel angles. The air washer
adjoined the tempering coils. This sat on a tank made up
of No. 14 gauge sheet iron, braced and riveted to a galva-
nized steel angle frame, with all seams and rivet heacls
soldered over to make them water-tight. The upper casing
was of galvanized sheet iron, braced with galvanized steel
angles, and all seams and rivet heads soldered over as in
the tank. The principal features of the air washer were the
diffuser plates on the intake side, which were of heavy gauge
galvanized iron plates; these served the double purpose of
evenly distributing the incoming air and maintaining an
even velocity through the spray chamber, and preventing
any back splash of atomized water from the spray chamber.
The bottom header risers and spray nozzles were placed in
front of the diffuser plates, which gave a body of atomized
water, through which the tempered air passed, was humidi-
fied, and all dust, soot, etc., removed. At the discharge
end of the washer were the eliminator plates, which removed
the entrained water from the air. These were placed in
tiers and a spray pipe was arranged to flood them and keep
them washed and cleaned.

The air washer had a direct-connected, motor-driven,
centrifugal recirculating pump, and the tank was provided
with strainers of fine copper mesh to prevent the dirt which
was washed from the air from reaching the pump and the
spray nozzles. The tank had an overflow trap and drain
to the sewer, and a valved waste was located in the bottom
of the tank for emptying purposes. The fan was of the mul-
tivane, direct-connected, motor-driven type, with a speed of
425 revolutions per minute. It was set in a sheet steel
housing. The discharge of the fan connected with the heat-
ing coils, which were of the same construction as the tern-

ARCHITECTURE

191

pering coils, and set in a galvanized sheet steel casing, which
was connected with the ducts. The returns from the tem-
pering coils and the heating coils were fitted with vacuum
traps with thermostatic disks, and were connected to a
special return main connected with the vacuum pumps.
Individual ducts ran from the heating chamber to the vari-
ous outlets in the basement and the first floor. Where the
horizontal branches in the sub-basement connected to the
riser ducts and flues, especial care was taken that there
should be no abrupt turns, all of the curves having a long
inside radius.

All ducts and flues were built of galvanized sheet steel.
Where one dimension was 48 inches or over, No. 20 gauge
metal was used, and they were braced with steel angles.
Where one dimension was 30 inches or over, No. 20 gauge
metal was used, and where they were 12 inches or over,
No. 22 gauge metal was used. The ducts were made with
slip joints, presenting a smooth surface in the direction of
the flow of the air. Each duct was fitted with a mixing
damper, controlled by a pneumatic thermostat located in
the room to which the ducts lead. These thermostats were
supplied with compressed air from a small hydraulic air
compressor located in the sub-basement. The compressed
air was carried to each thermostat by means of a small pipe
concealed in the wall, and a branch pipe connected the
thermostat with the damper. The registers were placed in
the walls, and in the front of the marble bank screens, boxes
being provided at the ends' of the duct for attaching the
registers, which were of cast bronze, finished to match the
bank fixtures. All register boxes were closed up with boards
until the completion of the building, to keep out dirt and
rubbish.

When the system was completely installed, all of the
exposed piping in the basement, the main riser, and the dis-
tributing mains were covered with sectional magnesia cover-
ing, all fittings and flanges being covered with magnesia
blocks and magnesia plastic, smoothly trowelled. The cov-
erings were finished with an 8-ounce canvas jacket, put on
over heavy sheathing paper, and well sewed with approxi-
mately three stitches to the inch, and held by means of
japanned bands, and then given two good coats of lead and
oil paint. All pipes and fittings which were not covered,
and all hangers and other ironwork, including the boiler
fronts, were painted two coats of best black Japan varnish.
All radiators and all of the exposed piping was given a coat
of yellow ochre, and a coat of special primer, and bronzed
with liquid bronze, except in the toilet-rooms, where they
were enamelled with white radiator enamel.

Before turning the system over to the owners, the con-
tractor tested it out thoroughly in our presence. The boilers
were tested by the makers before delivery to a hydrostatic
pressure of 100 pounds to the square inch. The boilers were
filled with water, and the entire system was started under
pressure, to clean it out. The condensation was allowed to
waste into the sewer, instead of returning to the boilers, a
globe valve being provided under the strainer for that pur-
pose. This was continued for several days, until the sys-
tem was cleaned of grease and dirt. Then the safety valves
were temporarily reset, and the pressure was run up to 15
pounds, and kept there until all piping, joints, valves, and
connections could be examined, and those few which we
found defective were made tight; one or two radiator sec-
tions were found to be cracked and were replaced by perfect
ones. The boilers were blown off and the interiors of the
sylphon traps were removed and the traps were thoroughly
cleaned. The vacuum pumps were then started, and the
vacuum control was regulated to start the pump at from

two to three inches of vacuum, and to stop the pump at
from five to six inches of vacuum.

A vacuum-cleaning plant was installed. Two four-
sweeper cleaners with two risers each were installed. By
four-sweeper cleaners it is meant that four sweepers can
be used at the same time. The piping for the vacuum-
cleaners was installed at the same time that the steam
piping was installed. All of the pipe was standard-weight,
black wrought-iron, screw-jointed pipe, smooth on the
inside, and free from dents, kinks, fins, or burrs, and all
fittings were cast-iron recessed drainage fittings. The
ends of all pipe were squared and reamed smooth, and
the threads were cut so that the pipe would screw into
the fittings in such a manner as to leave a practically
smooth passage through the pipe and fittings. Brass
eleanout plugs were installed at the base of all risers, and
they were set so that they pointed in the direction of the
flow of air. All horizontal pipe was supported by means of
adjustable pipe hangers, spaced not less than 10 feet apart,
and all risers were secured to the steel floor beams. The
inlets were of nickel-plated brass, with self-closing covers,
and they were placed in the baseboard in all cases, and were
so located that a 50-foot length of hose would reach to all
points, and each cleaning radius overlapped the adjoining
radius.

The cleaners were located in the sub-basement. The
exhausters were of the centrifugal fan type, with 10 horse-
power motors direct-connected to the shaft of the fan. A
5-inch exhaust pipe was run from each cleaner, and was
carried overhead on the sub-basement ceiling into the pipe
shaft, up to and through the roof, and fitted with a galva-
nized-iron exhaust muffler. The motors were provided with
75-ampere double pole, single brake, knife switches, one
double-pole circuit breaker, and starting rheostats of proper
capacity to control the motors. The cleaners had dust
separators to prevent dirt and dust from passing through
the vacuum producers.

After the cleaners were installed they were tested out
as follows: All of the piping was subjected to 7^ pounds
air-pressure, to determine the tightness of the system. We
then had an operating test made by selecting four outlets,
two on each riser, to which was attached 100 feet of hose of
the size which was to be used on the system, with the ends
open. The exhauster was required to maintain the specified
vacuum when running at or under the specified speed, and
the power consumed was not to exceed 14 kilowatts. As a
test of the tightness of the whole system and the effectiveness
of the vacuum control, the exhauster was run with all out-
lets closed and the power consumed was not allowed to
exceed 50 per cent of that at the full load.

A final test was made of the separators. We selected
four convenient points near four outlets, two on each riser.
The contractor then spread on the floor, evenly covering the
surface, or four spaces 7 feet square, a mixture of 24 pounds
of dry, sharp sand, that would pass through a 50-mesh
sieve, 12 pounds of fine wheat flour, and 4 pounds of finely
pulverized charcoal. Fifty feet of hose was then attached
to each of the four outlets, and all of the surfaces were
cleaned simultaneously. When all of the sand, flour, and
charcoal had been taken up, the exhausters were' stopped,
and the dirt was removed from the separator and spread
upon the floor again, and the operation was repeated until
the floor had been cleaned four times. On the completion
of this test the cleaners 'were examined, and more than the
required 95 per cent of the dirt removed was found in the
separators, so the system was accepted and it was turned
over to the owners' employees to be operated.

Announcements

A CORRECTION. In the alteration of the building at
512 Fifth Avenue, shown in the May number, the store of
the A. Sulka Co. should have been credited to Alfred Free-
man, architect, and that of the National City Co. offices
to Starrett & Van Vleck.

H. H. Whiteley, of Los Angeles, California, formerly
at 429 Story Building, begs to announce the opening of new
offices and studio, "La Cabana Azul," 520 South Western
Avenue, for the practice of architecture, building, decorating,
and furnishing. He wishes samples and catalogues.

Beverly S. King and Shiras Campbell have removed
their offices from 103 Park Avenue to 36 West 40th Street,
New York City.

Clifton Lee, Jr., and Merrill C. Lee desire to announce
the formation of a new partnership, Lee & Lee, architects
and engineers, and have opened an office at 918^ East
Main Street, Richmond, Va. Manufacturers' catalogues
and samples are requested.

At the annual convention of the New York Society of
Architects, held at the United Engineering Society Building
on May 19, James Riely Gordon was unanimously re-
elected for the fifth consecutive term as president; Adam
E. Fisher, of Brooklyn, first vice-president; Edward W. Loth,
of Albany, second vice-president; Frederick C. Zobel, of
New York, secretary; Henry Holder, of Brooklyn, treasurer,
and Walter H. Volckening, of New York, financial secretary.

The seriousness of the building, housing, and labor
situations was discussed at length. Many committees re-
ported, and many others were appointed to investigate these
conditions.

Warren W. Day announces that he has formed a co-
partnership with Mr. Clark Wesley Bullard, architect, of
Champaign, 111. Mr. Bullard, who is a State licensed
architect, is a graduate of the School of Architecture of the
University of Illinois, was for several years associated with
Bullard & Bullard, well-known architects of Springfield, 111.,
and has, for the last four years, been with Professor James
M. White, supervising architect of the University of Illinois.
A general practice of architecture will be conducted under
the firm name of Day & Bullard, at 527 Main St., Peoria, 111.

Sanford O. Lacey and Gerald G. Schenck, of the firm
of Lacey and Schenck, architects, announce that George
Bain Cummings, formerly of New York, has been admitted
to partnership. The new firm will be known as Lacey,
Schenck and Cummings, and will continue the practice of

architecture, with offices at 514-516 Phelps Building,
Binghamton, N. Y.

Messrs. York, Regan & Burke wish to announce that
they have formed a partnership, March 13, 1920, to be
known by the firm name of York, Regan & Burke, located
at 1323 North Clark Street, Chicago, 111., as architects and
engineers.

Charles W. Deusner and Helen Dupuy Deusner an-
nounce that they have resumed the practice of landscape
architecture in Southern California, under the firm name
of C. W. & H. D. Deusner, with an office at 15 North Euclid
Avenue, Pasadena, California.

Roy A. Benjamin and Harry M. Prince announce the
establishment of offices under the firm name of Benjamin
& Prince, architects, 2003^ Main Street, Dallas, Texas.

The Indiana Limestone Quarrymen's Association, Bed-
ford, Ind., announces the establishment of a metropolitan
service bureau, under the management of George Bangs
McGrath, 489 Fifth Avenue, New York City.

Benjamin Howell Lackey announces that he has
opened offices at 509 Federal Street, Camden, New Jersey,
for the practice of architecture.

Mr. George O. Rogers announces that on and after
May 1, 1920, he will be located in Suite 608-9-10, Penn
Office Building, 706-8-10 Penn Avenue, Pittsburgh, Pa.

The Stanley Works, New Britain, Conn., has purchased
the manufacturing business of The Stanley Rule & Level
Company. The Stanley Works will now own and operate
some twelve different plants and properties, located where
for years the workmen have grown up and become accus-
tomed to the exact requirements needed in the production
of the particular articles that are manufactured in these
factories. In connection with these are operated open-
hearth steel works, hot and cold rolling mills, foundries,
timber lands and sawmills for furnishing much of the raw
material used.

Book Reviews

"HOW TO USE CEMENT FOR CONCRETE CONSTRUCTION
FOR TOWN AND FARM, INCLUDING FORMULAS, DRAW-
INGS, AND SPECIFIC INSTRUCTIONS TO ENABLE THE
READER TO CONSTRUCT FARM AND TOWN EQUIPMENT."
By H. COLIN CAMPBELL, C.E. Chicago: Stanton & Van Villet Co.
This is a practical book, written by an authority of wide experience

in his subject. The 250 illustrations from photographs and drawings

admirably supplement and make clear the various particular uses of cement

dealt with in the text.

DO YOU
WANT

DATA AND

UP-TO-DATE DETAILS OF CONSTRUCTION SPCIHCANS ?

Above Illustration 1-22 actual size, showing some of the eighty "Service Sheets" published to date.

are detailed Data Sheets showing the cor- A complete Cross Index accompanies each edition.

rect and most efficient uses of up-to-date JUDGE FOR YOURSELF, let us send you names of users, typical of the thou-

building materials. They are prepared by expert draftsmen, under the supervision of sands of Architects and Engineers in private practice, and in the employ of Railroads,

-'-"-*- : - iU - ; Industrial Plants. Contractors. Builders. Municioalities and Governments located all

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or phase of a subject by means of details carefully drawn to scale. Sample specifications over the world. Save time, trouble and expense write tod

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lists of subjects covered.

ARCHITECTURAL SERVICE CORPORATION, 164 N. 6th STREET, PHILADELPHIA, U. S. A.

192

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

Bertram Grosvenor Goodhue, Architect.

ARCHITECT VRE

THE PROFESSIONAL ARCHITECTVRAL MONTHLY

VOL. XLII JVLY, 1920 NO. 1

p^r,tov:::

St. Thomas's and Its Reredos

By Ernest- Peixotto

IN the handsomest portion of Fifth Avenue, only a few
blocks apart, stand two great churches, both in the
Gothic style, both imposing by reason of their bulk and
dimensions. But here their similarity ends, for St. Patrick's
Cathedral, though the larger of the two, though the more
symmetrical and regular in plan, though carefully studied
after the best traditions of the Gothic builders, leaves a
cold and harsh impres-
sion upon the beholder,
while its neighbor, St.
Thomas's, seems a liv-
ing thing, a creation
imbued with life, pos-
sessing that subtle,
tactile quality that a
sculptor so aptly ndi-
cates by rubbing his
thumb briskly upon
his forefinger.

To impart this
rare quality to a great
work of ecclesiastical
architecture is, I think,
one of Mr. Bertram G.
Goodhue's greatest
gifts, one that places
him at once among the
foremost church archi-
tects of the day. The
architect of ecclesiastic
buildings is forced,
perhaps more than any
other, to conform to
traditions, to follow
certain precedents, to
design after given
formulas, but Mr.
Goodhue succeeds,
despite these restric-
tions, in making his
noble churches alive
and part of our life
to-day.

The plans for St.
Thomas's Church were
drawn, it is true, by
the firm of Cram,
Goodhue & Ferguson,
and Mr. Cram, the Procesionai door.

other great exponent of the Gothic spirit in America, must
share with Mr. Goodhue a certain amount of the credit of
the design. But the church as we see it to-day is essentially
Mr. Goodhue's.

Its exterior is picturesque. Asymmetrical, with a
sturdy, square tower on one corner, balanced only by a deli-
cate tourelle on the other side of its porch, the centre of

the edifice is not placed
in the centre of the
plot. Its north wall is,
you might say, a blind
party wall, designed to
become part of the
business building that
adjoins it. A deeply
recessed portal shades
handsome niches deco-
rated with richly
pierced canopies, and
is surmounted by a
beautiful rose-window
with elaborate tracer-
ies, above which an
open arcade, adorned
with niches and crock-
eted pinnacles, stands
silhouetted against the
sky. All this richness
of detail contrasts
agreeably with the
simple wall-spaces of
the tower and of the
massive buttresses
that support the main
walls. The detail is
drawn from the crea-
tions of the later-
Gothic builders, and
its delicacy and ele-
gance make St. Thom-
as's appear less robust
than some of Mr.
Goodhue's other
churches, notably St.
Vincent Ferrer's.

Along the south
side of the edifice, in
the side-street, lies a
chapel used for wed-

193

194

ARCHITECTURE

dings and lesser ceremonies, that is entered by its own
delicately sculptured doorway. Behind this chapel rise the
arcades and mullioned windows of the Parish House, capped
by an octagonal tourelle. Above these buildings runs a long
range of clerestory windows that forms one of the finest
features of the fabric.

The interior of St. Thomas's produces a profound im-
pression of dignity and harmony of proportion, and again
evinces Mr. Goodhue's conspicuous talent for creating living
architecture, for al-
though a new church,
it already has the tone
of an edifice that has
existed for many years.
The stonework, of
Kentucky sandstone,
is warm and ingratiat-
ing in color, the joints
being emphasized with
dark-gray cement.
The nave is broad and
lofty and so arranged
that practically all
seats command a view
of the pulpit and altar.
Its massive piers are
devoid of capitals.
Engaged in them,
slender ribs rise un-
broken from the floor
to the spring of the
main vaults poised
high overhead. Along
each side of the nave
run narrow aisles,
whose places in the
facade are marked by
the two picturesque
little doorways at each
side of the main portal.
The north aisle is bor-
dered by the simple
masonry of the great
blank wall to which I
have alluded, while
the south aisle opens
into the chapel to
which I have referred
. a chapel with its

own polychrome altar, its own aisle and pews, and with low
vaults that support a gallery that adds materially to the
seating capacity of the main church.

But, from the very entrance, the eye is immediately
attracted by the exceeding richness of the chancel, where
the great reredos a gigantic work of art only just com-
pleted rears itself aloft, piling its niches, its sculptured
figures, and its pinnacles from the altar to the topmost curve
of the main vaults of the church, a height of some eighty
feet.

This reredos is, I believe, one of the greatest accomplish-
ments in modern ecclesiastical art. The union between
architect and sculptor seems quite complete. Its several
tiers of niches, peopled with saints and prophets, with great
reformers and dignitaries of the Christian Church, rise one
upon another, cut in stone of the same warm character as
the rest of the church and forming an integral part of it.
These niches are shaded by richly carved canopies and sepa-

Through the nave, looking toward chancel.

rated by slender columns or by delicate buttresses orna-
mented with exquisite detail.

Toward its summit, the reredos is pierced by three
openings, that reveal windows which, though not intended
to be permanent, are glazed in the rich, jewel-like tones of
the glass at Chartres.

Immediately above the high altar, which in itself is
extremely simple, in a deeply recessed porch, stands a group
of figures that depict St. Thomas kneeling as he recognizes

the Risen Christ.
Above this porch tow-
ers a great cross, sur-
mounted by a crown
of thorns, capped by
a diadem, and sur-
rounded by adoring
angels enclosed in a
flat panel whose frame
is embellished with
scrolls and foliations,
and with shields show-
ing the implements of
the Passion.

Above the cross
again, in a glorified
calvary, appear life-
size figures of Christ,
St. Mary, and the
Beloved Disciple,
while in niches above
these and about them
appear apostles and
saints, missionaries
and reformers, divines
of the Episcopal
Church in England
and America. All
these figures have been
carefully studied in
their relationship .t6
each other and to the
whole, and produce
that wonderful im-
pression of richness
combined with order,
of dignity combined
with grace, that quite
overpowers the be-
holder in the storied retables of Italy and Spain.

The work of the sculptor forms no mean part in the
success of this accomplishment, for, as in much of the late-
Gothic work, the stonecutters art almost overshadows that
of the architect.

When I asked Mr. Goodhue how far his plans went
toward determining the actual detail of the sculpture, for
reply he showed me the three-quarter-inch-scale drawing
of the reredos, a vast drawing on which are plainly
indicated the position and attributes of each figure
and a clear suggestion at least of all of the ornament.
He also showed a section of the entire work as well as
plans made at a number of different levels, at every
height, indeed, where the plan changed materially, with
the profiles of the mouldings, the depths of the niches,
the diminishments of the buttresses all the complications
and intricacies, in short, minutely worked out. He dwelt
too upon the zeal and the quality of the work of his assis-

ARCHITECTURE

St. Tho

tants, Messrs. Jago and Murray, to whom he unselfishly
gives much credit.

From their plans the sculptor, Mr. Lee O. Lawrie, took
up his problems one by one, and for each problem he modelled
his figure or his ornament. He has, I think, succeeded to a
remarkable degree in imparting the Gothic spirit to his work,
as the details reproduced with this article will show. His
figures of the early saints and martyrs St. Francis or St.
Athanasius, for example have that suffering, mystical as-
pect so characteristic of true Gothic statues, their thin draped
figures treated with the elongations so loved by the mediaeval
sculptors, who sought, by means of them, to tie their statues
to the perpendicular lines of the architecture about them.
In his more modern figures of the prelates of the English
Church Canon Liddon, Bishop Selwyn, Bishop Payne
he has individualized his personages, basing his portraits
on reliable data without departing too much from the proper
decorative spirit, adjusting each figure successfully to the
shape of the niche in which it belongs and to the general
Gothic spirit of the reredos.

These qualities are equally apparent in his sculptured
ornament. His birds and beasts, his foliations and traceries,
have been designed to fit their spaces nicely and in proper
scale, enhancing, with their varied detail, the amazing rich-
ness of the whole. The actual cutting of the stone was done
by Ardolino Brothers, who have seconded the architect's
intention by leaving their work in the rough, so to speak;
that is, devoid of those finished and polished surfaces that
are so out of the spirit of Gothic sculpture.

When one approaches the reredos for a nearer view of
its manifold details, one perceives that the sedilia also, as
well as the stalls, the pulpit, the lectern, and the organ case,
have been elaborately enriched by a wealth of wood-carvings
done under Mr. Goodhue's supervision by the firm of Irving
& Casson A. H. Davenport Co., of Boston and New York.

The choir is separated from the nave by a parapet or
railing made of inlaid stone and marble. At one end of this
rail rises the pulpit, at the other end the lectern. The pulpit
is unusually ornate. It is octagonal in shape, each of its

(Continued on page 198.)

ARCHITECTURE

Fronts of Choir Seats.

Parapet over Choir. Bertram Grosvenor Goodhue, Architt

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

ARCHITECTURE

197

Fronts of Choir Seats.

Clergy Stalls.

Bertram Grosvenor Goodhue, Architect.
REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

ARCHITECTURE

The doors of the aumbry.

198

(Continued from
page 195.)

exposed faces
being decorated
with three fig-
ures of renown-
ed churchmen
separated from
each other by-
slender but-
tresses that up-
hold canopies of
the richest flam-
boyant style.
The pulpit hood
is also decorat-
ed with carved
ornament and
a particularly
beautiful crest-
ing. It is tied
by arches and
crocketed pin-
nacles to the
organ case, that
rises high above
it enriched also
with elaborate
carvings.

Each side
of the chancel
is lined with
stalls for the
choir and clergy.

Those along the wall are provided with pierced canopies ot
flamboyant design and with misericordia carved with fan-
tastic animals and birds. The
backs of the book-rests in
front of each seat are carved
with Biblical scenes David
and Goliath, the Crossing of
the Red Sea, and kindred
subjects the little wooden
figures being treated with the
naive simplicity and exagger-
ation of proportions so com-
mon in the work of the me-
diaeval sculptors.

But all of the scenes are
not drawn from the tradi-
tions of the past. As this
church furniture and the
great reredos were designed
and executed during the tur-
bulent years of the World
War, this fact is commemo-
rated in a number of inci-
dents. Portrait reliefs of the
Allied commanders Foch,
Joffre, Pershing and of the
Allied rulers Wilson and
Poincare, Victor Emmanuel
and George V occur in the
stonework, while in the pan-
els carved in the woodwork
appear the Sinking of the _________ _^^_

ia, Allenby as he en- One of the bishops panel on back of sedilia

ters Jerusalem,
and other epi-
sodes of the
great war. On
the parapets of
the rector's and
curates' stalls
are carved the
coats of arms of
the Allied na-
tions, while
the mosaic of
Rheims Cathe-
dral on the
chancel-rail is
made of stones
that actually
were brought
from the mar-
tyred cathedral.
In the cove of
the parclose
screens the ribs
terminate in a
number of por-
trait heads,
among which
may be recog-
nized those of
the donor, the
organist, the
wood-carver,
and the rector,
Doctor Ernest

M. Stires, who is responsible for the final choice of subject
of most of the sculptured detail. There is, indeed, a wealth

of incident quite beyond de-
scription, surpassing any-
thing of the kind that I can^
recall.

And all this is quite as it
should be, marking for future
generations the historic epoch
in which this great work of
art was created, stamping it
with the history of its day,
even to the semijocose utiliza-
tion of such motives (carved
on the misericordia) as the
prohibition movement and
the ultimate consumer
crushed between Capital and
Labor.

But these are mere de-
tails made for the edification
of those of a literary turn of
mind. The dominant effect
produced by St. Thomas's
Church upon the beholder
has nothing to do with these.
When one considers its
interior as a whole, one for-
gets details and remembers
only an impression of vast
and harmonious proportions,
of soaring arches and strong

ARCHITECTURE

199

The assistant rector's seat.

Ends of choir seats.

pillars whose perfect proportions and perfection of align-
ment accord well with the stately and ordered decorum of
the Anglican Church. But even taking these facts into
account, the elements that go to make up the beauty of
this edifice are more complex. It is, for instance, admira-
bly lighted, and so its light plays a conspicuous part in the
general harmony of the whole, sifting down in medium
intensity from the huge glazed spaces of the clerestory

windows, creating a restful atmosphere of quiet and tran-
quillity.

It bathes the simple surfaces of bays and walls with a
soft effulgence in which, as in the compositions of the great
Spanish architects, whose work Mr. Goodhue loves so well,
the great reredos forms the one spot of rich detail, gleam-
ing at the end of the chancel like a costly jewel set in its
plain setting.

Courses in Architecture at Columbia University Summer Session

THE architectural school, which this summer offers more
than twenty intensive courses, has adopted many of
the army methods of training men in both theory and prac-
tice for practical work.

The courses have been so arranged as to be of particular
value in view of the evident portent of the coming building
boom, which will make a great demand for practical archi-
tects. H. V. Walsh will be departmental representative for
the work, which will count toward the degree in architecture
for students who have satisfied the entrance require-
ments and are open to all qualified students without ex-
amination.

The elements of free-hand drawing, lettering, drawing
geometrical figures from dictation or diagrams, ornament
forms in outline, simple architectural details, isometric pro-
jections, outline sketching from flat casts and from models
will be taught by George Marcus Allen, instructor in graph-
ics at Columbia, in a course which covers the requirements
of the College Entrance Examination Board in free-hand
drawing.

Professor Charles A. Harriman will give two courses in
the elements of design, in one of which he will be assisted by
Mr. Allen. Courses in elementary design, intermediate de-
sign, and advanced design will be given under M. Maurice
Prevot and A. E. Flanagan.

For students beginning the study of architecture a
course in architectural drafting covering drafting as seen
from the architectural point of view, visualization, use of
instruments, alphabets and lettering, standard drafting prac-
tice, symbols and indications of frame, brick, and stone con-
struction, materials and fixtures, working drawings, large-
scale drawings, architectural and structural details, sizes
and space allowance for fixtures will be given by Mr. Allen.

Professor Harriman will give courses in charcoal draw-
ing, pen-and-ink drawing, and pencil drawing, and Joseph
Lauber will give an elementary and advanced course in
water-color drawing. Courses in shades and shadows and
perspective will also be offered. Surveying courses to be
given at Camp Columbia, Litchfield County, Connecticut,
will be open to students in architecture.

2OO

ARCHITECTURE

SjftscL/si-t f,

JCINf IN TMt Ufftt

footi.

in
ftatn.

St. Thomas's Church

Cresting Under the Central Panel of Reredos. (Model.)

Subjects of Carving on the Chancel Fittings

SUBJECTS OF Cur STONEWORK IN
PARAPET

Emblems of the Church

22. Ship.

23. Lighthouse.

24. City of Refuge.

25. Kingdom of God, tree, fowls.

The Church of America

26. 1607, Jamestown First Com-

munion.

27. Independence Hall, 1776.

28. 1865, Blue and Gray.

29. Rheims Cathedral, 1918.

SUBJECTS IN THE WOOD-CARVINGS
Figures on Balcony at end of Aisle
Presbyterian Church in the U. S.
Church of England.
Greek Church.
Church of Rome.
Church of the United States.
Council of the Church, U. S.

FIGURES IN PULPIT

Henry Parry Liddon, Canon of St.
Paul's.

John Henry, Cardinal Newman, ora-
torian.

William C. Magee, Archbishop of
York.

John Wycliffe, Rector of Lutter-
worth.

John Chrysostom, Bishop of Alex-
andria.

Girolamo Savonarola, O. P., Flor-
ence.

Frederick W. Robertson, incumbent
of Trinity Church, Brighton.

John Wesley, sometime Fellow of
Lin. Coll., Oxon.

Frederick Denison Maurice, a noted
English divine.

Jean Baptiste Massillon, Bishop of
Clermont.

Jacques Benedict Bossuet, Bishop
of Dijon.

Frederic Monod, fundator of the
Evangelical Church of France.

Henry C. Potter, Bishop of New
York.

Phillips Brooks, Bishop of Massa-
chusetts.

Thomas Underwood Dudley, Bishop
of Kentucky.

Canon Farrar, Dean of West-
minster.

William Boyd Carpenter, Bishop of
Ripon.

Frederick Courtney, Bishop of Hali-
fax.

W. R. Huntington, Rector of Grace
Church.

FIGURES IN RECTOR'S AND ASSIS-
TANT'S SEAT

Rector's Side
Beginning at north side:

1. Dante.

2. Jeremy Taylor.

3. Augustine (on front).

4. Thomas a Kcmpis.
In back of seat:

The Ascension.

Assistant's Side

1. Chaucer.

2. Shakespear.

3. Pusey.

4. Milton (on front).

5. Bunyan.
In back of seat:

Council of Nicaea.
In front of desk:

Conversion of St. Paul.
The organists on the two rows of

seat ends on the west front
Reading left to right, west front:

1. Merbecke.

2. Farrant.

3. Gibbons.

4. Purcell.

Reading left to right, east end:

1. Croft.

2. Boyce.

3. Nares.

4. Purcell.

MISERERE SEATS
Epistle side, starting from east end:

1. Lion eating straw like the ass.

2. The dove and ark.

3. The cow and the bear shall

feed . . . together.

4. The swallow has built her nest

upon thine altar, O Lord.

5. The wolf and the lamb.

6. A phoenix copy of an ancient

miserere.

7. Young lions seeking their

prey.

8. Foxes have their holes, etc.

9. The Russian bear being doped.
10. The Gallic cock.

n. Vyie (Rector's seat).

On the north side, starting from the
west end:

12. Salvation Army laas with

doughnuts.

13. Out of the strong cameth forth

sweetness.

14. The American eagle plucking

the imperial eagle.
15- Prohibition overturning Bac-
chus.

16. St. George and the Dragon.

17. The Ethiopian eunuch bap-

tized by Philip.

18. St. Christopher, patron of

those who travel.

Emblems on seat ends:
S.E. Our Lady's Jester.
N.W. "Stirsum Corda" (the an-
cient notes).
S.W. The honey-bees.
N.E. Cock.

ST. THOMAS'S CHANCEL FITTINGS

Emblems along front of boys' desks,
starting from the east end, Epis-
tle side:

1. Doctors.

2. Engineers. '

3. Bankers.

4. Authors.

5. Architects.

6. Musicians.

7. Wireless.

8. Railway.

9. Blacksmiths.

10. Telephone.

11. Sculpture.

12. Steamship.

13. Shield of Roosevelt.

14. Christopher Columbus (shield

with ship).

North side starting from the west
end:

1. Henry Hudson (shield with his

ship).

2. Abraham Lincoln.

3. Airplane.

4. Painting.

5. Automobile.

6. Fulton's steamboat.

7. Telegraph.

8. Airship.

9. Woodcarver.

10. Cotton.

11. Electrical.

12. Iron, steel.

13. Teachers.

14. Lawyers.

Scenes carved in fronts of clergy
kneeling-desk, starting from east
end, Epistle side:

1. Adam and Eve expelled.

2. Sacrifice of Isaac.

3. Jacob's Dream.

4. Crossing the Red Sea.

5. David and Goliath.

6. Solomon building, the Temple.

7. Elijah rebuking Ahab and Jez-

ebel.

8. Belshazzar's Feast.

9. Nehemiah rebuilding Jerusa-

lem. '

North side starting from the west
end:

1. Allenby entering Jerusalem.

2. Missions.

3. Cranmer, Latimer, and Ridley.

4. St. Paul, Mars Hill.

5. Pentecost.

6. Feeding the multitude.

7. Magi.

8. Nativity.

9. Church in America.

Gargoyles in cove, starting from the
east end, Epistle side:

1. King of England.

2. King of Belgium.

3. Clemenceau.

4. Poincare.

5. Lloyd George.

6. Haig.

7. English admiral.

8. Joffre.

9. Aviator.

10. Gob.

11. Ordnance.

12. Red Cross nurses.

13. Doctor Noble (organist).

14. Mr. Steele (donor).

15. Mr. Goodhue (architect).

16. Doctor Stires.

17. Mr. Casson (woodworker).

Starting from the west end:

1. Mr. Irving (woodworker).

2. Cardinal Mercier.

3. Burgomaster Maxe.

4. Bishop Brent.

5. Bishop Burch.

6. Artillery.

7. Red Cross.

8. Private.

9. General Allenby.

10. Mr. Hoover.

11. General March.

12. French admiral.

13. Foch.

14. Pershing.

15. American admiral.

16. King of Italy.

17. Paderewski.

18. President Wilson.

SEDILIA

On Top :

Emblems of the Four Evangelists.
Three Bishops:

Bishop Courtney.

Bishop Whitehouse, Illinois.

201

2O2

ARCHITECTURE

Bishop Mackay Smith, Penn-
sylvania.

Four Deacons: St. Stephen, St.
Philip, St. Lawrence, St. Francis.

On arms

seats :

of Bishop's and Priests'

Moses, Aaron, Timothy, Titus,
Ignatius, Polycarp.

On fronts :

Consecration of Bishop White.
Consecration of Bishop Seabury.
Charge to St. Peter.

St. Paul laying on hands.

Bishop Greer laying foundation-
stone of St. Thomas's.

Bishop Greer consecrating St.
Thomas's.

List of Statues, Symbolism, and Heraldry for the Reredos

A-i. Our Lord. Two shields, five
wounds.

A-2. Blessed Virgin Mary, in tunic,
mantle, and veil. Shield,
lily combined with mono-
gram.

A~3. St. John the beloved Disciple,
in tunic and mantle.
Shield, chalice with pro-
truding serpent.

B-l. St. John Baptist, holding
lamb on book, clothed in
camel's-hair rug.

B-2. St. Paul the Apostle. Shield,
three fountains.

6-3. St. Peter. Shield, two keys
crossed.

6-4. St. Thomas. Shield, spear on
square.

C-l. St. Matthew. Shield, angel.

C-2. St. Mark, Evangelist. Shield,
lion.

C-3- St. Luke, Evangelist. Shield,
a bull.

C~4- St. John, Apostle and Evan-
gelist. Shield, eagle.

D-i. St. Bartholomew. Shield,
knife and book.

D-2. St. James Major. Shield,
hat on staff and two shells.

D-3. St. Andrew. Shield, St. An-
drew's cross.

D~4- St. Matthias. Shield, book
and scimitar.

E-i. St. Philip. Shield, cross be-
tween two loaves.

E-2. St. James the Less. Shield,
saw.

-3. St. Simon. Shield, two fish.

E-4. St. Jude. Shield, boat. _

F i. St. JohnChrysostom. Shield,
beehive.

F-2. St. Athanasius. Shield, two
columns.

F-3. St. Jerome. Shield, lion.

F~4. St. Augustine. Shield, flam-
ing heart pierced with
arrow.

EIGHT EMBLEMS ACROSS REREDOS
BELOW THE ABOVE EMBLEMS OF
OLD AND NEW DISPENSATIONS:

1. Flood Ark.

2. Divine Presence Ark of the

Covenant.

3. Crucifixion Brazen serpent.

4. Resurrection Jonah and whale.

Four New (Right)

1. Annunciation.Nativity Lily and

star.

2. Crucifixion Three crosses.

3. Resurrection Open tomb.

4. Church Ship over crossed keys.
ARTS AND CRAFTS OF THE CHURCH

Ten figure subjects upper part of
reredos :

1. "Setting out" the stonework.

2. The stone-carver.

3. The secretary.

4. The donor of the reredos.

5. The rector.

6. The architect.

7. The draftsman.

8. The sculptor.

9. The plasterer.
10. The stone-setter.

Six emblems of Our Lord circled by
wreaths in lower part of buttresses,
left to right facing:

1. Flaming sun.

2. I. H. S.

3. Dolphin.

4. Three fish.

5. X. P. S.

6. Phcenix.

Two small shields, one at extreme
end in lower portion:
Cross and candlesticks left fac-
ing, The Church.

Seven -branched candlesticks
right facing, The Synagogue.

G-i. St. Stephen, protomartyr,
vested as a deacon. Prin-
cipal shield, dalmatic with
five stones. Twelve minor
shields, dalmatic, letter S
and three dice variants.

G-2. St. Philip the Deacon.
Shield, three crowns.

H-l. St. Polycarp. Shield, burn-
ing fagots.

H-2. Savonarola.

H-3- St. Gregory the Great.

H-4- St. Francis of Assisi.

H~5. St. Ignatius.

H-6. St. Cyprian.

I-I. Angels holding innocents.
Text across group.

1-2. Angels holding innocents.

1-3. Angels holding innocents.

Two shields flanking central "inno-
cent":

Arms of see of New York (left
facing), arms of parish (right).

J-l. Restitutus.

}-2. St. Columba, abbot of lona.
-3. St. Augustine of Canterbury.

Shield, font.
J-4. St. Theodore, Bishop of Can-

terbury. Shield, arms of
Canterbury.

J-5. St. Bede the Venerable
monk of Jarrow.

J-6. Wycliffe, in mass vestments.
Shield, morning star of
Reformation.

J-7. Cranmer Archbishop of Can-
terbury. Shield, arms of
Canterbury.

J-8. Laud, Archbishop of Canter-
bury. Shield, arms of
Canterbury.

Missionaries:

K-i. Selwyn (George Augustus),
Sometime Primate of New
Zealand. Shield, arms of
Christ Church.

K-2. Patteson (John Coleridge),
Bishop of Melanesia.
Shield, arms of Melanesia.

K-3- Payne (John), Bishop of Cape
Palmas. Shield, mitre and
staff with "Palmas."

K-4. Williams (Channing Moore),
Bishop of Yedo. Shield,
mitre and staff with
"Yedo."

M I. Hooker, rochet and chimere.

M-2. Butler, rochet and chimere.

M-3- J.Wesley in surplice and stole.

M~4. Canon Liddon as a canon of
St. Paul's.

M~5. Gladstone, over. Shield,
Gladstone arms.

M-6. Seabury, first Bishop of Con-
necticut, rochet and chi-
mere. Shield, Seabury
arms.

M-7. White (William), first Bishop
of Pennsylvania. Shield,
arms of diocese.

M-8. Washington. Shield, his arms.

M-o. Phillips Brooks, Bishop of
Massachusetts, rochet and
chimere. Shield, arms of
see of Massachusetts.

M-IO. Tuttle, Presiding Bishop
(Missouri), rochet and
chimere. Shield, arms of
Missouri.

Emblems in central portion of rere-
dos main panel:

Scene in the upper room from the
life of St. Thomas from St. John's
Gospel, 2Oth chapter, Christ
showing his wounds to the doubt-
ing Apostle.

Panel of the cross:

Cross of the vine rising from
shield containing a chalice cir-
cled by crown of thorns and
with text, "This do in remem-
brance of me."

Cross crowned, and below angels
bearing superscription with
monograms I N R I Ribands
circling angels containing in-
scription: "The leaves of the
tree were for the healing of the
nations." Rev. 22 : 2.
Lower portion contains six panels
of angels as originally modelled by
Saint Gaudens, separated by the
words of the Te Deum, from "We
praise thee, O Lord," to "Thou
didst open thy Kingdom of heaven
to all believers."

At the foot of the cross, lambs
drinking from rivers, representing
the means of grace.

Four emblems of the Evangelists
at the ends of arms of cross two at
each end:

Matthew, angel, and Mark, lion
(top), Luke, ox, and John, eagle
(bottom).

At each side are twelve emblems
of the Passion. Left side facing,
beginning at top:

1. Cock, with motto, "I know not

the man," Matt. 26 : 72.

2. Money and bag, "I have be-

trayed," Matt. 27 : 4.

3. Basin and ewer, "I wash my

hands," Matt. 27 : 24.

4. Column, "With his stripes."

5. Scourge, "He was scourged."

6. Lanthorn (no inscription).

7. Coat and dice, "They cast lots,"^

John 19 : 15.

8. Crown of thorns, "They crowned

him."

9. Hammer and nails, "They nailed

him."

10. Cross, "If I be lifted up."

11. Ladder and spear, "They

pierced my side."

12. Pincers.

Shield in middle of central panel

above altar, arms of parish.
Shield in centre of face of mensa
j_C-X-C N-I-K-A, with cross.
In the two curves at the side above
the windows are representations of
i. The Annunciation; 2. Adam and
Eve expelled from Paradise.

Shields of the Allies.

Industrial Housing

WE are indebted to Fred T. Ley & Co., Inc., for a
pamphlet prepared by Mr. Leslie H. Allen on "Home
Building for Wage-Earners." In it we find summarized
with great clearness the result of wide experience in the
construction of homes for industrial workers, both for the
government and large private corporations. The subtitle,
"A Financial and Economic Problem," best expresses the
point of view of the discussion, and to this aspect of what is
probably one of the greatest human problems of modern times
the writer brings clear vision and an analysis of tried methods.

There is hardly a city or town in the country where the
congestion has not become a menace to the general welfare
of the community, or where varying methods of trying to
solve the problem have not been considered. Housing
shortage and labor shortage are bound together, and the
solution of the first seems the essential step in making pos-
sible the resumption of production so vitally needed, if we
are to find a way out of the prevailing high prices.

Our population has grown apace, our building construc-
tion in the way of homes has been almost at a standstill.
The old days when a laborer would put up almost any sort
of a hovel where he could sleep have gone with the coming
of high wages. The workman of to-day demands and ex-
pects a comfortable home for himself and family, and goes
where he can find them, for he is no longer at the mercy of
mere local employment, but may choose the place and work
that best provides the most favorable living conditions.

Former speculative building projects no longer even
begin to meet the demand; in fact, they are no longer possi-
ble at present high costs and uncertainty of everything con-
cerning building.

"What Is a Fair Rent?" "Resale and Repurchase,"
"Renters," "Financial Plans," "Loan Associations," "Meth-
ods of Selling," "The Copartnership Policy," "The Best
Type of House," "Economy in Large-Scale Operation" are
some of the very pertinent matters discussed by Mr. Allen.
We commend these last two extracts for especial considera-
tion:

"Management. If a housing enterprise is to be really
successful, too much emphasis cannot be laid on the impor-
tance of good management. One untidy or disorderly ten-
ant can spoil the surroundings of a whole block. Destruc-
tiveness if not checked at the outset will soon ruin the best-
built premises.

"Overcrowding must be prevented by proper restric-
tions in the leasing or selling of the property, and a district
nurse or friendly rent-collector should make periodical inspec-
tions to see that the premises are kept clean and that the
tenants are living decently."

"Conclusion. During the war over one hundred mil-
lions were spent on housing. The evidence collected by
government officials proved that good housing was necessary

to reduce labor turnover, to increase production, to main-
tain health and efficiency, and to make men contented.

"We are now in a condition of industrial unrest where
high turnover, low production, low efficiency, and industrial
discontent are menacing national prosperity and happiness.

"The measures that were used to allay these troubles
in time of war are equally needed now. Good housing was
one of the chief remedies.

"Until every citizen has a place which he can think of
with pride and affection as 'Home,' we shall not be enjoy-
ing to the full the Life, Liberty, and the pursuit of Happiness
that is our national aim. We want America to be not merely
a 'melting-pot' but the Home of every citizen.

"Home turn the feet of men that seek
And home the hearts of children turn."

Good for Detroit

WE have been reading with a mood of cheering optimism
born of the text a pamphlet on the "Building Zone
Plan for Detroit." One sentence gave us pause for thought,
and brought pictures of certain localities in many of our
Eastern cities that are even yet a disgrace to so-called civili-
zation. Perhaps they are not as bad as they used to be,
but bad beyond words they are even yet, and with the
present congestion of population some of them will be very
apt to revert to the worst conditions of the old days.

No wonder Detroit is proud when she can say: "This
city is now free from the character of slums and tenement-
house development existing in many Eastern cities."

Detroit has always been spoken of and looked upon as
a city of homes, but "the intensity of the use of the land"
is even there an increasing question. The manifest need for
the multiple house will raise the intensity of population per
acre, and the intrusion of the multiple house is apt to be,
as the intrusion of the store, the garage, the factory, destruc-
tive of the character of an entire neighborhood.

Detroit has, too, her own very serious traffic problem,
one of the most pressing of all cities, owing, no doubt, to its
being such a great centre of the automobile industry.

Zoning regulations are being established all over the
country, but the dead past will have to bury its dead, and
with the present critical need for places where people may
exist we would not call it living there may be an inevita-
ble tendency to forego many of the gains already made.

"Increasing city growth causes more intensive residen-
tial development, which should be curbed in the interest of
public health and safety. Studies of new multiple-house
construction built under the pressure of a rapidly increasing
population discloses in some cases a density of 1,000 persons
per acre an astonishing and alarming condition. If De-
troit is to retain anything of its former pride as a city of
splendid residences and homes, its present average density
of population should be maintained in so far as possible."

203

204

ARCHITECTURE

A Great Ecclesiastical Monument

A LARGE part of this number of ARCHITECTURE is given
to a presentation of the great reredos and the wood-
work of St. Thomas's Church, New York, recently completed
under the direction of the architect, Mr. Bertram Grosvenor
Goodhue. We feel quite sure that most of our readers will
think with us that we are justified in making this representa-
tive showing of a work of such great distinction. The church
itself is one of the notable Gothic structures of the present
day, and we know of few great churches in Europe where a
reredos of such magnitude and beauty and such woodwork
may be found. This, we sincerely believe, is a number of
ARCHITECTURE that every subscriber will value highly as a
record of a really great modern Gothic monument of art.

Mr. Goodhue, we are advised at this writing, has been
chosen as the architect for the new capitol of Nebraska. Out
of a list of ten competitors who submitted plans he was se-
lected by a jury of three disinterested architects, Waddy B.
Wood, of Washington, James Gamble Rogers, of New York,
and Willis Polk, of San Francisco. The choice was con-
firmed by the members of the capitol commission comprising
Governors. R. McKelvie, of Lincoln, William H. Thompson,
of Grand Island, William E. Hardy, of Lincoln, Walter W.
Head, of Omaha, and George E. Johnson, state engineer.
Thomas R. Kimball, advisory architect for the board, as-
sisted the jury in its decision.

Co-operation

To THE EDITOR OF ARCHITECTURE:

In the past year or so it has percolated through to some
of the architectural profession that- there exists somewhere
in New York City a model co-operative multiple dwelling.
This enterprise has been hailed as a means of lifting us out
of the present money shortage for housing. The writer
visited this group of buildings some time ago, and desires to
correct some of the impressions which are given credence
concerning it.

Assuming, like other architects, that it would be mas-
terfully designed and set in a parked space, we passed it by
without notice, but finally returned to the street number
given me. We entered an ordinary building similar to the
type with which Brooklyn, Manhattan, and the Bronx are
too profusely provided. Upon being invited to enter one of
the apartments, however, the spirit of the place became
evident. The ideal that had been in practical operation
was then explained by three or four of the co-operators.

First essential. The co-operators had inherited the
science of co-operation, and desired to co-operate in the realm
of home production. They did not by any means do this
for the monetary saving alone, but they did it also for the
peace of mind that was engendered, and which is so obvious
even to a casual observer. Next, how did they proceed ?
They took the building plans to the usual loaning institu-
tions and found out about how much they could borrow,
just as any of us would do. Finally they borrowed from a
very usual source. Then they made up the rest of the equity
among themselves. This was the interesting part, for some
of them had not sufficient capital to supply the fund neces-
sary to enclose the space they were to occupy. But others
among them were better supplied with money. Finally a
group concurred that could aggregate the necessary amount.
Here is the co-operative element. All had five hundred dol-
lars, so they each put that in without interest and called it
a share. Some had more, others a good deal more. They
hired the additional "capital" necessary to make up the
needed amount at the rate of 7 per cent per annum.

Now, after a few years' operation, intruders like myself
discover them and they explain their creed, "one man, one
vote, no matter howmuch money he may have brought to
the enterprise." How different from the misnamed co-opera-
tive apartments which are springing up all over, and in
which half of the- occupants are stockholders and the other
half tenants, with a real-estate firm to "manage" them.
And so it came about in the South Brooklyn apartment that
one chap with only five hundred dollars had as much say
about the dwelling as another who had supplied twelve
times as much. When asked about this, the co-operators
answer: "Why should he not ?"

There is a charm about this multifamily dwelling that
is not discernible in the bricks and mortar. It comes from
the character of these souls that trust and respect their
friends and neighbors. Co-operation cannot be assumed
lightly like the flinging on of a mantle, nor can it be super-
imposed. It is a deep and fundamental thing. Where is
there any beauty in life, even in one's own individual castle
upon one's own individual lot, if there is not accord with
our neighbor on the right and left and front and rear ? This
is all too seldom the case in our suburbs, with all of their
wealth and exterior beauty.

These co-operators were trained in co-operation in a
foreign land, and for them co-operation is akin to religion.
It would not seem to be a sound policy of Americanization
if we should attempt to turn these more recent arrivals into
sordid individualists. The future greatness of America will
be built by learning from them and by incorporating into
our national life much of their spirit.
Very truly yours,

HENRY ATTERBURY SMITH.

Announcements

We are in receipt of a letter from Mr. H. Van Buren
Magonigle from which we quote the following regarding his
reported comment on the Bahai Temple published in our
June issue:

"I did say that I had never seen anything quite like rt;
that it was referable to no style with which I am familiar,
but it seemed to belong to the school of which Louis Sullivan
is the leader and chief exponent; I also said that I should
like to see 'how it would work out in execution,' and when
executed I strongly advised that the upper part be revolved
on the central axis so as to bring the apparent thrusts of the
upper buttresses to the angles of the lowest story instead
of over the voids."

.- . Jf , , '

G. C. Freeman, architect, announces the removal of his
office from 1111 North llth Street to the Reading Liberty
Bank Building, opposite the Court House, Reading, Pa.

Brentwood S. Tolan, architect, Rooms 316-317 Farm-
ers Trust Building, Fort Wayne, Ind., announces that he
has re-established his office at Fort Wayne, Ind., and that
he will be pleased to receive catalogue and samples.

Grosvenor Atterbury, Stowe Phelps, and John Tompkins
announce the removal of their architectural offices to 139
East 53d Street, New York City.

We are in receipt of "The Dunham Hand Book No.
114, The Dunham Heating Service, Chicago," a little refer-
ence of practical service to all interested in heating problems,
and one that architects will be glad to have available.

We also wish to acknowledge the receipt of the booklet
on "Quarter Turn Padding Lock Valves," published by
Gorton & Lidgerwood Co., New York.

JULY, 1920.

ARCHITECTURE

) J U(t~ Xe

PLATE XCVII.

St. Thomas Acknowledges Our Lord.

Bertram Grosvenor Goodhue, Architect.

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

h- 1

a
u

JULY, 1920.

ARCHITECTURE

PLATE XCIX.

ljllll!

Central Panel of the Cross, with Adoring Angels. Originally Designed by Saint-Gaudens. Bertram Grosvenor Goodhue, Architect.

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

H
U
W
H

JULY, 1920.

ARCHITECTURE

PLATE CI.

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v wVk-i ^ w

Our Lord with St. Mary and St. John, Immediately Over the Cross. Bertram Grosvenor Goodhue, Architect.

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

-x"

ffi

JULY, 1920.

ARCHITECTURE

PLATE CIII.

Two Missionary Bishops: Bishop Selwyn, Primate of New Zealand, and Bishop Patterson, of Melanesia. Bertram Grosvenor Goodhue, Architect.

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

JULY, 1920.

ARCHITECTURE

PLATE CV.

The Pulpit and Rector's Stall. Bertram Grosvenor Goodhue, Architect.

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

JULY, 1920.

ARCHITECTURE

PLATE CVI.

The Lectern.

Bertram Grosvenor Goodhue, Architect.
REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

JULY, 1920.

ARCHITECTURE

PLATE CVII.

The Bishop's and Priests' Seats. ~ Berlram , ; rosvenor ( l00(lluR , > Architect.

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

JULY, 1920.

ARCHITECTURE

PLATE CIX.

Front of the Kneeler, Assistant Rector's Stall.

Back of Assistant Rector's Seat. Bertram Grosvenor Goodhue, Architect.

REREDOS AND CHANCEL, ST. THOMAS'S CHURCH, NEW YORK.

8
1

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ARCHITECTURE

205

J-rECDEHICK.-K.ELlT
PILAWH-BT

The Module System in Architectural Design

From a book in preparation by the author on "Economic Design and Construction of Small Houses"

By Ernest Flagg, Architect

DESIGN by the use of a modulous, or fixed measure, is
evidently of very ancient origin; but not much used
now, and one hears little of the module except in connection
with the architectural orders.

My own attention was first called to the desirability of
this method of planning almost by accident. While work-
ing on a design when a pupil at the Ecole des Beaux .Arts in
Paris, it occurred to me to save time and trouble by drawing
in the axis lines all at once. When that was done, the paper
was covered by squares, so nearly of a uniform size, that I
determined to make them uniform and see what would hap-
pen. This necessitated a number of slight changes in the
design, which to my surprise seemed greatly to improve it;
and the thought suggested itself, that perhaps this uniform
measure, pervading all parts of the composition, and sim-
plifying it, might, if properly used, serve like time in music
to give that harmony of proportion for which I was other-
wise blindly groping. And is it not reasonable to suppose
that this may be so, for what is artistic proportion but har-
mony of dimensions ? It seemed to me that the slight cor-
rection of what had been drawn, to fit it to the fixed unit
which now governed, added charm which was otherwise
lacking; and I have repeatedly noticed the same effect in
subsequent work. As in music, even the unskilled ear may
be offended by a mistake in time, without discerning the
cause; may not also a mistake in the harmony of dimensions
unconsciously offend us in design ?

Having become convinced that the principle was right,
I determined to use it as soon as an occasion should offer.
That came in the very first building for which I was archi-
tect St. Luke's Hospital, New York. From calculations I
found that a convenient module in this instance would be
2' 2^", and upon that unit the entire plan depends, from
its layout on the ground to the spacing of the modillions of
the cornice. In marking the modules by the modillions, I
thought with some pride and satisfaction that they might
serve to indicate the harmonic scale of the plan, and show
how I had obtained the good proportions which I fondly
believed the buildings in some measure possessed, but the
module was not used for heights.

The second building in which I was able to use the
system was the Corcoran Gallery of Art, Washington, D. C.
Here the module was 3' 6". I marked the module lines on
the structure, by the points on the cheaneau, and the short
pilasters between the pierced panels of the claustra mark
every second module. At that time, before I had learned
what a small estimate would be placed on my work, and
filled with the enthusiasm of youth, I wondered whether the
meaning of this harmonic record might not some day be
recognized.

Since then I have used the system in buildings, public
and private, for hospitals, churches, warehouses, office-build-
ings, hotels, mansions, and cottages. Even for tenements it
has worked well, and plans for several large groups of model
fireproof tenements were made in this way. In the Naval
Academy at Annapolis the module is 8' 4" and that unit
governs both the plans of the buildings themselves and their
arrangement on the grounds.

I mention all this simply to show the adaptability of

the system for all sorts of buildings, and my experience in
its use.

For the last two or three years I have been engaged in
the preparation of a book on the economic design and con-
struction of small houses the result of many years of study
and experiment in that field. The work will consist of a
number of essays, each dealing with a particular point in
construction or design, of which this module system of plan-
ning is one, and also of drawings explanatory of the processes
used and the results obtained.

There are more than sixty designs, each representing a
different type of plan, or a very important modification of a
common type. Here, then, in a restricted programme, that
of a small house with the ordinary accommodations, there is
great variety of treatment; yet the same module governs
throughout, both horizontally and vertically.

I have used the module system in planning so long that
I have become well acquainted with its properties. I think
I realize both the advantages and danger in its use. Like
fire, it is a good servant, but a bad master. The danger
is that it may lead to a cramped and mechanical design.
One may easily become a slave to the module, and do things
because of it, which his taste or reason would not other-
wise commend. The advantages in its use are great. It is
the easiest and surest way of obtaining harmony of dimen-
sions and commensurability in all parts of the design. It is
the simplest way of designing, and the most convenient and
economical in execution. How can the danger in its use
be avoided and the benefits secured ?

It was only quite recently, while examining Laloux's
restoration of Olympia, that the thought flashed on me as
to what might be the true meaning of the Greek triglyphs.
Did they not indicate the module used ? Were they not the
record of the harmonic scale of the monument ? Had not
these buildings been designed by the same method I had for
so long been using ? And had not the builders marked their
scale on the work, just as I had marked mine, and for the
same reasons ?

When I had drawn out the plans of several of these
buildings, having first ruled the sheets with the module lines
as indicated by the triglyphs, I had no doubt that this con-
jecture was correct. What was my surprise and satisfac-
tion to find that methods which I had by long practice found
to be best, were apparently the very ones used; and also to
find that the one danger, which I had always recognized
and supposed inherent in the system, was, by a very simple
expedient which I had never thought of, completely removed.

I know from my own experience that when one uses a
module in architectural design in the manner described, the
temptation to indicate it on the structure is almost irresisti-
ble. It is the natural thing to do. One does it almost in-
stinctively, and in looking back over my own work I find
that in every instance where this system was used, in some
way, the imprint of the module appears on the building, and
I am firmly convinced that a Greek architect of the great
epoch would no more have thought of omitting the mark
of the harmonic scale of proportion, on which the design
was based, than would the composer of music think of
omitting the harmonic scale of his composition.

206

ARCHITECTURE

207

If one will take the plan of any ancient Greek
Doric temple and draw lines through it in both
directions from the centres of the triglyphs, he will
see that the lines so made undoubtedly formed the
basis of the design. He will also see that in general
care has been taken by the designer to use the lines
rather than their intersections. While the module
lines govern, their points of intersection are for the
most part avoided. With the Greeks it was not a
system of ordinates. Thus all danger of a cramped
or mechanical plan was completely removed.

In peripteral buildings the outside of the lateral
walls of the cella generally follow very closely the
third module lines. The main columns never stand
at the intersection of the module lines, and it was
probably to avoid such intersections that the end
intercolumniations differ from the others. In the
most ancient example, the Herseum at Olympia, the
module lines of the main order govern inside the cella
also, but in later buildings it often happens that an
auxiliary module is used for the interior, which coin-
cides only at a certain point or at points with the main
one. In the Parthenon there seems to have been more
than one of these auxiliary scales, and even the
second row of columns at the ends are arranged by
some method which is not clear. Apparently the
inside face of their architrave runs on the fourth
module line.

Most peripteral Doric temples may be classed
by the placing and ending of the lateral walls of the
cella, as follows:

Placing :

1. Face of wall on a module line.

2. Wall centred on a module line.

Ending :

1. Both ends terminate about in line with columns in antis

centred on a module line; either transverse or longitu-
dinal.
NOTE. If centred on one they are often off the other;

apparently to avoid an intersection. Sometimes they

are off both.

2. Both ends terminate on a module line.

3. One end terminates in the first of these two last-mentioned

ways and the other in the second.

This permits of six possible arrangements of
wall, as follows:

A. Face on a module line; both ends stop on a module line.

B. Centred " " " " " " " "

C- Face " " " " withcolumnsin antis.

D. Centred " " " " " " " "

E. Face " " " f onecn d stops on a module line and

F. Centred " " " ] tne . ot h er end with columns in

( antis centred on a module line.
Examples :

Heraeum at Olympia A

Metroum at Olympia A

Temple of Zeus at Olympia A

Temple at Selinus (designated C by Koldeway) A

Parthenon at Athens , . . A

Temple of Nemesis at Sunium f}

Temple at Ramnus j)

Temples at Selinus (designated A and O by Koldeway). .. '. C

Temple at Paestum (Neptune) ' p_

Temple at Paestum (Basilica) (f

Temple of Theseus at Athens g

Temple of Hera, Selinus j?

Temple at Epidarus .. j?

Temple of Jupiter at JEglna *p

Temple at Bassse. Q

Temple of Juno, Agrigentum p_

Temple at Syracuse (Cathedral) ' j)

Temple of Concord, Agrigentum j.;

Temple of Hercules, Agrigentum C

* NOTE. This temple is irregular in that the module line is
neither on the face of the wall nor at its centre, but 6 inches inside
the face.

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MODULE LINES OF THE TEMPLE OF ZEUS AT

208

ARCHITECTURE

About one hundred years ago L. N. L. Durand, pro-
fessor of architecture at the Polytechnic School, Paris, well
known as the compiler of the "Recueil et Parallels des
Edifice de Tout Genre," wrote his "Precis d'Architecture,"
setting forth the advantages of this method of planning,
but he did not deal with the danger in its use, and so far
was he from realizing that the triglyphs had any bearing
on the theory he was expounding, that he refers to them as
useless, having no meaning and no resemblance to anything,
or at least to anything reasonable.

Vitruvious tells us that triglyphs represented the ends
of beams, but if so, why do they appear at the ends of the
building ? * He tells us other things which the buildings
themselves do not confirm. He says the modulous of the
order lies in the lower diameter of the column; but the build-
ings show this to be a mistake. Acting on the information
given by him, many attempts have been made to apply his
theory, but it cannot be done; not only do no two examples
agree, but the diameters of the columns of the same row
vary, the angle ones being larger; a fact which he seems
not to have known. On the other hand, the principle of
the practically uniform spacing of triglyphs in each speci-
men never changed.

Vitruvious lived four hundred years after the great
epoch of Greek art, and much may be lost during four hun-
dred years in a time of decadence. It is only one hundred
years since we had a true and living national style of archi-
tecture in this country; but how completely have been for-
gotten the principles and methods which enabled the house-
wrights and carpenters, who acted as architects, to produce
the beautiful specimens of architecture with which the
country at one time abounded. It may well have been that
in the time of Vitruvious the ancient art of the Greeks had
given place to mathematical formulas, or rules of thumb of
the kind he explains, but that the method was not used by
the Greeks in the time of Pericles existing buildings prove.

A building depending for its proportions on some unit
of measure must necessarily have all parts proportional.
It is therefore possible to find a modulous in almost any
member, but whether a similar modulous from a second
building will agree in its application with the first depends
upon whether the proportions of the parts so taken as a
modulous were obtained by the same method in both cases.

Vitruvious and the architects of his time, if they agreed
with him, were peculiarly unfortunate in the selection of the
part chosen as a modulous, because the shape of the col-
umn, more than that of almost any other feature, under-
went constant change, from Corinth to Cora. In other
words, their proportions were not obtained by the same
method, whereas the principle of the uniform spacing of
the triglyphs in every building never changed.

The use of a fixed measure in design is at once the sim-
plest, easiest, and most natural way of obtaining propor-
tionality and commensurability. Such a system is in direct
harmony with what we know of Greek art, which was direct
and simple in all its ways. Whatever methods the Greeks
may have used in determining the minor proportions of the
order, after the main ones had been fixed by the spacing of
the triglyphs, whether by the eye or by a mathematical
formula, as Vitruvious would have us believe, it is certain,
from the testimony of the buildings themselves, that the
main proportions, both for plan and order, depended abso-
lutely upon the spacing of the triglyphs. They constitute,
therefore, a modulous for the design, which never varies in
its application. Moreover, the extraordinary ,pains which

* This theory evidently belongs with the one which finds the origin of Gothic piers and
arches in the trunks and spreading branches of trees.

the builders invariably took to mark the buildings in this
way seems to show that they intended this fact to be known.
In making the plan and laying out the work, they proba-
bly used the module lines in some very simple way, which
might easily be discovered if investigators would abandon
their vain attempts to fit the buildings to the Vitruvian
module, and turn their attention to this.

As has been said, the outer face of walls generally
follows the module lines. It is much easier and simp'er to
lay out work in that way than to centre the wall on a line.
Perhaps the half module lines, which were also marked on
the building by the mutules over the metopes, were also
used. I have found it convenient to do so.

It will be seen from all this that the plan is certainly
determined in its most important parts by these module
lines. In what other way, if any, they affect its minor
details can only be determined by further study. When
it comes to the order, however, it is immediately apparent
that the module lines govern absolutely. The spacing of
the triglyphs fixes the size of the metopes, which were
square, and upon which the size of both frieze and archi-
trave depend. The cornice must, of course, bear a proper
relationship to these members, and the columns to what
they support; thus the proportions of the whole order
depend absolutely on the spacing of the triglyphs, and that
spacing cannot be changed in the slightest degree without
changing every dimension, both of plan and order. It is
therefore the primary unit governing the design, the first
dimension to be fixed after the general size of the building
has been determined, and the one upon which all other
dimensions depend; it is most natural, therefore, that it
should appear on the* work.

If this is all true, then the meaning of the triglyphs is
perfectly clear; the measure which they mark constitutes
the harmonic scale of the design, and as such is most impor-
tant. Their presence and prominence are thus abundantly
explained.

And why is not this hypothesis reasonable ? Has
any other for which this can be said, ever been advanced ?
Why were these strong markings invariably placed on the
buildings ? They must have meant something everything
else in Greek art has its meaning. Moreover, they must
have had what the Greeks thought a very important mean-
ing, and we know that the Greeks thought nothing more
important than harmony of proportion. So true is this that
the use of triglyphs with the main order is invariable, and
if for any reason they were omitted elsewhere, as, for in-
stance, to permit of a continuous band of sculpture, the
places where they belonged were carefully indicated by the
base and guttae.

Could there be a more striking or amusing contrast
between Greek art and subsequent art than this use of
triglyphs by the Greeks and the senseless ape-like use of
them by their successors; of whom Vitruvious was a shining
light ?

This theory of the meaning and use of triglyphs is not
founded on elaborate mathematical calculations, but is so
simple that any one may test its truth. Little respect
is due to theories of the other sort when applied to archi-
tecture. They prove too much and are too easy to find.
Many wonderful things may be found in almost any geo-
metric design. I once took the elevation of an ordinary
New York tenement-house, which had certainly been de-
signed on no very elaborate theory, and tried fitting circ'es
and triangles to it and drawing mathematical deductions
therefrom. I found the possibilities almost limitless and

ARCHITECTURE

209

that theories without number might be set up and demon-
strated. It is therefore safe to conclude that one who
adopts such methods to discover the hidden mysteries of
ancient designs is likely to deceive himself.

In testing this theory doubtless many hair-splitting
irregularities will be pointed out; it is well understood that
they exist, but they do not affect its correctness. The
Greeks were men of sense; if they used the system they did
so for a purpose, as artists rather than as mathematicians,
and imperceptible irregularities could not affect that pur-
pose.

Here, then, is the solution of an archaeological problem
of the very first order a mystery of the ages. Grecian
Doric temples represent the supreme examples of art on
earth; in which taste was carried to heights never since
approached. It is not surprising therefore to find methods
used in their design which were unknown to subsequent art.

It has been well said: the Parthenon stands as a re-
proach to the rest of the world. May not that be because
the rest of the world has forgotten or never knew the prin-
ciples which made the Parthenon possible and of which
harmony of proportion as the Greeks understood it was one ?

If the Greeks used this system in their buildings of the
Doric order the most ancient of all is it not likely they
used it with the other orders ? Be this as it may, there has
always seemed to me sound reasons for using the module
system in architectural design.

By this method practically all figuring of plans and all
liability of error, so far as the plans concerned, are avoided.
As I use it, one side of all walls (generally the inside) runs
on the module line, and most partitions are centred on it,
as are doors, window, and other openings. If for any reason
a departure is made from this rule, then it is only necessary
to give the distance to the nearest module line.

In the plans for the little houses above referred to, the
module is 3' 9", divided into five parts of 9" each. For the
working drawings the sheets are ruled to show both the
module lines and the parts. When drawings are made in
this way, nothing is left to doubt; every dimension is fixed,
and a mistake in one part will not affect other parts. Every
necessary dimension is definitely shown on the drawing, yet
few figures are used.

By the common method of making working drawings, it
takes almost as long to figure the dimensions as to make the
drawings themselves, and there is great liability of error;
moreover, a mistake in one figure may cause mistakes in
other figures. By the use of the module system the work
of making the drawings is so simplified that it can be done
by the architect himself, free hand, as these drawings are
made, to the very great benefit of the design and at a great
saving in time and cost.

In this country the general practice is to leave too
much to the draftsman. By so doing the architect loses
individuality in his work, and that is especially true of
architects who have a large practice. Any system which
may tend to give the architect more intimate control of his
work and make it a profession rather than a business ought
to be of benefit.

I was once told by an English architect, visiting this
country, that the thing which most surprised him here was
the large number of draftsmen employed in architects'
offices. He said that in London the most prominent archi-
tects rarely have more than three draftsmen; and that
every well-known architect of his acquaintance would never
accept commission for more than one building a year, that
being all he felt he could properly care for.

-G

MODULE LINES OF THE TEMPLE or HERA AI OLYMPIA

2IO

ARCHITECTURE

A Colonial House

By A. Raymond Ellis, Architect

OUR domestic architecture is developing a strong and
interesting style truly American, due to a clearer and
more forceful interpretation and expression of some of our
early Colonial types which have filled so many architects
with an inspiration to strive to maintain the charm and
simplicity of plan and design that the early Colonial pos-
sessed. Much of this was gained by good proportion and
simple architectural detail. The architectural publications
are in a large measure responsible for this, because the
improvement and certain characteristics are to be seen
plainly in the work of the younger men, who evidently have
drawn ideas and their inspiration from these published works.
This is clearly shown by the rapid development of the
elongated plan, with extended front or with a wing at each
end or at an angle. The treatment of these wings is notice-
ably interesting in many of the newer houses of Colonial
type. The simplicity of the front elevation is accented by
the simple and well-proportioned front entrance, which is
usually an exact reproduction of an old one.

In the house shown here, the front hall is 10' 6" x 15' 6",
painted cream-white, with a low wainscot and the walls
above laid off in panels formed by mouldings. The stair-
case is very pleasing with its slender balusters and ramped
mahogany rail. Under the stairs is a coat closet and lava-
tory. Through an arched entrance at the end of the hall,
the den, 10' 6" x 10' 6", is reached. This room, while con-
necting with hall and living-room, is essentially a workroom.
It has been decorated to harmonize with the other rooms,
and is painted a beige or brownish color. The group ot
windows across the east end are used to avoid the confining
feeling one gets from unbroken walls. At each side are book-
cases with doors glazed with mirrors, making this end of the
room have the appearance of being a deep bay window. The
living-room at the right of the hall is 14' x 27' 6", with a
fireplace on the south wall. This room has a low wainscot,
lining with the window-sills, and the walls above are laid off
in panels formed by mouldings on the walls. The room has
a simple cornice, and the fireplace mantel covers the whole
breast with panelled sides. French doors open onto the
piazza, which is enclosed with glazed sash; and from the
piazza, doors open onto the flag-paved pergola.

On the left of the hall is the dining-room, 14' x 15',
with an alcove for the sideboard. This room has a wainscot,
lining with the window stools, and above, the walls are laid
off in panels formed by mouldings, repeating in fact the
scheme of decoration in hall and living-room. From the
dining-room there is a serving-room 6' 9" x 10' 6", contain-

ing a butler's sink, glazed cases, cupboards, and drawers.
Off the kitchen is a pantry 5' x 6', on the north, containing a
refrigerator with a door in the wall to the porch so that it
can be iced from the porch. The kitchen is 11' x 13' and
contains an enamel'ed iron sink with drain boards, an electric
range; and has a chair-rail 3' high. The plaster walls are
painted and the floor has a sanitary base. The rear hall is
between the kitchen and the front hall, and contains the
service stairs and broom closet. This is very convenient, as
they may be used by family or maids in going to cellar or
attic without entering the kitchen.

The second-floor hall is planned so that it may be lised
as a sitting-room, or a place to sew in. The open stair well
forms a gallery that makes it attractive and unusual.

The owner's chamber is 14' x 20' 6", with two large
closets and a fireplace with Colonial mantel and an English
hob-grate. This side of the house is quite conveniently ar-
ranged for the owner, and the chamber over the piazza which
is 10' 6" x 18' 0" is used as a sleeping-porch or chamber.
A small dressing-room separates the owner's chamber from
the bathroom, and through it a small east chamber, 10' 6" x
11' 0", can be reached and used en suite, or shut off from the
owner's rooms. This would be very convenient for a nursery.
The sleeping-chamber windows are so placed that plenty of
air can be obtained without a draft. The chamber over
the dining-room is 13' 6" x 14' 0"; the north chamber is
10' 6" x 18'-0". Both are near the guests' bathroom. Off
the second-floor corridor is a large linen closet and a door to
the service staircase.

In the attic there are two large chambers, two store-
rooms, and the maids' bathroom. In the cellar there is
the laundry, vegetable closet, toilet-room, heater, and coal-
bins, and hatchway to yard. The heater for the garage is
also in the cellar with the pipes carried underground to it.

The house is of frame construction, with the exterior
walls covered with 24" split cypress shingles, laid about 10"
to the weather in order to carry out the early Colonial feel-
ing. The blinds are painted green. The interior of the
house is painted old ivory in the principal rooms, and buff
in the service portion; the floors in all principal rooms are
oak, and those in the service portion are hard pine.

This house is the residence of the architect. The plan
was developed with the particular purpose of affording a
house, without any wasted space or useless ornamental fea-
tures, that could be built for a reasonable amount in these
times when the cost of building is at its highest and likely to
be still higher.

JUB10I-JHUT1

211

The Certosa of Pavia

By Frank Jewett Mather, Jr.
II

OUR theme is the Certosa of Pavia, not Ambrogio Bor-
gognone, that incomparable painter of the divine Girl
Mother. Otherwise I should tell you how, outliving Raph-
ael and witnessing the exuberance of the high Renaissance,
he continued to make those lovely panels, timid, reserved,
devout, perfect in tone, which now one sees best in the Brera
Gallery. At the Certosa one has still refreshing bits of him
in their original
places over doors,
besides precious
fragments trans-
ferred from the
cells to redeem
some of the worst
chapels. The great
frescoes in the
transept, and the
important altar-
pieces of St. Am-
brose Enthroned
and the Crucifixion
hardly represent
his intimate qual-
ity. But the loss
is slight, for, by
some magic, defy-
ing analysis, and
with a power only
given to the great
decorator, he has
diffused this inti-
mate spirit, this
serene sense of
worship, through
the monumental
spaces of the
temple.

To many the
finer meaning of
the Certosa will be
bound up with the
work of the Lom-
bard Fra Angelico.
We may be sure
the easy-going
monks took no
such view. If we
would realize their
attitude we must
not dwell too long
upon the place
where they mum-
bled perfunctory litanies, but must rather consider the
cells in which they lived and the routine of their contem-
plative days. Like so many of the offshoots from the great
parent order of St. Benedict, the Carthusians found the
average monastic life, the necessary sociability of refectory

The cliurch from the little cloister.

and corridored dormitory, unfavorable to contemplation
and austere discipline. Accordingly each monk had his
detached cell, an independent establishment comprising
four rooms, a loggia, a well, and a garden all deliciously
clean and comfortable. To spare him needless talk and
contacts, his food was passed in through a turnstile that
concealed the caterer. His duties, aside from those of the

ritual and frequent
prescribed prayer,
were to cultivate
his garden, pursue
such studies as he
chose, and do the
business of the
monastery. Surely
the self-denying
life was seldom led
more agreeably. A
host of retainers
were necessary to
guard these ascet-
ics from the cares
of the world ;
nobody guarded
them from the
deceitfulness of
riches. We may
imagine the bland
satisfaction with
which they walked
the great cloister,
gravely saluting
each other, iden-
tify themselves,
the saints and the
conquerors of this
world proudly
wrought in terra-
cotta above the
arches, and all en-
livened by flying
loves in the pret-
tiest taste of the
time. And if such
recreation savored
too much of the
world and the flesh,
it might readily be
corrected by pen-
sive consideration
of the velvety
quadrangle al-
ready spotted by the funeral tablets of earlier inheritors of
this ease. To such thoughts the incessant picking about
the workshops and the fafade must have played a grateful
undertone. The day was nearing when their monastery
should seem the most splendid in Europe, and the day

212

ARCHITECTURE

The church, from the great cloister, upon which open the cells the library and other monastic buildings between.

when Gian Galeazzo's ducats must be distributed to the
distant, unappealing poor was being indefinitely postponed.
Surely the ascetic life had its features at the Certosa of
Pavia. The Sieur de Montaigne, who enjoyed its hospi-
tality in 1581, was chiefly impressed by the number of
"servants, horses, equipages, workmen, and artists" about
the place.

Since that time the Certosa has received many famous
guests, but none that the imagination more willingly revives
than Francis I, captive. He had beset Pavia, where he
hoped to seize his most formidable foe, the Viceroy Constable
Bourbon. A mutiny among the unpaid mercenaries of the
Constable suddenly reversed the situation. The sortie
took place at night and threw the French into confusion.
Through the cowardice, or worse, of his hireling Swiss, the
King, after a gallant struggle, was unhorsed and
captured in the Emperor's name. From that
night Charles V of Hapsburg' fulfilled Gian
Galeazzo's dream of an Italian overlordship.
Pleading not to suffer the chagrin of imprisonment
at Pavia, whose conquest he had confidently
promised himself, Francis, so tradition asserts,
was led to the Certosa. As he entered the
monks happened to be chanting that most ap-
propriate verse " Coagulatum est, sicut lac, cor
meum . . ."; and he, with the readiness that never
forsook him, joined in the response, " Bonum mihi
quia humiliasti me ut discam justificationes tuas."
That night his captors, captivated by his bravery
and good humor, served him at table with royal
honors, and within a few days we hear of him
playing contentedly at handball in *his prison
tower some miles away. One would be glad of
his reflections during that brief stay at the
Certosa. How would he have regarded this proud
monument to a forgotten woman and a dynasty
that had run its course ? It may be that its
famous embellishments seemed as unsubstantial

213

as the golden spurs, the brocaded sleeve,
and the reliquary necklace which, we
read, certain base fellows among the
Spaniards took from him the night be-
fore. Surely he must have envied for a
moment the quiet, opulent dignity in
which his Carthusian hosts rejoiced. At
least the spectacle of so much unforfeit-
able wealth must have struck his ever-
eager imagination.

He could hardly have foreseen the
day when fate would play as ruthlessly
with the monks as with their royal guest,
and their halls, cells, and cloisters should
stand empty, their temple devoid of psal-
mody, all as meaningless as the trophies,
become mere curiosities, which the Em-
peror's hirelings had torn from the Most
Christian King.

And yet to a philosophic spirit the
Certosa retains a significance impersonal
but profound, even now- when psalmody
no longer fills the church nor prayerful
high-living the cells. The humble em-
ployees of the government who have
replaced the proud monks, the rather
painful neatness of a well-kept and much-
restored national monument, the sense that the old wealth
of pictures and plate has gone to remote museums and
melting-pots all this does not blunt the intuition of some
larger meaning, one transcending the zeal of a monk, the
fears of a gentlewoman, and the pride of a prince. For
the Certosa, in the strange dualism we have noted in it,
is an authentic embodiment of the artistic spirit of Lom-
bardy. We have noted how, about a temple simple, spa-
cious, excellently proportioned, discreetly adorned by an
exquisite artist, there has been loaded an appalling mass of
carved, painted, and incrusted ornament, all of it ingenious,
some of it charmingly picturesque, but most of it superfluous.
That contradiction is Lombardy.

From Rome the Milanese readily took over a paradoxical
tradition: a love of spacious, logical, .monumental building,

Terra-cotta relief of the little cloister.

2I 4

ARCHITECTURE

The nave.

and a craving for inordinate decoration as an end in itself.
To the first tendency we owe those admirable Romanesque
and Gothic churches, domed and basilical, which merged
naturally into Bramante's sublime invention of a poetry
of enclosed space. To the second tendency, which was
greatly reinforced by the Renaissance, we owe the facade
of the Certosa, the mouldings of its cloisters, the external
ornamentation of the Cathedral of Milan, in fine hundreds of
northern palaces and churches, to adorn which tone and clay
are so tortured and paint so insistently applied that the poor
eye is fairly harried from the spot. In other words, the Lom-
bards, by a whimsical fate, were ever striving for effects as
architects, which they straightway weakened or even de-
stroyed as decorators.

Go to Florentine Michelozzo's lovely chapel in St. Eus-
torgio, Milan, and study the wise subordination of its rich
and characterful decoration to the general effect, and you
will realize not merely how impossible it was that the Milan-
ese should have done so fine a thing for themselves, but also
certain radical distinctions between the Lombard and Tus-
can taste. The Florentine artist came naturally by a rev-
erence for a fine space. It seemed to him aching so pre-
cious in itself that he must beware of obscuring it even by
the most beautiful addition. To the Milanese artist before
Bramante a fine space too often was merely a pocket into

which as many costly objects as possible
must be crammed. Florence perceived
the reticent Greek originals behind the
florid examples Rome furnished her,
while Milan fairly outdid Rome herself
in purple feats. In this, as in many
other regards, Milan proved herself
Rome's legitimate heir.

The reasons for this contrast would
be matter for a book, not for the last
paragraphs of a sketch. But may we
not imagine both in the stately piles
they raised and in the decoration they
lavished unconscionably the reaction and
protest of the Milanese against the mo-
notony of their vast alluvial plain ?
Nature surely counts for much in
these matters. We may fancy a Floren-
tine architect dreading to cast a line less
crisp than the outline of the distant
Carrara mountains, less suave than the
gently falling buttresses of the Apen-
nines; fearing to arrange a space more
crowded than the overlapping plains of
the Chianti hills. And at Milan we may
imagine an architect resenting the tame-
ness of the green, unbroken plain, and
stung to a hopeless emulation by the
serried confusion of the distant Alps,
striving to assert himself against both in
such structures as the Cathedral at
Milan and the Certosa of Pavia.

Lest I should seem to depreciate
this potent people, at all times the po-
litical and industrial bulwark of Italy,
I hasten to say that they and their build-
ings are strangely like ourselves and
ours. I could show you fifty mansions
and as many public buildings in New
York that are Milanese, but will not.
And if you will breathe the aesthetic air
of Milan without the pains of a sea voy-
age, you have but to visit the Congressional Library at
Washington. In both cases great pride and wealth and a
common impatience of the more reflective and precious
qualities of art have produced analogous effects. Even in
our eclecticism, a natural tendency in a nation that can
afford to pay, we are the followers of Milan and Rome.
Milan had the good sense to send for Michelozzo and
Leonardo, as Boston did for Puvis de Chavannes. Milan
produced a Borgognone on her own account, and by a
similar miracle Whistler was born one of us and found here
encouragement for his exquisite talent. Milan culminated
in Bramante, and I trust we are not more than literally
culminating in the sky-scrapers that would contain most of
his buildings.

But we have drifted far from Certosa. As memory
seeks to harmonize its dissonances, the buoyant vaults
traced with blue, the ample cloisters with slender columns
straining under heavy mouldings, and finally that fair but
false miracle the fafade, all seem a proper expression of that
Lombard spirit which drove men to build nobly only to dec-
orate at random profusion; it all appears a fitting memorial
of the pride of a monarch interpreted by an aristocratic or-
der; even more, perhaps, since happily the finer impres-
sions are the most permanent, it declares itself a monument
to the sagacious architects who started the work and to

ARCHITECTURE

the admirable
painter who so loy-
ally respected their
intention. For a
last view of the
Certosa in epitome
go to the little
cloister and pass to
the far side, where
across the garden
close you may see
the church drawing
itself together, col-
onnade by colon-
nade, behind the
light buttress pin-
nacles. Time has
dealt gently with it
all. The moss on
the cloister tiles
and the rank herb-
age below deepen
the mellow reds of
the bricks and
mouldings. Deep
shadows give relief
to the loves and
monks whose heads enliven the cloister arches and spandrels.
From one of the Gothic corbels a fascinated monk listens
to the promptings of the fiend in a woman's form. Toward
him swings elatedly the lichened cupid who guards the
fountain in the centre. In the far corner Giovanni Amadeo's

Effigies of Lodovico il Moro and Beatrice d'Este by Andrea
Grazee, Milan.

215

little marble door,
carved like the
ivory frame of a
jewel-casket, leads
to Borgognone's
realm, the tran-
sept. In such a
spot nature has
brought about a
fusion. The con-
fusingly ornate
terra-cottas sink
into flicker of light
and shade, the gra-
ven door changes
into an ivory gaie
of dreams, the
temple becomes a
towering warm
thing, athwart
which twinkling
arcades draw velv-
ety strips of shadow,
the green of moss
and lichens binds it
all together, and,
if there happens to

be a gray Lombard sky, that gives to all the colors their
most sonorous harmony, investing with a curious mystery
the big, calculated pile. Under the touch of time and na-
ture, those great reconcilers, the Lombard spirit seems no
longer twain, but one.

Solario brought to the Certosa from S. Maria delle

Book Reviews

"HELLENIC ARCHITECTURE, ITS GENESIS AND GROWTH."
By EDWARD BELL, M.S., F.S.A. London: G. Bell & Sons. New York:
The Macmillan Co.

The author of this little volume has done a service to the students of
classical art in presenting in a brief form much of the information only
available in special publications of societies and the results of recent archaeo-
logical research. It is a logical and clearly written analysis of the origins
of the classic orders. One of the best and most readable discussions of the
subject that we have read.

The whole question of origins and racial influences is one of a more or
less individual point of view, and the relative value of the influence of other
civilizations upon Greek art must forever rest largely upon surmise. As the
author well says: "An attempt to trace the history of architecture between
the two great periods which are represented by the surviving monuments
of Egypt and Hellas is necessarily, as the preceding pages have shown, a
difficult undertaking involved in an obscurity which can never be altogether
penetrated."

"THE STUDIO YEAR BOOK, I9 2O THE FURNISHING AND DEC-
ORATION OF COTTAGES, SMALL HOUSES, AND FLATS."
New York: The John Lane Co.

In addition to the interesting text and attractive illustrations in color
on the main topic above, there are other chapters of especial interest on
"Country Building and Handicraft in Ancient Cottages and Farmhouses,"
with sketches and plans for the architect; an article on "Concrete Homes,"
also with elevations and plans, and very fully illustrated chapters with
many colored plates on "Decorative and Applied Art." The volume should
be of interest to architects and all interested in the allied arts.

Announcements

Prix de Rome. The American Academy in Rome an-
nounces that this year's competition in architecture for the
Prix de Rome has been won by James Kellum Smith, of
Towanda, Pa. The appointment is for three years. He
will report in Rome October 1, 1920.

Mr. Smith is twenty-six years of age, a graduate of

Amherst College. Last year he won the Stewardson Memo-
rial Scholarship in Architecture in the State of Pennsylvania.
He was a lieutenant in the Aviation Corps.

Black, Burris & Fiske, Inc., consulting landscape archi-
tects and foresters, announce that they have opened an
office at 317 Broad Street, Bank Building, Trenton, N. J.,
for the practice of landscape architecture and landscape
forestry. They would be interested in catalogues.

The architectural business conducted by M. Hawley
McLanahan and Ralph B. Bencker under the firm name of
Price & McLanahan will be continued from July 1, 1920, un-
der the firm name of McLanahan & Bencker, Philadelphia, Pa.

The address of Rodger C. McCarl, architect and engi-
neer, should have been 1012 Murchison Building, Wilming-
ton, N. C., not Wilmington, Del.

The firm of Lee, MacEwan & Turnbull, architects and
engineers, of Charlotte, N. C., is now Lee & Turnbull, Mr.
MacEwan having withdrawn some time ago.

A. L. Thayer, architect, New Castle, Pa., and R. M.
Johnson, formerly with Walker & Weeks, Cleveland, Ohio,
announce their association for the practice of architecture
under the firm name of Thayer & Johnson, with offices at
5716 Euclid Avenue, Cleveland, Ohio, and New Castle, Pa.

An interesting and valuable article discussing "Indus-
trial Housing," written by Emile G. Perrot, of Ballinger &
Perrot, that appeared in the May number of General Fire-
proofing, has been widely quoted. Mr. Perrot says indus-
trial housing lies in the eyes of industrial captains.

2l6

ARCHITECTURE

s-y K.NO\kO/fOrT y/*~ CSLiUAM.-,

APARTMENT-HOUSE, INDIANAPOLIS, IND.

Bass, Knowlton & Graham, Architects.

ARCHITECTURE

217

Modern Building Superintendence

By David B. Emerson

CHAPTER XI
INSTALLING OF FIRE PROTECTION AND FITTING UP TURKISH BATH

DESPITE the fact -that the building was of a strictly
fire-resisting construction (practically no wood being
used except for the cabinet work in the first story), the
furniture and the contents of the offices was most of it
combustible, therefore some fire protection was necessary.
The local ordinances required stand-pipes in all buildings
over four stories in height, and by making these and all of
the equipment comply as nearly as possible with the regula-
tions of the National Board of Fire Underwriters, low in-
surance rates on both the building and its contents was
made possible. Four six-inch stand-pipes were located in
the corridors and stair towers, so arranged that any point
on any floor might be reached with a fifty- foot 'length of
hose. The supply for the stand-pipes was taken off the
discharge end of the fire pump, and it was cross-connected
so that either the fire pump or the house pump, or both
pumps could supply water in case of fire. The stand-pipes
were of extra-heavy galvanized, puddled wrought-iron pipe,
with extra-heavy cast-iron fittings.

A steel tank made up of one-quarter-inch plate, thor-
oughly riveted and caulked, and set up fifteen feet above
the roof on steel supports, kept the stand-pipes full of water
and provided a temporary supply until the pumps could be
started. Branch lines were run from the supply line for
stand-pipes, through the basement walls on both streets and
terminated with Siamese-twin connections on the side-
walks, through which water from the street hydrants or the
fire-engines could be forced into the system. These Siamese
connections were of brass, with two-and-one-half-inch out-
lets, fitted with couplings the same as those used by the local
fire department. They were fitted with swinging flap
valves, which closed one opening when the pressure was
applied to the other and stood open when water was forced
through both openings. The caps on the Siamese connec-
tions were of galvanized iron, on account of the liability of
brass caps being stolen.

The pipes for these sidewalk connections were fitted
with iron body, soft seat, straight way swinging check-
valves, which prevented the water which was supplied from
one source being lost through the other outlets. Another
check-valve in the line connected to the tank prevented the
water from filling and overflowing the tank when the lines
were supplied from the pumps or the Siamese connections
ort the sidewalks, and a check-valve was placed in the pump
pipe to relieve the pump valves of the pressure of the water
in the system.

The system was provided with emptying pipes three-
quarters of an inch in diameter to drain the entire system,
and drip-pipes were provided to empty and prevent water
freezing in the pipe between the check-valves and the
Siamese connections on the sidewalks. Two-and-one-half-
inch outlets were provided on each stand-pipe in the base-
ment and in each story of the building, fitted with quick-
opening, gate-type hose valves. The stand-pipes had a
short horizontal line directly under the roof, with a gate-
valve in the line, with a long stem, the wheel handle being
placed above the roof. From the horizontal line a riser ran
through the roof, and was fitted with a two-and-one-half-inch

hose connection. A drip-valve with a three-quarter-inch
drain line was placed at the bottom of this riser. Each
stand-pipe was fitted with a gate-valve, placed just above
the ceiling. This valve was kept strapped open. All of
the valves used on the stand-pipes had Babbitt metal seats,
which allowed them to close tighter than those having hard
metal seats and prevented any leakage of water.

The hose-valves on each story terminated in hose
cabinets, which were set in the walls and finished flush with
them. These cabinets were made up of No. 18-gauge steel,
with frames and doors formed of No. 14-gauge steel, all fin-
ished in baked enamel, which matched the steel trim through-
out the building. The doors had plate-glass panels, and
they were fitted with bullet catches and pull-handles. In-
side of the cabinets were swinging hose racks, each one
fitted with fifty feet of two-and-one-half-inch Underwriter's
unlined linen hose, with an Underwriter's play-pipe. This
play-pipe was of aluminum bronzed iron, as brass play-pipes
are constantly being stolen in public buildings, thereby ren-
dering the fire protection ineffective. Unlined linen hose
was used in preference to rubber-lined hose, as it is not af-
fected by heat, is much lighter, occupies very much less
space, does not require testing, does not deteriorate, and also
it costs less. At each hose connection on the roof was set
a fireproof hose-closet, made up of No. 20-gauge corrugated
iron, with a steel angle frame, and fitted with slatted shelves
and a rain-proof door. This closet was provided with fifty
feet of rubber-lined cotton hose, one Underwriter's play-pipe,
a Tabor pattern spanner, a lantern, a fire-axe, and a pick.
The hose-closet was painted one coat of red lead and oil,
both on the inside and the outside, and then painted two
coats of white lead and oil of a gray shade.

The fire pump was located in the sub-basement, and
was a three -stage turbine pump, with a capacity of five
hundred gallons per minute, direct-connected to a seventy-
five horse-power electric motor, with a gasolene-engine at
the opposite end of the shaft, so that in case of any trouble
with either the motor or the wiring, the coupling-pins could
be removed from the motor coupling placed in the opposite
end and the pump operated by the engine.

The building was equipped with stations for watch-
men's portable clocks, having one station in the boiler-room,
the rubbish-room, and machine-room, and one at each end
of the corridors on each floor. The key-boxes in the sub-
basement were of iron, aluminum finished, with lift covers.
Those in the corridors were of the flush type, of bronze,
finished to match the door hardware.

As soon as the construction work in the basement was
finished, and the marble and tile workers had commenced
work in the other parts of the building, the work of fitting up
the Turkish bath in the basement was commenced. The
swimming-pool was constructed of reinforced concrete, and
lined with tile, with a combined scum gutter, life-rail, and
overflow drain formed in the tile, and with a tile curb around
the edges to prevent splashing. The scum gutter was pro-
vided with oblong bronze gratings, which were connected
to two-inch wrought-iron pipes provided with running traps

(Continued on page 220.)

ARCHITECTURE

219

220

ARCHITECTURE

and discharging into the drainage system. The concrete
shell for the swimming-pool was poured with the other con-
crete, and it was water-proof with a membrane water-
proofing on the inside to prevent the leakage of the water.
The water-proofing was given a protecting coat of cement
mortar one inch thick, which was scratched to receive the
floating coat. The floating coat was applied before the
scratch coat had thoroughly set, and had an open-mesh
metal lath bedded in it, to prevent the cracking of the tile.
The tile was a ceramic mosaic tile, laid with a white field,
and the depth marks, lines, etc., set in in black tile. The
ceramic tile was used in preference to biscuit tile, as they
are absolutely impervious, whereas biscuit tile are only im-
pervious on the face, and any water getting behind the tile
would do serious damage.

The pool was provided with built-in ladders of reinforced
concrete, covered with tile, and set into recesses in the sides
of the pool, so that there were no projections into the pool.
The floors throughout the Turkish bath were of vitreous
ceramic tile. The wainscot around the rooms, partitions
around dressing-rooms, the partitions and tables in the
shampoo-rooms, and the enclosures around the showers,
were all of structural glass, the same as was used for the
toilet-room partitions throughout the building.

The partitions around the Tepidarium and the Torri-
dorium were of plate glass, double, with an air space between,
set in white enamel steel frame work. The heating of the
Tepidarium and the Torridorium was done by means of
concealed pipe-coils, taking steam from the high-pressure
boiler at ten pounds pressure, which gave a larger amount
of heat than low-pressure steam would have given. Live
steam was also furnished to the steam-room from this boiler.
The baths were fitted with a hydriatic douche-room, with
control table made up with structural glass sides and top,
and fitted with thermostatic control mixing-valves and ther-
mometers; nozzles and control-valves for supplying ice-
water, hot and cold water, or steam, to the various fixtures
and nozzles; needle and shower-bath, with pipe-trench fitted
with perforated brass cover; and a porcelain seat bath with
wave spray, built into the wall.

An electric-light bathroom was included in the equip-
ment, and it had two forty-six light electric cabinets, made
up with white enamelled exterior and the sides and back of
the interior lined with mirrors. These cabinets were fitted
with thermometers and had separate switches to control the
lights in each section. The shampoo-room had shampoo fix-
tures, fitted with thermostatic mixing-valves, thermometers,
rubber hose with cloth insertion, spray nozzles, and nickel-
plated copper tilting basins, with brackets and stops. The
swimming-pool was supplied with filtered and sterilized water.
All of the water, before entering the pool, was heated, using a
water-heater of the same type as was used for heating the
water for use in the building; it then went through a pair
of vertical pressure filters, then through an ultra-violet-ray
sterilizer, and then into the pool. This method of steriliza-
tion is particularly efficient, destroying all forms of bacteria
in the water. It adds no taste and no odor to the water, and
gives no irritation to the bathers.

The pool had a recirculating pump, which drew the
water from the pool, delivered it to the filters for clarifica-
tion, and then to the sterilizer and back to the pool, so that
the entire contents of the pool were recirculated, clarified,
and sterilized once in every twelve hours. The sterilizer
consisted of a cast-iron shell, made up in three sections,
with proper baffle plates and a cylindrical clear quartz tube
inserted in each section. Inside of these tubes, were placed
mercury vapor arc-lamps, having a normal current consump-
tion of about three-and-five-tenths amperes each. These

lamps generated the ultra-violet rays, which were projected
into the water as it passed around the quartz tubes, and all
disease-producing bacteria were killed instantly. The steril-
izer was equipped with a special switchboard, divided into
four panels, one for the main control, and one for each of the
three lamps.

The switchboard was equipped with switches, reactance
coils, resistance controls for each lamp, telltale lamps, and
pilot-lamps, as well as the necessary volt metres and am-
meters. The sterilizer required 220 volts direct current,
and as the current supplied by the local lighting company
was alternating current, a 3^ K. W. motor generating set
was installed for the purpose of rectifying the current. A
four-inch supply pipe was carried around the pool, with two-
inch valved branches, with reducers connected to one-inch
brass inlet pipes, two of which were located at the shallow
end of the pool near the bottom, and four were located at
the deep end, two at near the bottom, and two near the
top. The pool had an eight-inch drain with bronze strainer
and valved so that the water might be held for recirculating,
or allowed to waste to the sewer when it was desired to re-
new the water.

The recirculating pump, which was of the horizontal,
direct-connected, centrifugal type, with a capacity of 175
gallons per hour, with a fifty-foot head, was connected on
the suction end with this drain, between the pool and the
gate-valve. The filters were of the vertical pressure type,
with a combined capacity of from 10,000 to 13,000 gallons
per hour, with a cast-iron coagulant tank. The filtering ma-
terial was silica quartz in three grades, placed in layers, the
coarsest grade at the bottom and the finest at the top.

The barber-shop, which was to be operated in conjunc-
tion with the baths, was finished with tile floors and struc-
tural glass wainscoting, the same as described for the baths.
It was equipped with vitreous china lavatories, fitted with
self-closing faucets, and shampoo fixtures, fitted with thermo-
static mixing-valves; vitreous china manicure-tables, with
six-inch bowls, supplies and waste being located under the
tables and operated by means of knee-action valves; and
towel sterilizers which were operated by live steam taken
from the high-pressure boiler, which supplied the steam for
the baths. The work on the baths was not completed until
all of the rest of the building was finished and occupied, as
the unavoidable delays in getting specialties and installing
them always make this class of work progress very slowly.
With the completion of this work our building was com-
pleted and our duties as superintendent ended.

AFTERWORD

Now, kind reader, as our tale is finished, we will say a
word in parting. Some who have read these pages may have
wondered where this building is, some might wish to visit
it, so I will tell you: It never was; it is merely a creation of
the writer's imagination, designed to illustrate the various
materials and methods described in the various chapters,
and the experiences and incidents were drawn from many
buildings with which he has been associated in his fairly
long and rather varied experience. The various conditions
described may be applied to any modern building which
the reader may have to do with, and if any lesson has been
learned from the reading of them, the mission of these pages
has been successful and the purpose for which they were
written that is, the helping of the younger generation of
the architectural profession to a better and fuller under-
standing of the problems of modern building construction
has been accomplished.

THE END

The Gleason Works

A Plant Planned for the Future
John W. Vickery, Architect

THE Gleason Works is a notable exception among large
industrial plants where provision was made for expan-
sion and where expansion took place along predetermined
lines.

The original plant was of the old type, in a congested
section of the city, where any material growth was out of
question. There was a vision of the future in the manage-
ment, and a tract of land was purchased, so far beyond the
prospective needs that the sale of a portion of it was con-
sidered. Fortunately, this was not done, and the original
tract has been considerably enlarged by the purchase of
adjoining property. The site selected is one of the most
desirable in the city of Rochester. It is on the main line of
the New York Central Railroad and is between two main
thoroughfares, with good street-car service. While not in
the outskirts, it is beyond any possible congestion.

The first building was erected in 1905 the foundry.
At this time the general scheme of future building was deter-
mined and has been closely followed. The foundry is a
large structural-steel building with brick and concrete-block
walls. Originally the high centre bay had a gable roof with
flat skylights. This has since been altered to a monitor of
the Pond type, with electrically operated top-hung continu-
ous-steel sash.

A three-story reinforced-concrete building followed in
1907 for pattern-making and pattern storage, but now used
for pattern-making, with a separate building for storage.

The original down-town plant was maintained until
1910, when the first unit of the main shop was erected. This
consisted of a two-story reinforced-concrete and concrete-
block front building, the front designed to harmonize with
the front of foundry building, with the main shop one story
of steel and concrete. The larger portion has saw-teeth
skylights, but there is a higher section for erecting floor,
originally with gable roof, but subsequently altered to saw-
teeth skylights. The second floor of the front building was
used as temporary office. The first unit of the power-plant
was built at this time. The erection of these first buildings
developed the desirability of a system of planning all col-
umns and piers on centre lines, a standard design and a
provision for end walls designed for expansion and additions.

The scheme of centre lines is a most interesting feature.
It might be said that the entire plot is divided into rectangles
by a series of lines running parallel to front-lot line and 16
feet apart, and another series at right angles to the front-
lot lines. These are of various spacings. The original
longitudinal lines of foundry which determine those on the
east were not designed on any particular multiple. The
first units of main shop were designed on multiples of 16' 0"
and later additions on multiples of 20' 0". Practically all
piers and columns are on the intersection of these lines.
Difficulties encountered where this scheme was not followed
have emphasized its desirability, and it is probable that
future expansions will be along these lines. This brings
openings of parallel buildings opposite each other and makes
possible their connection at future times.

While some attempt was made for architectural effect
on the front, particularly for the office-building, as is shown

in the illustration, a simple standard design has been devel-
oped for the sides and rear, as is indicated on detail drawing
of typical elevation. While expansion was expected, suffi-
cient provision was not made on first units. Subsequently,
all sections where expansion was probable were built with
steel columns and girders drilled for future connections, and
with sand lime brick walls and piers corresponding closely
to the standard concrete pier wall and piers.

After the completion of the first shop unit in 1910, other
additions followed rapidly. The office or administration
building, erected in 1914, forms one end of the two-story
front building, and is, and will be, the dominating feature of
the entire front. It is a reinforced-concrete building with
precast-concrete walls and cornice. A wide stairway leads
from a ground-floor entrance-vestibule to the office proper
on the second floor. The offices and drafting-rooms adjoin
the second story of the two-story front building and extend
into it. The remaining portion of the second story is
occupied by the dining-room, seating nearly one thousand
people, completely equipped for cafeteria service.

The heat-treatment and case-hardening has a separate
building. This has a truss roof with a Pond-type monitor
and top-hung continuous steel sash. Lockers and toilet-
rooms in this building are installed on a mezzanine floor at
one end.

The original unit of the power-plant has had several
additions largely along predetermined lines. The boiler-
room floor is on a lower level with coal-bunkers extending
out below grade, into which coal is dumped directly from
cars. All buildings are connected to low level of power-
plant by a system of subways.

The most recent addition to the main shop was con-
structed in 1919, details of which are shown on drawing. It
is typical of all the saw-tooth construction, but contains
minor improvements over original units. The saw-teeth are
constructed of steel trusses 8' 0" centres with a poured
gypsum roof spanning from truss to truss without purlins.
The glass section has a lower 3' 0" stationary steel sash and
an upper 4' 0" top-hung continuous-steel sash, operated in
about 80' 0" lengths. All sash are glazed with ribbed glass.
The trusses span from I-beam girders, which are 16' 0" cen-
tres, and the girders are carried on H columns, 40' 0" cen-
tres, making panels 16' 0" x 40' 0". Brackets on the col-
umns carry travelling-crane girders. Wall sash in the origi-
nal buildings were wood, but in the more recent additions
are solid steel with pivoted ventilators. They are glazed
with clear glass in lower lights, and upper lights, where
exposed to sun, with a sand-blasted rough glass, and in a
few exposed places with ribbed-wire glass. The outer walls
are of the standard design previously mentioned, with rein-
forced-concrete piers and lintel and a simple precast-con-
crete coping. The piers are relieved by small horizontal
grooves about 8" apart, formed by attaching triangular
strips to the form work. Built-up felt roofs without slag are
used; no preference has been given to any one type.

The floors are of planed and matched maple i%" thick,
nailed directly to sleepers with no wood subfloor. The

(Continued on page 224)

221

222

ARCHITECTURE

223

224

ARCHITECTURE

sleepers are rectangular, with galvanized-steel cleats instead
of the usual dovetail section. They are laid on a concrete
subfloor with a cinder-concrete fill.

The interiors of buildings are painted white, including
even the structural steel of trusses.

Minor partitions around locker-rooms, etc., are of sheet
steel. Aside from floor, practically no wood is used.

There is a complete system of fire-service pipe with
yard hydrants and hose houses, also connections with small
hose in buildings. Certain more hazardous sections are
protected by automatic sprinklers, but there is no general
sprinkler protection.

Direct radiation, vacuum system, steam-heat is used
throughout, supplemented by a fan system in the main
shop. This is found to be a most satisfactory combination.
There is sufficient radiation for heat under ordinary condi-
tions. The fan is used to raise temperature quickly early
in the day and later to circulate and introduce fresh air.
The cubic content per occupant is so high that ventilation is
not a serious problem. The introduction, however, of a
certain amount of fresh air, particularly in mild weather,
has been found desirable. Although there is no air-washing
or cooling device, as the air is drawn from the north side, it

has been found possible to materially cool the building in
hot weather.

General illumination is used in nearly all places, usually
with 150-watt lamps and enamelled sheet-metal reflectors,
spaced about 16 feet each way. Very little local lighting
has been found necessary, though a few portables are used
on erecting floor.

A siding from the main line of the New York Central
Railroad extends into the property and a most complete
system of yard tracks has been installed, extending into
buildings, under travelling-cranes and over coal-bunkers.
A steam-storage fireless locomotive makes it possible to
transfer and place cars very quickly. There is also a com-
plete system of concrete pavements joining all buildings and
storage sections of yard. Elevating electric trucks are used
on these pavements for transfer of coke, pig iron, castings,
etc.

The property extends along University Avenue over
1,000 feet. There is a steel flagpole 100 feet high in front of
office-building, and the 70 feet of lawn between buildings
and sidewalk is beautifully planted and excellently main-
tained, all forming a most attractive feature on that thor-
oughfare, the result of foresight fifteen years ago.

The Right Way to House the Single Worker

AM example of the right way to house the single worker
will be exemplified in the "hotel club" for men which
the General Motors Corporation is erecting in Flint, Michi-
gan. It is interesting to note that in the matter of sanitary
and other structural standards the corporation is following
the lead of the U. S. Housing Corporation which did pioneer
work last year in the establishment of standards for the
housing of the single worker.

A seven-story fireproof dormitory costing approximately
$2,500,000 and having recreational and entertainment facili-
ties to accommodate 2,759 persons is under course of con-
struction. The main building will be 280 feet long and 214
feet deep with a basement and six full stories and a partial
seventh story between two elevator towers. All of the upper
floors will be devoted to sleeping-rooms, providing accom-
modations for a total of 1,168 men. Each bedroom will be
provided with a lavatory with hot and cold water, and a
clothes closet. There will be four general toilet-rooms on
each floor, each with shower baths. There will be two light
courts above the first story, each measuring 86 by 142 feet
to provide light and air to all bedrooms. The building will
stand 25 feet from the building line on all street fronts and
will be 10 feet from the south line of the property. The build-
ing will be of steel frame construction and brick walls with
fireproof floors and partitions throughout. The exterior walls
will be faced with red brick with limestone trimmings.

On the main floor and in the basement will be located
the public recreation-rooms and other amenities for the
use both of the single workers and of married men and their
families. These will consist in part of a large library with
a stock-room having a capacity of 6,000 volumes, a billiard
and game room, a gymnasium and smaller exercise room,
together with instructor's office, examination-room, dressing-
room and bathroom; classrooms with a capacity of 180
scholars; and auditorium with a seating capacity of 1,279
persons; bowling alleys; a cafeteria, a restaurant, a Turkish
bath establishment, a drug-store, a tailor shop 1 , a shoe shop
and a men's furnishing store; and the largest swimming-
pool in the State of Michigan, 25 x 75 feet, with a spectator's
gallery accommodating 184 persons.

It is interesting to note the motives which prompted
the corporation to launch into such a project. These have
been set forth as follows by Vice-President Walter P. Chrysler:

"We realize that such an undertaking is a far cry from
the construction of automobiles, which is our business.
Nevertheless we feel that the best interests of the corpora-
tion are being served when we step out of our beaten paths
and spend our money to provide comfort, entertainment
and pleasure for our employees and their families. By bring-
ing contentment and happiness to our employees and their
families, we naturally surround ourselves with the highest
type of workmen and workmanship. Their best interests
are our best interests. Their welfare is our aim if we seek
to make our welfare their aim."

Announcements

Stork & Knappe, architects, specializing in school work,
announce the removal of their offices from Palisade, N. J.,
to King Street, Ardsley, N. Y., June 1, 1920.

The Portland Cement Association announces that J.
W. Johnston becomes District Engineer in charge of the
Milwaukee Office of the Portland Cement Association.
Mr. Johnston has been with the Association since July,
1916. Before joining our organization he had been City
Engineer of Sioux Falls, S. D., County Engineer of Minne-
haha County, S. D., and had served in various engineering
capacities on railroad and general contracting work. For
the past two years Mr. Johnston has been District Engineer
in charge of our Parkersburg, W. Va., office.

They also announce that J. H. Riddle, who since 1916
has been connected with the Parkersburg, W. Va., office of
the Portland Cement Association, becomes District Engi-
neer in charge of that office, succeeding J. W. Johnston,
who has been transferred to the Milwaukee office as Dis-
trict Engineer in charge. Mr. Riddle is well known in
West Virginia, having been for a time County Engineer of
Roane County, where he was identified with the construc-
tion of some of West Virginia's first concrete roads.

, Lu

FOURTH CONGREGATIONAL CHURCH, HARTFORD, CONN.

Davis & Brooks, Architects.

PPJi

ARCHITECTVRE

THE PROFESSIONAL ARCHITECTURAL MONTHLY

VOL. XLII AVGVST, 192O NO. 2

The Modern Theatre

By E. M. Mlinar

THE present activities shown throughout the United
States in theatre construction are such as never before
known in the history of the modern theatre. The demand
is so great for good plots for theatres that in many instances
large office-buildings are planned with a theatre adjoining,
and I note in some Western cities hotels and department
stores aregiv-
ing way to
space for the
construction
of the theatre
in portions of
the building.
Since the
advance
made in mov-
ing-picture
productions
and the inter-
esting man-
ner of pre-
senting the
picture to the
public with a
varied sort of
entertain-
ment, large
corporations
outside of
theatri cals
have taken

interest in the theatre, and I am well informed that in one
instance such a corporation is planning to build 1,000
theatres, of about 1,600 seat capacity, to be distributed
throughout the smaller towns of the various States.

At present there are three types of theatres: first,
the legitimate playhouse; the motion-picture theatre ar-
ranged as a concert-hall; and the combined picture and
vaudeville house.

The requirements of each and every one vary, and it is
a credit to the profession to note that the architects engaged
are giving proper study to their plans to meet these require-
ments.

The concert-hall and vaudeville type of theatre being
most in demand, seating between 2,500 and 3,500 persons,
the conditions and various' requirements for the proper
handling of the theatregoers are far more intricate than in the
legitimate house, owing to the continual entrance and exit
of patrons. The lobby in this instance is a very essential

An li;t .xt's study of interior for theatre, Los Angeles, Cal. Thomas W. Lamb, Architect.

thing, and should be planned so as to permit the handling
of an overflow crowd awaiting the end of any one per-
formance. It is necessary to provide an entrance-vestibule
which contains the ticket-office on the outside, then the
outer lobby to provide for the overflow, having also a ticket-
booth, then the grand lobby. The grand lobby has the

stairs leading
to the mez-
zanine prom-
enade, and
very careful
considera-
tion is needed
in the plan-
ning of the
staircase
leading to the
mezzanine.
There is a
certain
amount ot
psychology
connected
with this de-
tail , since
people are in-
clined to
avoid the
climbing of
stairs; how-
ever, if care-
fully planned, such a feeling can be overcome. Some ar-
chitects have attempted to overcome this condition by
the use of ramps leading to the mezzanine. However,
this is not satisfactory, not only because it mars the
beauty of the lobby, but ramps are very tiresome, and by
providing a well-designed staircase, centrally located, it
has the tendency to draw people to that part of the building
.to which the stair leads. This is evident in New York with
the largest theatre in the world, having some 5,000 seats,
where the staircase leads to the mezzanine, which takes
care of the overflow crowd of the balcony.

In the planning of the orchestra it is interesting to note
that architects are now providing sufficient standing-room.
This is very essential. However, in this connection the
sight-line of these people must be considered when standing,
as in some instances it is very annoying when one stand-
ing in the rear of the orchestra cannot see the top of the
picture being presented. This, of course, is due to the at-

225

226

ARCHITECTURE

$ I*

Architect's study for section of theatre, Los Angeles, Cal. Thomas W. Lamb, Architect.

tempt to keep the building down in height, which could be
done otherwise, and would eliminate the squatty effect so
evident in most theatres in back of the balcony overhang.

Owing to the new laws of the municipal authorities on
gradients permitted, it is very difficult to provide the proper
sight for patrons in a house having more than 25 rows, and
necessitates the use of a different gradient, and steps under
the seats to give the proper sight. This matter is of great
importance and needs very careful study.

In connection with the planning of the orchestra, care-
ful consideration must be given to the sanitary require-
ments the men's and ladies' rooms and toilets adjoining.
This seems to be neglected, and the proportion of fixtures
required to the total seating of patrons is not properly taken.

In the type of theatre described, the mezzanine prom-
enade is most essential. It should be spacious and carefully
designed, with facilities to handle a crowd.

(' f, :.-

A very interesting point in the planning of the mezza-
nine is the provision of a so-called well-hole, located in the
centre, which serves many a purpose. It avoids the crowd-
ing ceiling effect over the patrons in the rear of the orchestra,
and permits the patrons to hear the orchestral selections in
the case when seats are not to be had in the balcony. Here
also proper provision should be made for men's and ladies'
rooms and toilet facilities, which should be calculated to
the proportion of the balcony seating. The entrance .from
the mezzanine to the balcony must be located carefully.
Usually two such passages, one each side, are sufficient.
These passages lead to the lower crossover of the balcony
and the loges; also from this mezzanine stairs are required
to the higher level of the balcony or the second crossover;
these also should be placed one each side.

Entering the balcony of this type of theatre, it is very
easy to note at once the difference between this type house

: '

- sr ..

Detail of ceiling panel, theatre in Dallas, Texas. Thos. W. Lamb, Architect.

Detail, sounding board, theatre in Dallas Texas. Thos- W, Lamb, Architect .

ARCHITECTURE

227

Jffti

Design for State Theatre and office building, New York. Tnos. W. Lamb, Architect.

and the legitimate theatre: the steppings are much shal-
lower, and should not be over 13 inches, whereas in the
legitimate theatre they are in some cases as high as 21
inches. The saving in the height of building can readily
be seen by this comparison,

Two balconies should not be used for this type of

" : i < "^'

'V-> *> -U" . .. M. 'T' . >

theatre; as a matter of fact, the second balcony is being
omitted in the new planning of the modern theatre. I have
witnessed this in several of the large vaudeville-circuit
theatres in the East, and it seems to work out most satis-
factorily.

The picture-booth in most cases is placed in the rear
of the balcony. It is interesting in some cases where the
architect has placed the booth entirely on the ou,tside of
the building, cantilevered out from the rear wall of the
balcony. This is a very good solution, as it does not break
the seating in the rear of the balcony, nor does it interfere
with the ceiling treatment.

The general interior treatment of the auditorium is the
next item worthy of note. Credit is due the architect who
gives the balcony patron a treat on the side-walls rather than
confining all his architecture to the orchestra and proscenium
treatment. Somehow, too much has been done for one and
not enough for the other, but from my observation this is
now being well taken care of. In connection with the ceil-
ing treatment of the auditorium, most theatres now being
erected contain a central dome, which should not be dwarfed,
as it has certain effects on the acoustics, a subject not to
be tampered with. The dome is mostly used, however, for
lighting effects, there being installed from three to four color
lighting in coves. This eliminates a lot of ceiling fixtures,
and also gives the producer a chance for effects to suit his
production. As for acoustics, the curved sounding-board
or proscenium and ceiling dome seem the most practical,
yet the flat-beam-ceiling treatment has given equally good
results, although in this particular possibly one of the most
beautiful theatres in the United States has been a failure in
the sense of acoustics on this account.

The stage, a prime essential, is a subject also greatly
neglected, the relation of the working parts not being
properly considered. In the vaudeville house dressing-rooms
are required, which should be placed in proper relation with
the working side of the stage, the working side being that
side providing space for switchboard and pin-rails, also
scene space. They should be placed opposite one another.
The gridiron is the subject also neglected. In this type of
theatre, if placed 60 feet above stage, it is sufficient to take
care of all conditions provided that only vaudeville acts are
to be handled; however, if the stage is arranged for any
spectacular features, 80 feet is better proportion. This
depends, of course, on the use of the stage.

In the vaudeville and concert-hall type 60 feet is suffi-
cient; this permits a 28 or 30 feet high proscenium opening.

Detail, orchestra stage setting, theatre in Dallas, Texas. Thos. W. Lamb, Architect.

Detail, side wall treatment .theatre in Dallas, Texas. Thos. W. Lamb, Architect.

228

ARCHITECTURE

Sounding board and proscenium treatment, also showing balcony side walls, Capitol Theatre,
New York. Thos. W. Lamb, Architect.

The concert-hall type of theatre has the orchestra sit-
ting on the stage proper, having a higher dais for the soloist
arid the picture-screen. I was very much surprised to see
in one instance of this type house that the architect had left
but 2 feet of space back of the screen and rear wall for any
special setting for the soloist. This hardly permitted a pas-
sage in the back, much less allowed a set to be placed in back
of screen when raised. Space should be provided so as to

permit a ballet and a regular set; therefore, the minimum for
this in my judgment should be 5 feet.

In the heating and ventilating of the theatre, and
especially in this type of building nothing should be over-
looked to give the best possible service, as the success of
the theatre is greatly dependent thereon, owing to the same
being in operation during all seasons. It is hoped that
owners of theatres will permit the installation of such a
plant as the architect suggests, though for reason of expense
this is often neglected. Special patented and speculative
ventilating schemes, of which there are many, should not
be used. Sad experiences in this respect have taught many
an owner and architect a lesson.

The particular use to which the theatre is to be put is
the first consideration in determining what system of light-
ing must be employed. However, all theatres have a great
deal in common, and with the exception of the small moving-
picture house, all are provided with a stage, all have audi-
toriums, either large or small, and all have some kind of
lobby, and a facade which require lighting.

As far as the faade is concerned, it is unfortunately in
most instances used for advertising purposes. For adver-
tising electrical display lighting is required to announce a
particular play or production. It should be the object of
the architect to design the face of a building so that a sign
could be installed without hiding all of the architecture, or
the architect should take it upon himself to design the
building and sign at the same time, so that architectural
unity may result.

The marquise is a very important element in the ex-
terior design. This not only serves its original purpose as
a shelter but when properly lighted has an indirect adver-
tising value. It is not unusual to outline the marquise in
panels with as many as four or five hundred lamps. The
particular object of this style of lighting is to make a bright
spot in what might otherwise be a dark street. In addition
to performing its utilitarian purpose and that of light at-
traction, the marquise has been impressed into service for
direct advertising. Attraction signs are attached to tire
sides and front, and projectors to illuminate the facade may
also be hidden on it.

In the latest house erected in New York, the facade, on
which there are no signs whatever, is lighted by flood-light-
ing which emphasizes the architecture. The only signs on
this particular building are small ones (the name of the

Inner lobby, theatre in Brooklyn, N. Y. Thos. W. Lamb, Architect.

Detail looking toward stage, showing effect of cove footlights. Theatre in Brooklyn, N.Y.
Thos..W. Lamb, Architect.

ARCHITECTURE

229

theatre) at either end of the marquise. Underneath the
marquise and against the building is a changeable attrac-
tion sign giving the attraction for the week.

The lobbies, halls, and anterooms require very little
comment, as their problems are simple. As a rule these
portions of the house constitute just so many rooms, each
of which must have its lighting equipment designed to meet
the views of the architect. Considerable cove-lighting is done

Ladies' retiring room, theatre in Brooklyn, N. Y. Thos. W. Lamb, Architect.

at present, and, where the height is sufficient to erect a
dome, this style is particularly to be recommended. Panel-
lighting is also used. This consists of diffusive glass panels
set in the ceiling behind which the lamps when properly
spaced give a light effect without revealing the source of
light. Considerable care must be exercised in the design
of panel-lighting.

For the auditorium, there are quite a number of light-
ing systems and combination systems to select from. Direct
fixtures, cove-lighting or panel-lighting combinations of any
two or all three may be used.

In cove-lighting the shape of the cove is important.
If the cove and dome are too flat the light will not be pro-
jected far enough to the centre and in this system of lighting
the entire dome surface should be evenly flooded. The

Grand lobby and part of main staircase, Capitol Theatre, New York. Thos. W .Lamb,
Architect.

cove and reflectors should be properly designed for the
purpose. There are domes of such great extent that it is
practically impossible to entirely illuminate them from the
cove. In such cases it is necessary to use a fixture to illu-
minate the surface that cannot be reached by the lights in
the cove. Preferably, the fixture should be one of indirect
type.

Panel-lighting alone should never be used in an audi-
torium, as this style of illumination does not permit enough
light to reach the wall and ceili-ng surfaces to properly illu-

Third act of "Tannhauser," Capitol Theatre, New York. Setting by John Wcnger.

First act of "Lohengrin," Capitol Theatre, New York. Setting by John Wenger.

230

ARCHITECTURE

minate the decorations. In a number of houses that are
exclusively so equipped, it has been found that the effect
of the plaster detail on which a great deal of thought and
money was expended is entirely lost. Therefore in plan-
ning this style of lighting sufficient wall-brackets or other
light sources should be provided about the auditorium to
accentuate the architectural details.

The combination of cove, panel, and fixture lighting
usually produces a very happy effect. The main ceiling
dome may be lighted with coves, some illuminated panels
installed in the ceiling, and some also introduced into the
soffit of the balcony, with brackets installed throughout the
house to help in the general effect. The quantity of light
to be used in both the coves and panels requires careful
study.

In multicolored lighting we have a little different prob-
lem. The amount of white light introduced in color-light-
ing should be the same as though white lights only were to
be used, and where colors are introduced they should be
used in sufficient quantity to blend with the white lights.
With the use of dimmers on the stage, effects can be ob-
tained in color-lighting by means of various combinations
which add materially to the effect of the dome and panels.

The question as to whether color-lighting shall be used
in a house is one which should receive considerable thought.
In a moving-picture concert house these effects are used in
conjunction with the orchestration, and more or less with
tableau on the stage. They are used in vaudeville houses
which also show pictures.

The one important thing about the auditorium-lighting
the architect must bear in mind is emergency-lighting. This
usually consists of lights on double circuits which are placed
on the walls in brackets, having one circuit controlled from
the panel board in the box-office, and another circuit con-
trolled from the stage switchboard, the particular object
being to light the auditorium sufficiently for a dismissal of
an audience in case of accident.

Stage-lighting to-day in principle is not very different
from what it was years ago. There is usually a footlight, a
number of borders, and certain spots. The footlight serves
to throw light backward and upward, and the borders throw
light downward and backward on the stage. In addition
we have pockets for strips and for spotlights for special

Ideal Theatre, New York. S. B. Eisendrath, Architect. B. Horwitz, Associate.

More than half of the entire roof over the auditorium is arranged to open
by sliding on steel tracks so that in summer time the audience has the bene-
fit of being practically out of doors, and therefore enjoys not only almost as
much fresh air as a roof garden audience, but owing to the large size of the
roof opening, the sky above is in full view from all parts of the auditorium.

Another feature is the skilful use of art-glass windows for lighting the
interior by means of a_series of oval shaped windows placed in the frieze as
seen in the picture. In the daytime this glass subdues and colors the day-
light so as to give the required light without artificial lighting, while the pic-
ture is on; and again at night these art-glass windows admit the same pleas-
ing light by means of electric lights concealed behind the glass. In this
manner both during the day and night time when the picture is on, the in-
terior receives this beautifully diffused colored lighting and is entirely free
from local electric lights, which are so annoying to the audience, and which
more or less interfere with the effectiveness of the picture lighting.

effects. The stage equipment will vary, depending on the
character of the house. The vaudeville house should have a
footlight of three colors with three or four borders, each of
three colors, and in addition incandescent pockets either side

Design for theatre on West 45th Street, New York (under construction), for the Walk
Realty Co. Eugene De Rosa, Architect.

Design for Victory Theatre, Nev
Scheier, Architect.

Brunswick, N. J. (under construction). John H

ARCHITECTURE

231

of the stage, and from two to a half dozen arc or spot pockets.
An equipment such as this will light the average stage.

Where extravagant productions are given, such as some
of the musical comedies, the stage-lighting is particularly
heavy. A great many shows will require not only incan-
descent pockets of white only but incandescent pockets in
colors white, red, blue, or green, or amber sometimes
three colors, sometimes four.

In locating a switchboard it must be placed where the
electrician can watch almost the entire stage. To get proper
effects at the right time he must be able to watch for his cues.
The slightest mistake in this direction will mar any show.

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The switchboard itself should be of the "dead-face
type," so as to be as safe as possible. A switch should be
provided for each color in the footlight, for each color in
each of the borders, for each color in each set of pockets,
and for the various pockets throughout the stage. It does
not pay to save cost on the stage switchboard.

The remarks relative to the switchboard apply to the
dimmers.

No house is now complete, whether it be for legitimate
or intimate drama, musical comedy, or any other purpose,
without a picture -booth. The utility of a room of this sort
is fully recognized, and it is now used for spot and flood

light purposes in houses that do
not show moving pictures. For-
merly the spotlight operator oc-
cupied what was perhaps the
most valuable seating-room in
the house, the front of the first
balcony. Now, however, he is
put in a booth, and does not
disturb the patrons in any way
by his presence.

The electrical equipment of
the booth for legitimate houses
should consist of a sufficient
number of pockets of large ca-
pacity for spot and flood lights.
In addition it should be provided
with capacity for one to three
picture-machines, even though
they are not required when the
theatre is opened. The value
of making provision for these
machines is apparent to any
manager who is suddenly called
upon for current in excess of
that originally provided for.

The interior color scheme
is a very important subject for
the architect. This subject is

232

ARCHITECTURE

Arena Theatre, New York. S. B. Kisendrath, Architect. B. Horwitz, Associate.

Auditorium, Arena Theatre, New York. S. B. Eisendrath, Architect. B. Horwitz, Associate.

usually well handled, though some houses have been made
too light in color, which is regretted.

The selection of draperies is important, as they must be
a color that will permit the use of various lighting effects
thereon. It is very interesting to note the careful handling
of this item in our most recent theatres. The carpets should
be a dark color and set preferably on a wood floor. This
not only gives better chance for the fastening of same but
gives a more satisfactory surface to fasten the chairs. This

is not an essential, however, as good results have been ob-
tained with a cement floor.

The structural problems confronted in theatre design
are most difficult, and are items where considerable money
can be saved in steel tonnage by having the services of a
specialist on the subject. It is hoped that one of the many
men capable will later provide the readers of ARCHITECTURE
with an article on the subject, wherein the points most
necessary for economical steel design will be stated.

Making Over the Old Theatre for the Movies

/^^ONVERTING the average theatre building to motion-
^^ pictures is a matter of little trouble and comparatively
small cost.

The projection-booth should be placed in the back
top end of the balcony and, if possible, suspended from the
ceiling construction under the gallery. With a booth thus
suspended, there is generally no loss of seats. If the space
between the balcony and gallery is not sufficient to permit
projecting the pictures without interception by people in
the balcony, the booth can be placed at the back top end of
the gallery. It is much better, however, to project the pic-
ture from the balcony, even at the cost of a few seats, as the
screen image is many times badly distorted by wide angle
and throw necessary from the gallery.

The dimensions of the booth need not be more than 7 to
8 feet in height, 6 to 7 feet in construction, and although the
law requires it to be fireproof, it can be of light construction.
Metal lath plastered solid 2*4 inches thick with Portland-
cement plaster is best for the enclosing walls. The screen
should be placed on the stage, hung from above. It can
easily be removed if a drop is not used either by sliding
to one side as with ordinary scenery, or it can be made in the
form of a roller-shade and readily rolled up.

The necessary feed-wires for supplying machines and
other equipment are easily installed. The feed-wires carried
into every theatre building are of ample capacity to take care
of all requirements, especially where the usual scenic light-
ing for regular theatrical purposes is dispensed with.

Aisles, exits, and outside courts required in using a
theatre for the showing of pictures in most cases need no
attention other than for handling the outgoing and incom-
ing audiences between shows. Any legitimate theatre con-
forming to the building laws is equally satisfactory and ade-
quate for picture purposes.

Where a theatre is to be used largely for motion-pictures,
various decorative features can be added on either side and
above the screen, as it is done in many permanent picture
theatres in the larger cities. This is particularly desirable
if it is inte-ided to have musical or vaudeville acts between
the pictures, as it affords a pleasing background during these
intervals. These decorative effects involve no structural
change. On the contrary, most stages are of ample size to
install special landscape or architectural effects around the
screen.

A Design for a National Memorial

Submitted by Armstrong & De Gelleke, Architects, to the Mayor's Committee, New York

IT is proposed to erect a memorial to the men who served
in the Great War, as a national token of esteem for their
valor and patriotism. We believe such a monument should
be large in its idea, daring in its conception, simple in its
architecture, and purely American.

It is to be 1,000 feet high, situated in Central Park, at
the head of the lower reservoir, and the surrounding in
which it is to be situated would lend itself to a huge garden
effect, and would lay claim to being the highest edifice in
existence. Its location would be central from all parts of
Manhattan Island, and a large section of the Bronx district,
and visible for many miles by day, or when illuminated at
night.

The general scheme of the monument is a hexagonal
obelisk, symbolizing immortality, and to be flanked on both
sides by two Greek-like temples; these buildings to con-
tain trophies and war records, and to be connected by a
semicircular colonnade leading to the principal entrance of
a large open-air amphitheatre and public recreation grounds,
which would be in the basin or sunken area of the large
upper reservoir. The semicircular space between the
colonnade and the monument to be a garden or grove, en-
hanced by small sculptural, groups, and planted with fine
trees and flowering shrubs, which would create an atmosphere
similar to the famous temple and sanctuary erected to Apollo
in the Sacred Grove at Delphi, erected by the Greeks in the
first century B. C.

We believe the advantages of its proposed location are
many in that the city is to abandon these water-storage
areas, and these areas of water, together with their retaining
walls and terraces, would be available and adaptable for a
rare landscape and architectural development, such as the
Gardens of Versailles or the Royal Italian Palace at Casertta.
These sunken levels would lend themselves to such a treat-
ment at comparatively smalt cost, and with this thought in
view we have designed the monument as a start or nucleus
of the suggested development. The illustration on page 234
shows the monument at the head or narrow end of a long pool
and sunken garden, and would be an excellent setting for such

Book Review

"OLD CROSSES AND LYCH-GATES." By AYMER VALLANCE. Lon-
don: B. T. Batsford; New York: Charles Scribner's Sons. With over
200 illustrations from photographs, rare old prints, and original drawings.

Even a casual turning of the pages of this interesting book brings into
one's thoughts the admirable and appropriate material it offers for moderate
cost memorials to our soldiers. There are abundant and beautiful exam-
ples of these old monuments found in England and Wales upon which might
be based especially suitable memorials for small communities. This ap-
plies particularly to the crosses, of which a great variety of form and de-
sign are shown. Many of them could be built of the local stone available
in nearly every section of the country, and they could be simple or elaborate
with suitable tablets either engraved in the stone or applied by means of a
bronze tablet.

"In older times these crosses were the centre for various celebrations.
At Chester the High Cross was the scene of all great civic functions. Here
again royalty was received, here proclamations were read with due formality.
They were a recognized place for public proclamations."

No one who has visited the smaller English towns off the beaten track
will have failed to carry away some remembrance of an old cross or lych-
gate connected with a picturesque little English church.

There is a fund of suggestion in the many illustrations from both
photographs and drawings.

Most of us know both the stone soldiers and the more or less plain or
decorated shafts put up as memorials to our Civil War veterans, and we
all know how bad they are with very few exceptions.

The author's text traces the origin of these crosses back to the menhir,

a monument, as it would give a reflection that would mirror
the changes of color and sky throughout the day.

The main monument is to be supported on its diagonal
faces at the base by four smaller engaged obelisks, each to
be a monument in itself to the four arms of the service,
namely: the army, the navy, the marines, and aviation.
The faces of these obelisks are to have sculptured ornaments
of trophies of the particular service, together with tables at
various heights, bearing the names of battles or campaigns
in which the particular arm served with distinction. The
obelisks are to be capped by gilded frustrums which would De-
flect the first rays of the morning sun and the last rays of
the setting sun.

Over the central entrance, which faces south, there is to
be a large group of figures representing the city or State of
New York, and above this group is the Dedication Tablet
in sculpture, flanked by two huge figures in bas-relief
symbolizing Patriotism and Courage. The principal en-
trance admits to a huge central domed hall, whose walls are
to contain inserted bronze or marble tablets recording the
part played by any city, town, county, or State in the erec-
tion of this monument. This central hall would contain a
bank of elevators to take the visitor to the observation-room
at the top of the monument; also from this central hall
would start an inclined ramp, or walk, to the top, with various
landings to give interesting views.

In a chamber above the observation-room it is pro-
posed to establish a permanent wireless-collecting station that
might at some time serve the country in the same priceless way
that the Eiffel Tower served France during the Great War. .

The monument itself would be purely American in its
symbolism and construction. The American contribution
to the world architecturally has been the sky-scraper office-
building, and in the constructive field the steel shell. Both
of these would be incorporated in the monument, which
would be built with a steel framework, veneered with white
marble. Its cost would not equal that of any steel-con-
structed office-building, but, on the other hand, would be
less because of the absence of interior furnishings.

and describes many of the best-known types of the developed crosses in
England and Wales.

The lych-gate was so called (the word lick meaning corpse) because
it stood at the entrance of the churchyard, a place where the bearers
might rest their burden on the way into the church. Many of them had
screens built over them.

To THE EDITOR OF ARCHITECTURE:

Dear Sir : The secretary of the American Institute of
Architects has called my attention to an inaccurate statement
made in my article, "An Accounting System for an Architect's
Office," published in the April issue of ARCHITECTURE.

In the third paragraph of the article I stated: "The
American Institute of Architects has established a schedule
of fees to which we are obliged to strictly adhere."

This statement is in error. I should have said that the
Institute has laid down a schedule of reasonable minimum
charges which it is customary to employ under certain
standard conditions. From a careful reading of the Insti-
tute's schedule of proper minimum charges, it is quite clear
that the fees established are in no way mandatory, y
Very truly yours, ** "!

H. P. VAN ARSDALL.

233

234

ARCHITECTURE

DESIGN FOR NATIONAL MEMORIAL. (From a rendering by \V. T. L. Armstrong.) Armstrong & De Gelleke, Architects.

Submitted to Mayor's Committee, New York.

The Architects of St. Thomas's A Correction

IN his article in the July number of ARCHITECTURE on
"St. Thomas's and Its Reredos" Mr. Peixotto quite in-
advertently, in his statement that "the church as we see it
to-day is essentally Mr. Goodhue's," did an injustice to the
other members of the firm who were equally associated in
its design. The church was the result of the co-operation
between all the members of the firm of Cram, Goodhue &
Ferguson, and credit for its great success and distinction
should have been given alike to all three members of the firm.
Mr. Goodhue personally asks us to state that the paragraph
in question did "distinctly more than justice to me, and
does very grave injustice to both my former partners."

Theatres

AS a sign of the times, an expression of the mood of a
people, the taste of a public, there is nothing more
significant than the multiplicity of theatres, large and small,
that are going up all over the country. Hardly a small
town now but has its playhouse, usually devoted to the
movies, and that they are proving a profitable investment
is evidenced by the fact that more than any other kind of
building they seem easily financed. The movies have driven
out plays from many famous old houses that were once
the homes of the legitimate; and the largest of the new
houses are given over to the movies, either with or with-
out accompanying vaudeville or some musical entertain-
ment. In New York there are more than 650 theatres in
the greater city, and more are under construction. The
amount of money already appropriated for new amusement
houses in New York alone amounts, we are informed, to
something like $25,000,000.

The architecture of the theatre seems to be very much
specialized, and the problems involved call for trained ex-
perts in this particular field. The plans vary with the
needs of particular localities and purposes, but the funda-
mental consideration seems the using of spaces to permit
of the largest unobstructed seating capacity and the easy
inflow and exit of changing audiences, combined with re-
quirements of safety. We have had requests from vari-
ous quarters asking for a number of ARCHITECTURE in
which might be shown some typical theatres of to-day, and
our readers will find shown herein types that have the
authority of architects trained in this special field, together
with Mr. Mlinar's admirable discussion of the practical
questions involved.

One of the great contributing factors in theatre construc-
tion of to-day is the use of reinforced-concrete arches. Some
of the spaces covered in this way are amazing in their daring
and knowledge of the engineering problems involved.

In no other country in the world has the theatre become
such an essential part, such an intimate part, of the lives
of millions. One of the recent tendencies is in the combin-
ing of the theatre with a great modern office or studio build-
ing, and the economic value of such a combination seems
too obvious to 'need emphasis.

There is too often much to be desired in the decoration of
many of our playhouses, and there seems no reason why we
should not have less of the garish and overloaded ornament
so prevalent and more quietly appropriate ornament based
upon either some frankly studied period style, or, if we
must be modern, governed more by good taste than the mere
desire to express the fact of unlimited expenditure.

Now and then we come upon some small provincial
theatre devoted to the movies that is delightfully restful
by its very absence of the customary stock-theatre decora-
tive properties.

Some Comment on the Competition for the
Nebraska State Capitol

WE were much interested in the comment and discussion
of the question of the selection of the architect for
the Nebraska State Capitol by a writer in the New York
Evening Post. There are some points so well taken that we
feel warranted in quoting this extract that may find a re-
sponsive attitude in the minds of many of our readers.
The whole question of competition has been, and will be
always, a moot question.

The Nebraska way, at least, had the great merit of avuid-
ing some of the most objectionable features of old methods.
As the Post says:

"The programme made three radical departures from
precedent. No predetermined concept was disclosed; the
competitors were left as much as possible in the dark as
to the kind of building wanted. No jury was selected to
judge the designs until after the designs had been sub-
mitted. No limits, beyond ordinary considerations of
reasonableness, were set in the matter of cubage and cost.

"That direct selection of the architect has been ap-
proximated by these innovations is plain enough. Not a
solution but ability to solve, not a design for use but a dem-
onstration of power, not the plan but the man was the
goal. The obtaining of a design was as far as possible elim-
inated from the test.

"What would be lost in eliminating it altogether?
What is gained by retaining the competition at all ? The
programme, for all its breadth of vision, is hazy as to these
implied questions. If a public demonstration is needed of
the superiority of leaders and the inferiority of inadequate
talents and experience, a competition under almost any plan
will yiejd the object-lesson. The old dilemma meanwhile

23S

236

ARCHITECTURE

persists: the competition is a faulty method of obtaining
solutions and the solution is the only truly adjusted function
which a competition has. So far as the Nebraska plan de-
volves upon the jury a selection among ten designated archi-
tects on the basis of their ten solutions of a vaguely denned
problem, the jury being cautioned not to rely too much on
the solutions themselves, it may seem to be moving to im-
prove the architectural competition out of existence. A few
more steps in this direction and we may find the architect
selected as other professional servants are selected on the
tangible evidence of past performances."

As to Advertising

OUR attention was attracted recently by an attractive
city alteration, and our eyes focussed upon, among
other things, two signs announcing the names of the builders
and those of the architects. We couldn't help feeling that
there was no sufficient reason why the architects shouldn't
make themselves known to the man on the street, or see
any lack of professional dignity in the fact. Of course there
are certain reservations in the conduct of all professional
men, a code of ethics, a gentleman's agreement to play
fair and not bring contumely upon one's calling, but even
gentlemen may announce themselves in gentlemanly terms
and in the good taste that most men worthy of the name
of architect would likely prefer.

The big men of any profession are quickly known by
their works, but the man with a reputation yet to make finds
it mighty hard in these competitive days to just sit tight and
trust in Providence to be discovered. In an upstate news-
paper we saw a large display advertisement of a local firm of
architects, and now that the Institute has modified its
rules, maybe we shall see more architects doing as other busi-
ness men do who seek the public interest and declare them-
selves ready and qualified to accept commissions from all
who offer.

Of Especially Timely Interest

\ RCHITECTURE will begin in the September number
-ZX a series of articles of great practical value to every
member of the profession. They will be written by H.
Vandervoort Walsh, instructor in Architecture, Columbia
University School of Architecture, and will deal with

"THE CONSTRUCTION OF THE SMALL HOUSE"

Articles already arranged for, each one of which will
include illustrations, are:

I. Present-Day Economic Troubles.
II. General Types and Costs.

III. Essential Standards of Quality in Building-

Materials.

IV. Construction of the Masonry-and-Wood Dwelling.

Others will be announced later.

Teaching Architecture by Practical Methods

NEW methods of teaching, designed to remove "the
malicious influence" which pure paper has upon the
imagination of the student and to avoid mistakes which
would stand as glaring faults through many generations,
are now being employed in the School of Architecture of
Columbia University.

The student is no longer restricted to one dimensional
architecture, portrayed wholly on paper, but is required to
construct models which bring into play the same skill and
perspective demanded in the actual practice of the architec-
tural profession. Model-making as a means for construc-
tion in architecture is a long step in advance, according to
the Columbia authorities, who also say that the war has
changed American standards of art.

"It has long been appreciated that the student of archi-
tecture is trained largely in feeling for one dimensional
architecture, presented entirely upon paper, and in the form
of a plain elevation drawing," H. Vandervoort Walsh, of the
Columbia teaching staff, said in describing the system of
model-making now used to train Columbia architects.

"The student never has the opportunity which the
practising architect finds of observing his design completed
in all three dimensions. This privilege only belongs to the
architect who has secured his commission and has had his
building erected at the expense of his client. Many such
architects have been astonished and surprised at mistakes
in their design, due to the inability of drawings to fully rep-
resent the truth as it would appear in three dimensions.
When the building is completed he has no opportunity of
changing the form, and his mistake must stand as a glaring
fault through many generations.

"The student of architecture who has the opportunity
of designing a building, or a group of buildings, first on
paper and then completing the same in the form of a model,
has all the opportunities of observing the mistakes of his
design without the cost of erecting the building. Moreover,
he has removed the malicious influence which pure paper
design has upon his imagination.

"Many a designer who has unusual skill in drawing
and rendering, and who is blessed with an extremely fertile
imagination, is often able to mislead himself with his pic-
tures, and regard the thing he has erected on paper as
beautiful architecture, while if it were constructed in three
dimensions, in the form of a model, it would appear entirely
absurd and ridiculous.

"The manner in which model-making is carried on in
the School of Architecture in Columbia University is ex-
tremely simple. A squad of students is given a problem,
as say, 'A Club Colony in Florida.' Each member of the
squad then tries to solve this problem on paper according to
his own ideas. These sketches are then judged by a jury
consisting of the critics in design, and the best design is
selected for the model. The. students are then assigned to
various parts of the model, some to making the landscape,
others this building and others that building of the group.

"The models of the buildings are constructed entirely
of heavy illustration board. All elevations are drawn upon
it, and minor projections, mouldings, windows, doors, and
ornamental features of this type are rendered not in the
usual architectural manner, but with a very hard, contrast-
ing technic, so that these features will stand out strongly
and realistically in the completed model. Large projecting
members like cornices, columns, chimneys and dormers, etc.,
are made from anything that the student may be clever
enough to use.

"In fact, the ingenuity displayed in the construction
of a model is one of the fascinating features of the work.
As for landscape gardening, grass made from stained saw-
dust, trees made from sponges, colonnades made from tooth-
picks, water-falls and fountains made from glass are a few
suggestive ideas of the possibilities in these models."

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AUGUST, 1920.

ARCHITECTURE

PLATE CXIV.

LOBBY.

VESTIBULE.

C. Howard Crane, Architect. Elmer George Kiehler, Associate. Cyril E. Schley.
ORCHESTRA HALL, DETROIT, MICH.

AUGUST, 1920.

ARCHITECTURE

PLATE CXV.

AUDITORIUM.

LONGITUDINAL SECTION.

ORCHESTRA HALL, DETROIT, MICH.

AUGUST, 1920.

ARCHITECTURE

PLATE CXVI.

AUDITORIUM.

FOYER, FIRST FLOOR.

DETAIL OF BOX.

THE GRAND THEATRE, PITTSBURGH, PA.
C. Howard Crane, Architect. Elmer George Kiehler, Associate.

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AUGUST, 1920.

ARCHITECTURE

PLATE CXVIII.

PLAN'

GRAND THEATRE, PITTSBURGH, PA.

AUGUST, 1920.

ARCHITECTURE

PLATE CXIX.

THE DAYTON THEATRE, DAYTON, OHIO.

Schenck & Williams, Architects.

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AUGUST, 1920.

ARCHITECTURE

PLATE CXXIV.

FRONT ENTRANCE.

GARDEN.

RESIDENCE, FRANK YOUNG, HACKENSACK, N. J.

Wesley Sherwood Bessell, Architect.

AUGUST, 1920.

ARCHITECTURE

PLATE CXXV.

VIEW IN ROSE GARDEN.

RESIDENCE, FRANK YOUNG, HACKENSACK, N. J.

Wesley Sherwood Bessell, Architect.

AUGUST, 1920.

ARCHITECTURE

PLATE CXXVI.

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ARCHITECTURE

PLATE CXXVIII.

AUDITORIUM.

VESTIBULE.

FOURTH CONGREGATIONAL CHURCH, HARTFORD, CONN.

Davis & Brooks, Architects.

ARCHITECTURE

237

SIDE OF BUILDING, FOURTH CONGREGATIONAL CHURCH, HARTFORD, CONN.

Davis & Brooks, Architects.

The Fourth Congregational Church of Hartford

Old Traditions Embodied in the New Building
By W. F. Brooks, Architect

THE new building for the Fourth Congregational Church of
Hartford, completed just prior to the war, has a certain
historical as well as architectural interest, and shows how im-
portant work of the past may be preserved in its main features,
even though the upheavals incident to modern development
in our cities make a change of location necessary.

Changes of residential centres and the encroachment of
business often make the abandonment of an old location
necessary, but if an edifice has character, which has become
associated with and a part of the life of the users, it should
not be lost in making the change if it is possible to preserve
it. If, also, there are characteristic parts of the old build-
ing which not only help this association of ideas but are
worthy of preservation for their own beauty, it is ruthless
not to attempt their incorporation in the new edifice.

The Fourth Church is a case in point. It occupied a
building on North Main Street built about 1850, and by
1913 its congregation lived far to the northwest, and the
encroachment of business had made its dignified porch and
spire seem incongruous, but had increased the value of its
real estate so that it could afford to move.

All that is known of the earlier building is that in 1848
the congregation's committee went to New Haven, and
were so pleased with the general appearance of the Centre
Church of that city (the one recently so beautifully restored
on the green) that they gave instructions to their architect,
S. M. Stone, of New Haven, to build their new church in
Hartford like it. Accordingly, there arose a fine building
with a Corinthian pedamental porch and well-proportioned
spire of superposed orders, ingeniously varied after the
manner of James Gibbs. The capitals were all of hand-
carved pine and in excellent preservation.

After the sale pf the property in 1913 and the purchase
of a new site in the northwest residential district, the com-
mittee considered the selection of an architect by means of
an informal submission from a few invited local firms. Da-
vis & Brooks
were among
these, but in-
stead of sub-
mitting draw-
ings of a new
church, they
proposed to
the commit-
tee a scheme
which pre-
served the
character and
best features
of the old
church.
These archi-
tects e x -
plained the
value, his-
toric, senti-
mental, and
real, of the
easily remov-

able porch and handsome spire for so many years one
of the landmarks of Hartford, and that with these as
the dominant adornment they would design a modern
auditorium in keeping, agreeing thus to produce far richer
and more important results than the money at hand
could produce in new work. Their suggestions prevailed,
the new church was built, proportioned and corniced to
receive its predecessor's adornments, which were moved
part by part, and the accompanying illustrations show
the result.

The new site was especially well adapted as a setting
for the porch and spire. Here there was ample space, with
well-formed elms about streets making an obtuse angle, the
centre of which made a particularly favorable setting for
the spire. Whatever may have been the original color of
this architecture, it had, in common with so many Con-
necticut churches of the period, become a "two shade of
brown" affair, obviously to the detriment of the general
effect and detail. Naturally, the color was changed to
white.

Even on its commercial side this solution proved wise
and showed forcibly the folly of discarding what was so
valuable to those who could properly make use of it. When
the architects made their proposal the sale of the old prop-
erty was already an accomplished fact and there were no
reservations in the deed. So, in order to carry out the
scheme, it was necessary for the new owner to consent
to return a portion of the edifice which he had already
paid for. This he readily consented to do, as his chief
concern was with the auditorium, which he proposed to con-
vert into a "movie" house; the porch and spire, to him,
simply represented the cost of removal, which he was glad
to be relieved of.

While the cost at that time would have no interest
or significance now, it is obvious that the mere moving
and erection of these features was only a fractional part
of what their
new cost
would have
been, aside
from all ques-
tions of their
superiority in
workmanship
or their senti-
mental value.
[Here was
a fine oppor-
tunity appre-
ciated, and
the new
church with
its fine old
front must be
a source of
pride not only
to the con-
gregation but
to the city of
Hartford.

The old church, built about 1850.

The new church.

238

Orchestra Hall, Detroit, and the Grand Theatre, Pittsburgh

THESE two theatres are good examples of the modern
American theatre by C. Howard Crane, architect,
Elmer George Kiehler, associate, Cyril E. Schley, who have
achieved much success in the theatre-building field.

Orchestra Hall is the home of the Detroit Symphony

Detail of boxes, Orchestra Hall.

Orchestra and one of the most beautiful and modern houses
in the country. The building has a capacity of about 2,200,
and although it maintains the feeling of compactness, is spa-
cious but not vast or bare-looking. This sense of compactness
is attained by the happy arrangement of the balcony and
the fact that the mezzanine floor is held back slightly under
the balcony, which seats 1,000. The floor accommodates
about the same number, while the spacious mezzanine with
its horseshoe of 26 box-seats accommodates 154.

Every provision has been made to secure perfect quiet
in the building. Three sets of doors exclude the noise of
traffic from the street, and spacious lobbies on both the
main and balcony floors provide a place for late-comers to
wait while a number is being given.

The acoustic properties of the building are so perfect
that the most delicate tones of the strings are clearly audible
in every part of the hall, thus making the auditorium equally
suitable for grand opera or chamber-music.

The stage is completely equipped for grand-opera per-
formances, and is said to be the largest in the city, having a
span of 48 feet and a depth of 45 feet. Back of the stage
are 15 dressing-rooms, two of which are large chorus-rooms,

besides which there is a space under the stage for additional
portable dressing-rooms if needed.

The lighting of the building is one of its most successful
and unusual features. Instead of the glare of white lights,
canary-colored bulbs are used, which shed a soft amber light.

This is in keeping with the colorings of the Italian
Renaissance decorations. The entire building is suggestive
of the old Italian.

The Grand Theatre of Pittsburgh is one of the largest
theatres in this section of the country, which is readily shown
by the seating capacity, which is well over 2,600.

This great auditorium is devoted almost exclusively to
motion-pictures. The interior of the auditorium is deco-
rated in blue, gold, reds, and ivory, giving an intimate and
cheerful effect, so essential to a successful theatre. The
ceiling consists of a large central dome, and surrounding it
are very highly decorated and enriched panels. The cen-
tral dome is beautifully lighted by cove-lighting in three
colors. Very highly enriched sounding-boards spring from
the proscenium framing in the stage boxes. The hangings
of these boxes as well as the main drops in the theatre have
rich quality velvet velour, heavily lined and trimmed with
gold brocade. The sight lines and acoustics in this theatre
are perfect.

No small amount of study has been given to the beau-
tiful interior and the adjoining lounges, promenades, and
retiring-rooms.

The entrance to the theatre is off a spacious arcade
connecting Diamond Street with Fifth Avenue.

The walls of the entire lobby and arcade are of white
Italian marble and floors of same are of Tennessee marble
with verde-antique borders. On either side of this arcade
are exclusive little shops, telephone-booths, telegraph-station,
etc. A luxurious stairway leads from this arcade to the
theatre foyer. The walls of the foyer are decorated in
French gray and rise to a highly enriched ceiling. The
stairways from this foyer lead to a handsome promenade
and mezzanine floor, which has a large open well in the rear,
giving extreme height to the foyer. Over this well is a

(Continued on page 242.)

Mezzanine foyer, Orchestra Hall.

239

240

ARCHITECTURE

MEZZANINE. FLOOK- TLA*

J" C. A L * 1/B M. TO I ft .

ARCHITECTURE

241

444

-HALL-

D I T *~O 1 T M I O M

A L C O .N Y P

J" C. A I B !/ rH TO J F

C HOWAP-D -CRAHt -

A SSO C I A T fc
C Y ?-t L . * ^CHLtY

Bi.rn.oiT w i x t./'o *_

34-4-

242

ARCHITECTURE

Promenade, Mezzanine, Grand Theatre.

(Continued from page 239.)

large dome which is decorated in gold-leaf, and hanging from
the centre of this is a huge polychrome lighting fixture.

No expense has been spared in furnishing and equip-
ping this theatre in every detail.

Concealed system of lighting has been used in the
auditorium, together with very elaborate fixtures which are
equipped with diffusers that are used to illuminate the
auditorium during the time the pictures are shown. The
theatre is lighted by different-colored lights and separately
controlled from a switchboard on the stage which is so
arranged that the lights can be dimmed and the colors
blended, giving the most unusual effects.

The organ-chambers are located over the boxes on either
side of the theatre. This arrangement makes it possible
to procure the best effects, the thought foremost in mind
being that the organ shall be one of the greatest features of
the theatre.

Proposed Fraternity House for Small College

By A. Raymond Ellis

THE plans and perspective sketch herewith (page 243)
reproduced are for a proposed fraternity house de-
signed by A. Raymond Ellis, architect, and at the present
time is of unusual interest because so much has been said
about the type of hall or fraternity house best suited to col-
lege life. Before the war an effort was being made by some
Eastern colleges to reduce the scale of living as established
by many of the wealthier students. Since the war the style
has been for simpler accommodations, and the above plan
has been worked out to meet the prevailing requirements for
a small college.

The first floor contains a large living-room, billiard-
room, and library, which may be used by the members for
recreation purposes, and in addition there is a large
dining-room and serving-room with a kitchen and helpers'
quarters in the basement. A women's reception-room is
provided for their use at social functions, which are occasion-
ally given. Above the first floor the rooms are arranged for
chambers, sitting-rooms, and study-rooms. In some cases
the chamber is also used as a study and is called a study
bedroom. In other cases where two men wish to live to-
gether there are two bedrooms and a study which can also be
used as a living-room. There are no private baths, each

floor being provided with two general bathrooms. This type
of building seems to represent about the average require-
ments for the present-day college life. The building is to
be built in brownstone, with brownstone trimming and heavy
Tudor slate, and leaded casement sash of fireproof con-
struction.

It will be noticed that some of the study suites are
arranged so that two single bedrooms have a common
study-room; others have a single bedroom to contain two
beds, the adjoining study-room being shared as in -the
case of the above arrangement. The latter plan seems
to be the most popular with the student and is at the
same time the most economical from a building and hous-
ing standpoint. The study bedrooms are arranged for ^one
person only, as it can readily be seen that with two
persons occupying the same room and also obliged to study
in that room, a crowded or stuffy atmosphere results a
situation not at all conducive to rigid concentration. There-
fore, on the basis of one room to each student, the opinion
reached by those most acquainted with conditions is that
the double bedroom with the study adjoining is the ideal
arrangement. The result is, in their estimation, neither too
luxurious nor too crowded.

Is Electricity Dangerous?

NOT if properly safeguarded. Not if the inexperienced
realize and understand its danger.

A great many municipalities and State departments,
realizing the necessity for compelling the careless user to
protect himself, have officially ruled that no installation
shall be made in their jurisdiction unless approved by city
or State authorities. Some even go so far as to specify that
certain types of protective devices must be used. The follow-
ing extract taken from a general order issued by the Depart-
ment of State Fire Marshal of Ohio shows this tendency.

"In an effort to safeguard the lives and property of
the State of Ohio, I hereby make and promulgate the fol-
lowing ruling with reference to the installation of approved

safety electric switches. In order to reduce to a minimum
the loss of property by fire, caused through the utilization of
open knife switches and automatic cut-outs, this depart-
ment will refuse to approve any new or altered electrical
equipment unless the same complies with the following re-
quirements:

" 1. That the service switch be of the enclosed safety
type.

" 2. That it operate outside of enclosure.

"3. That the 'on' or 'off' position be marked.

"4. That it can be locked in 'off' position.

" 5. That all starting devices on motors be of the en-
closed switch type."

ARCHITECTURE

243

Philippine Architecture

By Carlos P. Romulo

MODERN architecture is finding its way in the Philip-
pine Islands. There is not one town in that country
that does not boast of two or more structures designed in ac-
cordance with modern ideas of architectural art. The Philip-
pine Govern-
ment, under
whose auspices
all of the public
buildings are be-
ing constructed,
is doing away
with the old
standards of
government
building, and fol-
lowing a more
picturesque and
attractive style
of architecture.

The costs of
the different pub-
lic buildings vary
according to
their size and

Provincial building, Lingayan, Pangasinan.

the sites where

they are located. A building built in Manila, with all labor
facilities and modern machines for construction, may cost
more when built in one of the inland towns where transpor-
tation facilities are not as adequate as they are in the city,
for more expense will be involved in transporting the materi-
als and the machines necessary for the work. The Pangasi-
nan capitol building was built at an expense amounting to
about $185,000. Over 8,000 barrels of cement, nearly 1,100,-
000 kilograms of reinforced steel, and approximately 50,000
cubic metres of crushed stone were used in the concrete work.
Of the total amount spent in the building the labor cost
was $54,000.

While the ancient ecclesiastical structures that abound
in the Philippines cannot be considered to be types of archi-
tectural art, when compared with the cathedrals of mediaeval
Europe, they stand as monuments to the untold sacrifices
made by conscientious un-
skilled friar craftsmen who
were responsible for the crea-
tion in the face of difficulties
unknown in our times. These
buildings are masterpieces of
solidity that have defied the
elements, and some of them
have survived even the de-
structive earthquakes that
have so frequently laid low
all around them.

The present Roman
Catholic cathedral was dedi-
cated December 8, 1879. It
is noted for its exceptional
height. Its roofing timbers,
especially those of the dome,
were the best to be had in
Luzon, more than usual care
being taken in their choice

Catholic cathedral, walled city, Manila.

and also in their inspection before use. The San Augustin
church and convent, the most solid structure of its kind
in the Islands, is 321 years old, its foundations having been
laid in 1599. It is the only church in the Philippines known

to be built with
a crypt. A no-
table feature in
the construction
of this edifice is
the massive stone
ceiling over a
metre thick. A
terrific earth-
quake in 1645
opened a crack
in the ceiling into
which a hand
could be inserted,
but subsequent
shocks so closed
it that to-day it
is almost impos-
sible to insert a
sheet of paper.
The San Sebas-
tian church is the most unique church in the city. The
present Gothic structure is a "knock down" one constructed
in sections in Belgium and shipped f. o. b. to Manila where
it was erected on the site of the ancient structure ruined
by the earthquakes. It was completed in 1891. The cupola
is majestic in height; the stained glass windows brought from
Europe, and illustrating events in the life of Christ, are the
finest in the city, rich in tone and in the wonderful variety
of the figures they contain. There are about ten more ancient
churches in Manila and a score of others all over the coun-
try, all of which are beautiful structural antiquities of great
interest to tourists.

The Masonic Temple and the Uy-Chaco building, the
Manila skyscrapers, were built during the American ad-
ministration. They are both privately owned, just as the
Manila Hotel, the Kneedler and Lack and Davis buildings,

the La Campana, and many
1 others. The material used
is concrete with iron and
steel framework. The direc-
tion and supervision of the
work is done by privately
employed engineers, the
government engineers taking
charge only of the public
buildings constructed by the
government.

All of the present con-
crete public as well as private
buildings were constructed
only after the establishment
of American sovereignty in
the Philippines. Manila, the
capital, and many of the pro-
vincial towns, boast of scores
of beautiful structures of the
modern type.

244

ARCHITECTURE

245

246

ARCHITECTURE

The Uses of Glass in Modern Buildings

By H. Fandervoort Walsh

Instructor in Architecture, Columbia University School of Architecture

ALTHOUGH considered to be one of the unessentials
-1\. during war, yet, as we regard it in peace times, glass
is a necessity to modern life. In fact, it is so intimately a
part of the average building that we wonder, sometimes,
why we pass such vast quantities of it without scarcely
turning the head. On all sides of us, as we pass down the
streets of the city, we see entire stories of plate glass, for
block after block, and above, thousands upon thousands
of windows; some are ordinary sizes, while others give the
appearance of walls of glass. In one great office-building
in New York, the Equitable Building, there are 5,000 win-
dows, and to enclose these it required 160,000 square feet
of glass. Now this did not include the doors of the interior
halls or the enclosures of shafts and stairs, transoms, mirrors,
skylights, domes, lighting fixtures, reflectors, glass tile and
a thousand other things where glass entered into the struc-
ture. The more detailed becomes the picture the more
impressed are we with the importance of this material in
its relation to building.

Glass is by no means a new material, but never in the
history of architecture has so much of it been used in con-
struction. We can realize what once was the conception
of the window when we look at its etymology, as being a
place or slit primarily for ventilation by the wind. The
great value of glass is its power to separate us from the wind
and elements and yet at the same time allow the daylight
to come in. But the extent to which we use even glass in such
vast quantities is because of our improved heating systems
that counteract the warmth lost through the glass by radia-
tion and conduction. Every square foot of glass that we
use means the loss each hour of one British thermal unit
of heat for each degree of difference between the inside and
the outside temperatures. It is estimated that for the aver-
age office-building, using the typical arrangement of win-
dows, that the ratio between the heat lost through the walls
to that lost through the windows is as 4^ is to 1. It is
also commonly considered that in one hour one square foot
of glass will cool 75 cubic feet of air. Therefore, it is quite
evident that the larger amount of glass we use in a build-
ing the larger will have to be our heating-plant and the
greater will be our coal bill.

But against this is the ever-increasing appreciation
of the value of daylight. Not only does the lack of good
daylight increase the cost of artificial illumination neces-
sary to take its place but its absence causes most of the
evils of disease and fatigue in work and play. It has also
been calculated that 59.5% of the accidents in industrial
buildings are the result of improper illumination. The ten-
dency, therefore, is to use more and more glass in the build-
ing, rather than hesitate about the increase on the coal bill.

The various kinds of glass which are used are made from
nearly the same substances. Some form of silica, such as
river or ocean sand, combined with salt-cake, soda-ash,
limestone, and carbon make window-glass. Plate glass is
made of the same ingredients, with sometimes a little ar-
senic added. All these materials are melted together in a
great pot furnace by gas until the whole becomes molten,
when it is run into the purifying part. At the end of this

part, or refining tank, the glass metal is ladled from the
top at the refining end where floaters are used to separate
the unrefined from the refined. Where window-glass is
made, the molten mass is blown and whirled into long cyl-
inders by compressed air, and these are cut open along the
sides by a diamond or hot point after they have been placed
upon a flat table. When these cylinders are reheated, they
are made to flatten out, and while they are still warm are
polished. This method of manufacturing gives to the com-
mon window-glass a slight bent and wavy surface which is
the unavoidable result of the original cylinder. In glazing,
it is always necessary to put the convex side out, in order
to reduce the effect of this waviness as much, as possible.

This window-glass is known as sheet glass, and is
graded as Double Thick and Single Thick. The former is
J-" thick and slightly less; the latter is -,V' thick. The
usual stock sizes vary by inches from 6" to 16" in width,
and above this they vary by even inches up to 60" width
and 70" length for Double Thick and up to 30" X 50" for
Single Thick. However, it is customary to use the Double
Thick in all window-panes over 24" in size. Both of these
grades are classified into AA, A, and B glass according to
the defects of manufacture. Such defects are termed blis-
tery, sulphured, smoked stringy, stained, etc. In all cases
of sheet glass, however, in spite of certain names given to
special grades, there is present the wavy texture of the sur-
face which is due to the method of manufacture.

Most window-glass is now put in the sash by the lumber
mills, and the painter is not called upon to do this, as in the
past. The usual method of holding the glass in the rebated
sash is with zinc triangles, spaced 8" or 10" on centres and
finishing with putty. As the cost of glazing is materially
reduced by the mill system, a safe rule to follow in consider-
ing cost is that the larger the pane the greater the expense.
In large buildings it is much cheaper to divide the panes
into small units.

Plate glass is made in quite a different way to sheet glass.
It is really a cast and rolled glass which is ground and polished
to a plane surface. The molten glass is poured out onto a
large table, where by means of rollers it is flattened to the
required thickness, this thickness being maintained by metal
strips over which the rollers pass. These sheets are then
annealed, and become what is known as Rough Plate. To
make the polished plate glass, the rough sheets are examined
for defects and the largest and most perfect pieces are cut
out and fastened by plaster of Paris to a revolving table.
Many heavy shoes of cast iron are then revolved over the
glass, and with the aid of an abrasive material the surface
is worn down to a plane. To polish, felt shoes are substituted
for the iron ones, and the abrasive material is made finer,
generally being liquid rouge.

Plate glass is cut into stock sizes, varying in even in-
ches from 6" x 6" up to 144" x 240" or 138" x 260". The
usual thickness is from ^".to iV'- A thinner glass can be
obtained, iV or J", but it costs more than the standard
thickness, because it must be ground down from them.

In order to meet this difficulty, a sheet glass was put

(Continutd on pagt 249.)

247

248

ARCHITECTURE

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ARCHITECTURE

249

(Continued from page 247.)

on the market which was heavier than the ordinary, and
called crystal-sheet, 26 ounces. It, however, has all the
defects of waviness which characterize the cylinder-blown
glass, and aside from its heavier appearance, it cannot be
compared to plate glass.

The very finest specimens of plate glass are used for
mirrors, because the use of anything but the smoothest sur-
face is quite out of the question. Small mirrors made from
the sheet glass are sold for the cheap trade, but the distor-
tions which they produce bar them from any other field.

In the endeavor to secure more and more daylight in
the building, a so-called prism glass has been developed
to meet the conditions of the lighting of offices and stores
located in the heart of our cities. When we consider the
fact that the amount of daylight entering a window is from
40 to 75 per cent of that falling on the fa?ade of the build-
ing, and that 25 to 60 per cent of this is cut off by the
window-frame itself, and also that the thickness of the wall
and the height of the building across the street or the depth
of the court cuts off just so much more daylight, the need of
some form of glass which will bring the light from the sky as
much as possible into the building is quite evident.

For purposes of presenting these needs clearly, look at
the following tables:

ILLUMINATION OF THE STREET FACADE

NUMBER OF STREET WIDTHS AT
WHICH A POINT ON THE FA-
CADE IS BELOW TOP OF BUILD-
ING OPPOSITE.

PERCENTAGE OF IL-
LUMINATION LEFT.

53-
19.2

9-4
5-5
3-5
i-S

FOOT-CANDLES OF
ILLUMINATION.

243.3

128.9

46.6

22.9

13.2

8.6

6.2

ILLUMINATION ON THE COURT FACADE

NUMBER OF COURT WIDTHS AT
WHICH A POINT ON THE FA-
CADE IS BELOW THE TOP OF
THE OPPOSITE WALL.

FOOT-CANDLES OF ILLUMINATION.

END-WALL
103.9

34-3
14.2

7.0

3-8

2.3

SUE-WALL

109.9

25.9

9.0

4.0

2. I

1.2

If we look at the following ordinary example we will see
what effect the thickness of wall has upon the light entering.
Here the windows are supposed to be without frames to shut
off the light. One of them is 2' x 4' and set in a wall 12" thick,
and we find that it has 53 per cent of its light cut off by the
wall. For a window twice as big, 4' x 4', set in a 12" thick
wall, the percentage of light loss is only 40 per cent. On ex-
tended observations it has been found that for a window
of constant size the percentage of light loss is proportional
to the thickness of the wall, and for a given thickness of wall
the percentage of light entering increases with the height
and width of the window.

It is quite evident, then, that if we can secure a larger
glass area, we will secure a greater proportion of light, and
that if we can secure a glass which will deflect the daylight
around the corner of the wall opening into the room, we will
also secure more light. These two factors have developed
two solutions: one is the use of large steel factory sash, where
the entire wall is made of diffusing glass, and the other is the
use of prism glass which deflects the angle of daylight, as it
shines down on the facade, into the building. This prism
glass has one side flat and the other corrugated with small

prisms which are designed for deflecting the light at the
particular angle at which it shines down from the sky
onto the window. Angles from 70 to 40 degrees are capable
of being deflected inward, and different prisms are made
for different angles between.

In a room 30' or deeper, an increase of light from three
to fifteen times that which ordinarily would enter has been
accomplished by using this prism glass in the upper sash of
the window. In certain cases, an increase of fifty has been
recorded. At the bottom of deep courts, where the angle of
daylight comes down very steeply, canopies of prism glass
are used with much satisfaction.

There are two kinds of prism glass. One type comes
in small squares of about four inches across, and these squares
are set together to form large areas of glass over store-win-
dows and such places by fastening them together with copper
bands which are electrowelded into one solid frame. This
system of small units permits of the use of several different
prisms to meet the conditions, and also makes possible a
higher grade product.

The other type is made in large sheets, and can be placed
in one piece in the upper sash of a window. This includes
all those ribbed glasses which approximate the principle
of the true prism glass. Imperial prism plate is polished
on one side, and has a number of different prism patterns
for the other. It is made in sheets of 54" x 72" and cut to
smaller sizes. Imperial skylight prism glass is made in
plates 18" x 60" and follows the requirement of the National
Board of Fire Underwriters. There is an ornamental prism
plate glass which has just enough of the prismatic qualities
to make it diffuse the light and secure a semiobscure effect.

Another pattern, showing a combination of ribbed and
prism design, and also a pattern showing this same com-
bination running crosswise in squares have shown high diffu-
sion and deflecting qualities for use in industrial buildings.

Along similar lines, sidewalk lights have been developed
to give illumination to the basement. Some patterns use
the principle of prismatic deflection in its pure form, but
most are satisfied with a good infiltration of light, practical
to the wear and tear that this glass is subjected to. For-
merly, glass lights, used in connection with sidewalks, were
simply heavy pressed or cast glasses which contained a con-
siderable amount of manganese that gave a purple tint,
and prevented a maximum amount of light to pass through.
This glass was also brittle, and it scaled off or chipped under
the wear. To-day, however, with a careful process of an-
nealing, and the elimination of the manganese, a brilliant,
tough and resilient glass is manufactured.

It has been found by experience that any sidewalk
lighting must be designed along such simple and adaptable
lines that its use is unlimited. It must give a minimum glass
area for the strength of the framework, and the setting must
be waterproof. When a glass is broken, it must be easy
to replace, and an allowance for expansion must be made.
Of course the glass used ought to be clear and tough and
non-chipping.

The causes of failure of sidewalk lights are due to poor
glass, expansion of concrete frame, vibration of the struc-
ture, and expansion of the adjoining sidewalk or street. To
meet some of these difficulties, the walk should be designed
to carry greater loads than those to which it will be subjected,
and waterproof expansion joints should be used.

There are two patterns of glass used in sidewalk light-
ing. One is the square type -which allows from 60 to 75 per
cent glass area, and the other is the round pattern which
allows from 30 to 50 per cent glass area. One make of the

(Continued on page 252.)

250

ARCHITECTURE

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ARCHITECTURE

(Continued from page 249.)

square-glass pattern is 3%" square on the top and 4" square
on the bottom, making the concrete beam which supports
them look in cross section like an inverted pineapple. An-
other make is 3>^" square on the top, and the bottom con-
sists of one to four prisms. Most of these square sidewalk
lights run from "!/%' to \y" in thickness and from 2*4" to
5yt" square. The round make, although not capable of
giving as great a glass area, are, as a rule, easier to replace.
One manufacturer has a metal rim that is embedded in the
concrete and acts as a holder for the glass, and when it breaks,
it can easily be replaced by another. Still another is based
on the screw pattern which permits the removal of the old
and the replacing of it by the new. Most of them are 2^i",
3", and 3X" in diameter.

The material into which the sidewalk lights were for-
merly embedded was cast iron, but now it is reinforced con-
crete which has been waterproofed. A mixture of one part
of cement to one or one and a half of sand is the general
formula; "I" bars of 1H" average are set 4J4" o. c. to
reinforce the long beams, and the cross beams are reinforced
with W bars. Some makes have sheet-metal forms, and
these use only W rods.

The usual load which a sidewalk light is supposed to
carry is 300 pounds per square foot or a concentrated load
of 5 tons on one point. As most of the makes exceed this
strength, they may be considered safe, although the stronger
they are the better they will resist the squeeze from con-
traction of adjoining sidewalks. For 6' spans some are capa-
ble of sustaining 1,000 pounds per square foot.

Among other glasses used for the diffusing of light are
ground glass, maze, Florentine or figured, rippled, and rough
plate. They are not intended to deflect the light as prism
glass but to give a translucent effect and diffused light.

Another one of the developments of glass is the use
of an opaque milk-white variety of plate glass for structural
purposes. This is a polished glass which is fused at a tem-
perature of 3,000 Fahrenheit and thoroughly annealed.
It gives a brilliant, sanitary, non-crazing, non-absorbent
surface which is impervious to stains and has always a fresh
appearance. It is excellent for wainscot and structural par-
titions in toilets, office-buildings, apartment entrances,
hospitals, swimming-pools, tops of counters, linings for re-
frigerators, etc. It has a distinct advantage over the san-
itary tile in that it reduces the jointing to a minimum and
does not show any signs of crazing.

The use of colored glass in the building is now only
for very choice decorative treatments, and should be han-
dled by experts in this line, for nothing gives a cheaper effect
than colored glasses used crudely. Only the most expert
makers of leaded-glass windows have survived the gradual
elimination of the general use of this art in the average build-
ing. The so-called art glass is of great variety, however,
and a few of the important ones will be mentioned.

Most colored glasses which are inherently colored and
not stained or painted appear as the richest, and they are
given their colors by the presence in them of some metal
oxide. The same oxide will give, at different temperatures,
different colors. Oxide of iron will give all the colors of the
rainbow, but the commonest are green and orange. Man-
ganese gives pink or amethyst, but at higher temperatures
brown, yellow, and green. Copper affords the cheap ruby
glass, and at higher temperatures purple, blue, and green.
Cobalt affords the blue or black. Gold makes ruby, violet,
and amber, where one part is used in one thousand parts
of glass. The opalescent glass is formed by cryolite, arsenic,
or tin. Flashed glass is made by dipping the original glass

bubble into a bath of molten colored glass, and then making
the sheet glass from it in the ordinary way. Opaline glass
is made by pouring colored glass upon white opaque glass,
and then pressing the same together under rollers. Stained
glass is secured by applying soluble metal oxides to the sur-
face with a brush, and then burning them into the glass
by placing in a kiln. Painted glass is produced by enamels
applied to the surface, which are then fused to it.

Some other glasses, used to a certain extent in con-
nection with art glass, differ on account of their method
of making and composition. For instance, crown glass is
a relic of the past, but for ornamental purposes is often used.
The glass is blown into a spherical bubble, and then this
bubble is opened and made to revolve at great speed. Cen-
trifugal force causes the glass to take the shape of a flat
disk, but the centre nodule always remains as a lump. For-
merly, all the glass except this was used, but now it is this
centre nodule which is used for the ornamental effect. Lead
flint glass is used in all the finest cut glass, and is made from
lead and potassium silicates. Bohemian glass is made from
potassium and calcium silicates; Venetian from sodium,
potassium, and calcium.

Probably the most far-reaching invention in glass for
buildings was the development of wire glass. When an
ordinary window is attacked by fire, the first thing that
happens is the shattering and the falling out of the glass.
Wire glass was invented to prevent this dangerous break-
age, and its use as a fire-stop was an afterthought, although
many believe the reverse is true. The National Board of
Fire Underwriters defines wire glass as follows: glass not
less than }4" thick enclosing a layer of wire fabric reinforce-
ment having a mesh not larger than %", and the size of
the wire not smaller than No. 24 B. & S. gauge. Frank
Shuman secured the first really successful patent for making
this glass in 1892. It is cast on steel tables, kept hot by
gas flames beneath. The molten glass is poured over it in
quantities of a ton or so. Wire mesh is also heated to
a temperature nearly equal to the glass. A vehicle with
four rollers passes over it then, feeding the wire into the
glass. The first roller smooths out the molten glass, the next
roller presses the wire deep into it, and the last two rollers
smooth it out again. The glass is then in the rough-plate
condition, and is often sold like this. It is generally polished,
though, or its surface is stamped with one of the many
figured patterns common to pressed glass, such as ribbed,
maze, cobweb, etc. The customary extreme sizes are
720 square inches and not more than 48" wide. A standard
of Xe" thickness is adopted, but there are also thicknesses
of X" and %".

Wire glass is practical to use in any window, door, or
enclosure where it is desirable that, in case of fire, it should
not be shattered. It should not, however, be used in
skylights, over elevators, stairways, dumbwaiters, or vent
or light shafts. In these places a thin glass should be
used which is protected with wire at least 6" above it,
and having a mesh of not more than 1". No glass has
had more influence on the safety of buildings than this
wire glass. It has made possible many changes in plan that
would not have been thought of if this distinctly modern
invention had not been placed upon the market. Along
a similar line, new inventions are being developed for non-
shatterable plate-glass show-windows which will resist
the shock of objects striking them. Such glass will mean
the elimination of large insurance on plate glass and
reduce the vast wastage which goes on in this direction
every year.

Notes on Steel Construction

By DeWitt Clinton Pond, M.A.

MY last two articles were about theoretical considera-
tions which form the basis for many engineering cal-
culations. In this article the practical applications of these
principles will be given. Although the articles which will
appear later will deal largely with concrete construction,
and will be written for architects who will be interested in
this type of work, this one will be devoted to steel construc-
tion, as even in buildings which are considered as being built
entirely of reinforced concrete there will be places where
steel shapes will be used.

Formulas and methods have been given which will
enable the architect to determine the tendency toward bend-
ing in a beam if this tendency is caused by an external
load. The resisting tendency in the beam has been con-
sidered only in the case of a wood beam, and this formula
was given as M = S X kbd" 1 . This formula was derived
from a more complex one, known as the flexure formula, and
which forms the basis for the design of all steel beams.
The flexure formula is M = S X I/c. M is the bending
moment, which may be found by the formula M = \Wl,
or by the methods given in the last two articles. .5 1 is the
safe working strength of the material in the beam. In the
case of a wood beam this was taken as 1,200 pounds per
square inch. In the case of a steel beam this is universally
considered as 16,000 pounds per square inch. The archi-
tect should consult the building code, or ordinance, of his
city or State to verify these amounts.

It might be noted in passing that the amount of 16,000
pounds is arrived at by pulling a steel bar, having a cross-
sectional area of one square inch, apart. It is found that
the force necessary to do this varies from 54,000 pounds to
67,000 pounds, with the average force determined as 64,000
pounds. A factor of safety of 4 is always used for steel,
so the safe working stress of steel is considered as 16,000
pounds, or 8 tons per square inch.

The next factor in the formula is the fraction I/c.
This fraction is given the somewhat mysterious name of
"section modulus," and / is known as the "moment of
inertia." The author has found that these names do more
to discourage students than much of the hard work encoun-
tered in the study of engineering. -One could take a large
amount of space in deriving the flexure formula, in discuss-
ing the moments of inertia of different cross-sections, but
the limits of this article will not permit of this. The actual
application of the formula and the methods of rinding the
moments of inertia of steel shapes are very simple, and this
discussion will be confined to these items.

When the architect desires to design steel structures he
must make use of the Carnegie "Pocket Companion" or
the Cambria handbook. There are tables in "Kidder"
which also give the necessary information. The handbooks
are revised and edited every year or so, as it will be impos-
sible to refer to specific pages, but reference will be made to
headings in the indexes.

Referring to the index of the "Pocket Companion,"
the heading "Elements of Sections" can be found, and the
pages devoted to tables giving the various dimensions and
elements of I-beams, angles, and channels are listed in such
a manner that the architect can speedily find them. In the

Cambria book the same tables are listed under the general
heading of "Properties."

In all the tables the properties or elements are listed in
much the same manner. First, the depth of the I-beam or
channel, or the dimensions of angles are given. In the next
column in Cambria are tabulated the various weights of
I-beams and channels and the thicknesses of angles. These
two columns might be considered as index columns, as
I-beams are always referred to by their depths and weights,
as are also channels, while angles are referred to by the
lengths of their legs and their thicknesses. As an example
of this an I-beam is referred to as a 24-inch, 100-pound
I-beam, and a channel will be known as a 15-inch, 40-pound
channel. An angle might be designated as a 6 X 6 X ^-inch
angle. By looking through the tables the reader can find all
these shapes listed.

Among the other headings listed under "Properties"
or "Elements" will be found one listed as "Moment of
Inertia," or / in Carnegie, Axis 11, and in the next column,
"Section Modulus," or S in Carnegie, Axis 11. This mo-
ment of inertia is the "I" referred to in the flexure formula,
and this can be found for any steel shape by simply refer-
ring to the handbooks, and the same is true of the section
modulus. A brief explanation of this last term might not
be out of place, however.

It will be noted that the section modulus is designated
by the fraction I/c. c is known in engineering parlance as
the distance from the neutral axis to the most remote fibre
of a cross-section. In the case of a beam having a section
that is symmetrical with regard to its neutral axis, c will
equal one-half the depth. In the case of a 24-inch, 100-pound
I-beam, or, for that matter, any 24-inch beam or girder, c
will equal 12 inches. The moment of inertia of a 24-inch,
100-pound I-beam is given in the handbooks as 2379.6. As
c has already been found to be 12 inches for such a beam,
the fraction I/c becomes 2379.6 -f- 12 = 198.3. By referring
to the column headed "Section Modulus" in the Cambria,
or S in the "Pocket Companion," the amount 198.3 is found
to be this property for the beam under consideration.

Such calculations are simple for I-beams and channels,
as these sections are symmetrical with regard to their Axes
1-1. As such beams and channels are only occasionally
laid flat, Axis 1-1 is the one that is usually used.

With regard to angles, either leg might be turned up,
and it might be well to determine the section modulus
around both axes. As an example, a 6 X 4 X ^-inch angle
will be selected, and it will be found by referring to the table
that the distance from the 1-1 Axis to the back of the longer
leg is .99 of an inch, and from Axis 2-2 to the back of the
shorter leg is 1.99 inches. The distance from Axis 1-1 to
the most remote fibre will be found to be 4 .99 = 3.01
inches, and from Axis 2-2 to the most remote fibre 6 1.99
= 4.01 inches. The moments of inertia around these two
axes are 6.27 and 17.40, respectively, and the section moduli
can be found by dividing the moments of inertia by their
respective distances, or 6.27 -f- 3.01 = 2.08, and 17.40 -H 4.01
= 4.33. These results can be verified by reference to the
tables.

The question might properly be asked, what is the

253

254

ARCHITECTURE

practical value of all this ? By glancing back at the flexure
formula, it can be seen that with 5 always regarded as
16,000 pounds, and the section modulus given for any par-
ticular beam, the bending moment can be easily determined.
Usually the reverse process is used, however.

Let it be assumed that in a storage warehouse all the

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partition walls are to be built of 8-inch brick. In some of
the partitions it is desired to insert metal sash, and in some
cases this sash is 15 feet long. It will be assumed that
there are 6 feet of brickwork above the sash, and this must
be carried on two angle-iron lintels.

In this case the span, / in the formula, is 15 feet. The
load W can be found by multiplying the cubic feet of
brickwork by the weight of a cubic foot, or by 120 pounds.
15 X 6 X f = 60 cubic feet. 60 X 120 = 7,200 pounds.
This load is the "W" in the formula M = \Wl. As the
span "/" equals 15 feet, or 180 inches, the tendency toward
bending can be found to be M = X 7,200 X 180 = 162,000
inch-pounds. All this is worked out in accordance with the
methods given in the last two articles. Once the external
tendency toward bending is determined in this manner, it
is only necessary to equate it with the flexure formula to
determine the size of the angles. As S, in the flexure for-
mula, is always taken as 16,000 pounds, the equation becomes
162,000 = 16,000 X I/c. It will be noticed that I/c is the
only unknown quantity, and by carrying out the proper
calculations, this can be found to equal 10.1. As there will
be two angle-iron lintels used to carry the wall, each angle
will have to have a section modulus equal to one-half this,
or 5.05. By looking in the table for "Elements" or "Prop-
erties" of angles with unequal legs, and by glancing down
the column marked "Section Modulus," Axis 2-2, three
angles will be found having section moduli slightly more
than 5.05. A 5-inch by Sj-inch by } jj-inch angle, or a 6-inch
by 3^-inch by f-inch angle, or a 6-inch by 4-inch by f-inch
angle might be used. The second one, however, having a
section modulus of 5.19 and a weight per foot of 18.9 pounds,
should be selected.

It will be seen that there is nothing particularly intri-
cate or involved about this work. Another method of
solving the above problem is by use of the safe-load tables.
Referring to the index, the heading "Safe loads, tables of,
for angles used as beams," in Cambria, or "Angles, safe
loads, tables," in Carnegie, will be found, and in the tables

on the pages listed in the index the safe loads for different
angles for various spans are given. As in the problem, the
angles were placed with their long legs in a vertical position,
the table giving the safe loads for angles with unequal legs
with the neutral axis parallel to the shorter leg will be used.
The total load of brick was found to be 7,200 pounds. The
load carried by one angle will be 3,600 pounds, and the span
is 15 feet. In the tables of safe loads the first columns are
used to list the spans in feet. Looking down these first
columns for spans of 15 feet, and then across to the safe
loads, the angles that will carry 3,600 pounds are the ones
given above, and only the last two will have the safe loads
listed above the horizontal black line.

These horizontal lines are important, as any load listed
below them will cause too great deflection, which is given in
most building codes as T J- e of the span. Methods of de-
termining the deflection in beams will be given later.

The reader can see that by the use of the safe-load
tables he arrives at the same result as he did by the use of
the flexure formula, and the process is much simpler. He
may ask why he should not always use the safe-load tables
in preference to the more complex method. In problems
involving uniform loads such as the one just given, the use
of the safe-load tables is to be recommended, but where
concentrated loads are encountered these tables cannot be
used, and the flexure formula is the only one that will answer.

As an example of such a problem, it might be well to
investigate the design of the beams in the floor panel shown
in Fig. XIII. The architectural plan for which the steel is
designed is shown in Fig. XIV. In this panel the columns
are spaced 20 feet by 24 feet, and there is an opening for a
stair-well. The floor load will be considered as 200 pounds
per square foot, including both dead and live loads. The
load on the stair panel will have to be taken as 100 pounds
live load, according to the New York code, and as the dead
load the weight of the stair construction will probably

FIGURE XIV

be about 100 pounds per square foot, the load on this panel
will also be taken as 200 pounds. The diagram shown in
Fig. XIII will have the beams designated as a, b, c, d, and
e, and 20-21 and 31-32. The girders will be designated as
32-21 and 31-20.

The load on beam a can be found very easily by deter-

ARCHITECTURE

255

mining the area of floor that the beam will carry, and mul-
tiplying this area by 200. This area will measure 7 feet
3| inches by 9 feet and 2 inches, and will contain 663 square
feet. It will weigh 13,300 pounds, and the beam that will
carry this load will be an 8-inch, 18-pound I-beam, as deter-
mined by consulting the safe-load tables. Beam b will carry

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a smaller floor panel, but will have to carry a 6-inch terra-
cotta wall. The floor will weigh 4,274 pounds, and the
partition, which is 9 feet 2 inches long, 10 feet high, and
weighs 30 pounds plastered per square foot, will weigh
2,748 pounds. The total load will be 7,022 pounds, and the
safe-load tables will show that a 7-inch, 9.75-pound channel
will carry this load over a span of 9 feet. Beam c will sim-
ply have to carry twice the floor load on beam b, and will
be a 6-inch, 12J-pound I-beam.

All the beams designed above were found by means of
the safe-load tables. Beam d, however, must be designed
by means of the flexure formula and the section modulus.
There will be a uniformly distributed load over this entire
beam due to the floor load between beams d and e. This
floor panel will measure 2 feet 9 inches by 24 feet, and will
have an area of 66 square feet and a weight of 13,200 pounds.
The terra-cotta wall will extend over 14 feet and 7 inches of
the beam and will weigh 4,374 pounds, and beam a will
add a concentrated load of one-half its total load, or 6,650
pounds. Where beam b frames into d, one of the hangers
carrying the stair construction will also be framed to d.
This hanger will carry one-fourth of the stair load, or 5,000
pbunds. The total load where b frames into d will be 8,511
pounds. Beam c will add one-half of its load, or 4,274.
The conditions of loading are shown in Fig. XV.

The first consideration in the design of the beam is
the finding of the reactions. The methods used in the
last article should be used, and the loads listed and multi-
plied by their respective lever-arms as follows:

4,274 X 4.7 = 20,088 foot-pounds
8,511 X 9.42 = 80,173

13,200 X 12.0 = 158,400
4,374 X 16.7 = 73,045

6,650 X 20.5 = 136,325

Totals 37,009

468,031

By dividing the total moment by the span 24 feet
Ri can be found. 468,031 -=- 24 = 19,500 pounds = # 2 .

By subtracting R% from the total load, RI can be found.
37,009 - 19,500 = 17,509 = #,.

The next step is the drawing of the shear diagram.
This is shown in Fig. XVI, and it can be seen that the shear
changes sign at a point where beam b frames in. This will
be the point of maximum bending moment. In order to

find this it will be necessary to determine the upward of
positive moment caused by /?,. 17,509 X 9.42 = 164,934
foot-pounds.

The negative moments will be caused by the downward
loads, or the uniformly distributed load at the left of the
point of zero shear, or 5,181 pounds, and the concentrated
load where c frames into d, which is 4,274 pounds. When
these loads are multiplied by their respective lever-arms
and the total subtracted from 164,934, the maximum bend-
ing moment is found to be 120,497 foot-pounds, or 1,445,964
inch-pounds. By dividing this amount by 16,000 the sec-
tion modulus of the beam is found. I/c is found to be 90,
and the beam will be an 18-inch, 60-pound I-beam.

Beam e can be easily designed. The load on it is a
uniform one, as it carries a floor panel measuring 5 feet
wide by 24 feet long. The area of this panel is 132 square
feet and the weight is 26,400 pounds. In the uniform load
tables it will be found that a 15-inch, 45-pound I-beam will
be strong enough to carry this load.

The only other members of this panel will be the girders,
but the type of calculation that will be used for the deter-
mination of the sizes of these is exactly the same as that
used in the case of beam b, and no further explanation will
be given.

Reference was made above to deflection in beams.
This is sometimes important, as it is the practice of some
architectural offices to use a standard size for all angle-iron
lintels. In one office it is customary to use 4 inches by 3
inches by -j^-inch angles in all cases where it is possible.
This size, either used as a single angle or as two angles
back to back, can be used in almost all cases for windows
having openings up to 5 feet wide, but when long spans are
encountered there might be too great tendency toward de-
flection. If a steel member is loaded to its carrying capacity,
with a uniform load, it is not difficult to determine whether
the deflection is too great. The loads listed below the hori-
zontal black lines in the safe-load tables will cause this,
and it is only necessary to refer to these tables. When,
however, it is desired to use a standard-size angle that is
more than strong enough to carry its load, but which might

FIG UREL

have too great deflection on account of a long span, then it
will be necessary to use the formula:

D - x
' 384 X El

This formula looks complicated and is a long one to
work through, but is not as difficult as it appears. D is
used to designate the deflection, W is the total uniform load,
and is a complex sounding thing, entitled the Modulus
of Elasticity, in pounds, per square inch, while / is the now
familiar moment of inertia.

ARCHITECTURE

The Modulus of Elasticity is always taken as 29,000,000
for steel. This is all that the reader has to know about it
unless he happens to be of an inquisitive turn of mind, in
which case he is referred to any standard text-book on en-
gineering. An actual example will show how the formula
can be used.

Suppose it is desired to use a 5-inch by Sj-inch by
,5,-inch angle to carry a load of 1,000 pounds over a span
of 15 feet. By looking at the safe -load table it is possible
to determine that the angle will easily carry this load, but
as the safe load for a span of 15 feet 1,380 pounds falls
below the horizontal line, it is doubtful whether the angle
will carry 1,000 pounds without deflecting too much.

By substituting in the formula the actual deflection
will be obtained.

D = 5 X 1.000 X 180 X 180 X 180 = .39
384 29,000,000 X 6.6

The allowable deflection is ^| T of the span, or 180 -5-
360 = .5, so the standard angle will carry the load within

the allowable deflection. It might be noted that the span
in the above formula is given in inches, and that the moment
of inertia of the angle is taken around its 2-2 Axis, and was
found to be 6.6.

The formula looks difficult to work through, but it will
be found to be very simple if one is at all familiar with the
process of cancelling.

This article deals only in a cursory manner with the
subject of steel construction, but as this subject has been
given a much more extended discussion in the original
articles on "Engineering for Architects," this is all the space
that can be given to it here.

The next articles will deal with reinforced-concrete
construction. This subject has already been treated in
articles appearing in ARCHITECTURE in 1916-17. If the
reader is not familiar with these, it would be well for him to
glance back over his old volumes before attempting to in-
vestigate the problems presented in the following articles.
These will deal with actual problems encountered in the
design of one of the largest reinforced-concrete buildings
erected in the country.

Announcements

We acknowledge with pleasure the handsome and
comprehensive catalogue of "Architectural Interior and
Exterior Woodwork Standardized," published by The
Curtis Companies. Its profuse and admirable illustrations
of correct architectural woodwork, designed for all types
of homes, should prove a welcome reference in every archi-
tect's library. It covers every detail of various type houses,
both exterior and interior. Doorways, windows, mantels,
panelling, china-closets, sideboards, stairways and stair
parts, door and window frames, porches, mouldings, etc.
The work shown was developed under the general direction
of the well-known architectural firm of Trowbridge & Acker-
man in collaboration with other leading members of the
profession.

The appointment of Doctor F. H. Newell, head of the
Department of Civil Engineering at the University of
Illinois, and past president of American Association of En-
gineers, as director of field forces during the summer months
was one of the most constructive measures passed at the
quarterly meeting of the lioard of Directors of the American
Association of Engineers on June 19. Doctor Newell will
spend a large proportion of his time in travelling, and will
assist the chapters in solving their problems of organization
and expansion, and assist them to prepare for rendering
greater service.

The national employment committee was instructed
to formulate a personnel card and prepare plans for the
expansion of employment service.

Samuel A. Hertz, architect, announces that he is now
located in his new offices at 15-17 West 38th Street, New
York City.

Mills, Rhines, Bellman & Nordhoff, architects, 1234
Ohio Building, Toledo, Ohio, announce the admission to
partnership of Chester B. Lee, July 1, 1920.

The consolidation is announced of Westinghouse,
Church, Kerr & Co., Incorporated, and Dwight P. Robinson
& Co., Incorporated, under the name of Dwight P. Robin-
son & Company, Incorporated, engineers and constructors,

with general offices, 125 East 46th Street, and down-town
office, 61 Broadway, New York. Branch offices are in
Chicago, Cleveland, Pittsburgh, and Dallas.

Bollard & Webster, architects, Omaha, Nebraska,
advise us that they have removed their office from 303
McCague Building to 521 Paxton Block.

We regret to announce the recent death of Russell A.
Griffin, general sales manager of the National Pole Com-
pany. Mr. Griffin was well known among telephone people.
He was for many years connected with the American Tele-
phone and Telegraph Company, and later with the Western
Electric Company, before going into the pole business.

Rossel Edward Mitchell & Company, Ltd., Norfolk,
Va., have moved their main office to 817 Fourteenth Street,
N. W., Washington, D. C. Manufacturers' catalogues for
filing purposes are requested.

In answer to a number of inquiries, we take pleasure
in saying that the beautiful photographs of the reredos and
woodwork of St. Thomas's Church published in the July
number were made by Kenneth Clark.

Three Mental States that Lead to Accidents

^ I A HERE are three mental conditions which have a vital
A bearing on the prevention of accidents. The first is
the widely prevalent taint of epilepsy which may cause a
man to lose consciousness momentarily and put his hand
into a place of danger. The second is the curious effect of
habit noted by Doctor D. H. Colcord, in the Scientific
American for June 12: "A man operating the levers of a
crane, oiling a lathe in motion, driving an automobile, or
crossing a crowded thoroughfare, may at a dangerous mo-
ment continue to act as accustomed by habit, thus occupy-
ing the nervous machinery with habit-chains which present
conscious control." The third is another mental twist,
known to all of us, by which the fear of what would happen
if a man should jump off a high building, or drive an auto-
mobile into a tree, becomes an uncontrollable impulse to
do that very thing.

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POPLAR HILL, PRINCE GEORGE COUNTY, MD.

From a photograph by Albert G. Robinson, author of " Old New England Houiea."

ARCHITECTVRE

THE PROFESSIONAL ARCHITECTURAL MONTHLY

VOL. XLII SEPTEMBER, 192O NO. 3

iMi'wiiiM^^^

A Post-War Impression of the Cathedral at Reims

By Kenneth John Conant

ONE sees the buff-brown towers of the cathedral long
before the train pulls into the battered station at
Reims, and the traveller who is approaching the city for the
first time since the beginning of the war cannot help regard-
ing the old pile with an anxious
interest. The barbed wire, the
newly-filled trenches, the half-
effaced shell-holes, have their
counterpart elsewhere, but the
fascination of the old church is
in its way unique. Standing high
above the broken town, it all too
evidently shares the curious un-
kempt look which all the devas-
tated countries have: a curious
neglected air quite different from
what is usual in France. Once
out of the station, it is the first
thing to seek. The way lies past
the narrow fringe of habitable
buildings about the station square,
and into a melancholy district of
hopeless ruins. Their silhouette
against the sky is the crazy zigzag
of roofless gables and fallen walls,
interrupted here and there by
smokeless chimney-pots. Where
a house has two walls, its in-
terior, blackened and tenantless,
will show nothing but scattered
debris and perhaps a few sagging
and rusted iron beams. The ava-
lanche of broken rubble which
once blocked the streets has been
piled waist-high to either side,
resembling (for the stone, like the
dust inch-deep underfoot, is
white) the piled-up snow after a
heavy fall. Curiously dull and

unreal, the occasional foot passengers add very little cheer-
fulness. ,

It is therefore with a kind of relief that one comes upon
the cathedral, which is still tolerably complete and not so
very different, at first glance, from what it was in happier
days. There are broken shafts and pinnacles; there is the
tell-tale stain of calcination at the north, and one feels im-
mediately that the whole is bruised has lost its crispness
and freshness. But it is undeniably a great relief to see the

The north tower.

huge bulk of the building still very much in place in spite ot
five years of bombardment and enforced neglect. It towers
over the puny ruined constructions around it as mightily
as ever, and the glimpses one catches of it through breached

walls and collapsed houses are
the best assurance that the old
giant stood the ordeal very well.
The square in front suffered ex-
tensively from shells and fire; it
is now bordered with flimsy post-
card booths. The cathedral itself
is closely invested by a picket
fence which encloses piles of
broken stone taken from the ca-

Ithedral and round about as well.
Visitors are not allowed with-
in except to make the regulation
visit in the care of a didactic
guardian. This really amounts
to little more than a glimpse,
being limited to the first nave
bay, and from there much of the
important damage is invisible.
The sensation is therefore again
of relief, in spite of the calcined
aisle portals, the punched and
discolored vaults, the scarred tra-
cery, and the dismantled choir.
Though obviously in no condition
for use, it gives the impression that
its rehabilitation will, after all, be
a simple matter. The tourists
are properly impressed by the
collection of shells to be seen just
beyond the railing, one of them
a large one which entered the
building but failed to explode. It
is on the exterior, and particu-
larly the exterior of the chevet,

that the work of the shells is apparent. While examining
this portion of the building the most sanguine optimist is
sure to cool a little.

As a matter of fact, the casual visitor does not get
anything like a true idea of the injury to the building. There
are two reasons for this first, he cannot realize its colossal
size, for the scale is deceptive; and second, because, being
surrounded by all sorts of ruin and destruction, he thinks
of the injuries to the cathedral in terms of thickly-scattered

257

2 5 8

ARCHITECTURE

Looking across the ruins.

shell-bursts rather than in terms of the slow, patient work
which will be required in the carving of new stones to take
the places of the shattered ones, and the tedious labor of
remaking, one by one, all the multiplicity of broken details.
To arrive at an understanding of the sum of the damage
calls for intimate study. And curiously enough, the first
relief and optimism fade away as one returns again and again
to the building. A sober realization of the immense task
of the amount of effort in detail which will be needed to
repair the thousands upon thousands of damaged items is
enough to abate the most ardent hopefulness. The writer
had entirely unusual privileges about the building and was
allowed to study it bay by bay, inside and out, freely and
at leisure. As the basis of this article a complete detailed
catalogue of the damage was drawn up; a copy of this cata-
logue, the first such list to be made, was given to and ac-
knowledged by the authorities. In making it, the author
climbed galleries, turrets, and towers, and examined the
condition of all parts of the structure close at hand.

The losses the building has suffered are inevitably
divided into three classes: first, essentially unimportant
superficial damage and injury to minor parts; second, heavy
damage to the essential frame, and third, damage to the
valuable decorations. These will be treated in order.

The more one studies the state of the structure, the more
one is amazed at the amount of small damage there is
damage that would attract little notice but for the appalling
quantity of it. Small broken pinnacles, finials, and crockets,
pitted mouldings, plain surfaces raked by shell fragments,
disfigured capitals and other carvings, scarred shafts, dis-
located copings, shattered canopies are seen by the hundred,
in every direction. They make only a general impression
in the effect as a whole because of the vastness of the build-
ing, but as one becomes more and more fa'miliar with it,
one is overcome by the incredible extent of this sort of thing.
How many shell-scars there are it would be difficult to say.

The shells left no corner of the exterior untouched, and the
interior is scattered with their traces (though much more
sparsely) from portal to apse. To get some basis for an
estimate, a count was made of the marks on a buttress that
had been liberally cut up by flying fragments. The lower
part of this buttress had no less than 1,115 scars on the outer
surfaces, ranging from the size of a thumb-print to that of
a pie-plate. There can therefore be no less than 100,000 in
all, and 10,000 of these of some size. Another example of
the extent of this small damage is furnished by the parapet.
The portion over the nave walls had nearly 200 small pin-
nacles, of which hardly 50 remain complete. There are
five breaches in this portion, but that is not all of the damage,
for most of the stones on the inner face were split or cracked
by the fire which destroyed the great wooden roof. Of all
the coping-stones on the battlements which crown the con-
tinuation of this parapet around the choir, only two are still
perfect. Small as this parapet appears from the ground, it
will take several carloads of stone to replace what has been
blown away: there are eleven breaches in all. Again, most
of the exterior face of the triforium wall was calcined by the
fire which destroyed the aisle roofs, and the carving on the
clearstory string-course was quite ruined. Many of the
bases of the great interior colonnade were calcined by the
blazing straw stored in the building during the fighting, and
by the fire which destroyed half of the stalls. Examples
like this could be cited from any series of details, and it is
difficult to insist too much on the uncanny thoroughness of
the shells and fire in injuring small details. By patient
work a great deal of this can be repaired. It is not the kind
of work which can be done rapidly or wholesale, and a great
part of the surfaces will have to be left as they are, disfigured.
What repair work is done is likely to injure the patina of the
building gravely.

As regards the heavy damage, the situation is oddly dif-
ferent. Most of it can be repaired almost at leisure with little
hurt to the appearance of the building. It is confined to
severe injury to one pier and a number of buttresses, damage
to most of the vaults, and the loss of the roof with its belfry
and fleche. The destruction of the old charpente is deplnra-
ble, but it was perfectly documented and can be rebuilt just
as it was unless the authorities decide to replace it in steel.
This latter is the sensible thing to do, for any wooden con-
struction will give up sooner or later to fire or decay. This
is the second such fire at Reims. Had the old roof been of
steel, the damage to the walls, to the vaults, and to the stained
glass (from the blazing side roofs), would have been very
much less, while the beautiful fleche might have been saved.

The heavy high vault, twenty inches in thickness, was
punched in several places. As shown by its discoloration, it
was unfavorably affected by the fire, so that stones have
kept falling continually, loosened by the rain. There are
now considerable holes in five or six places. The vaulting
of the crossing and adjacent bays to the south and east has
fallen in almost completely, but this is no misfortune, as will
appear. There are fissures in almost all of the vaults at
both levels, but few of these are threatening. Too much ad-
miration cannot be given the original construction, which,
after centuries in place, resisted destruction so sturdily.
Ordinary vaults would have dropped like a shot. In spite
of the fall of tons of block stone upon them, some of it from
sixty feet above, only two of the lower series of vaults failed
badly. Although cracked and loosened by exposure to
the weather, they will not have to be taken down. The
scheme to be followed in general is to rake out the old mor-
tar from the joints and carefully repoint them, supplying the
missing parts as the work progresses. As a great deal of

ARCHITECTURE

259

fallen stone can be used over again, this work will be com-
paratively easy.

The repair of the vaults about the crossing will naturally
be linked up with that of the southeastern great pier, the
only pier to suffer. It is still mostly in place, though some-
what precarious. The shells struck it at the clearstory level,
and in addition to numerous vertical cracks, caused horizontal
sliding on five or six joints, so that the body of the pier,
cracked free from the main walls, is tipped inward toward the
nave. The fall of the three vaults it supported may have
prevented its failure. The plan of the architect is to put the
centring and the new ribs of the vaults in place and then re-
place the unsound portion of the pier, working around it
bit by bit. That done, it will be a simple matter to renew
the vaults, the smashed tracery, and the broken mouldings.
It is evident that the interior will not show the effects of its
evil days as far as construction goes. Probably a great
many of the minor scars will be left as they are.

The flying buttresses by no means escaped their share
o injuries. Direct hits were made on a considerable num-
ber and nine were thus shot away. Nothing has been done
toward their repair; the bulk and inertia of the construction
will enable it to stand for some time without them, but of
course the sooner they are supplied the better. Much work
will have to be done on the great pinnacles at the same time.
Their condition shows that they intercepted many shells
which might have done more vital damage elsewhere; some
of them are a good deal smashed up. Something will have
to be done also for a number of the chapel buttresses below,
and for the towers at the south and west ends, all of which
show considerable dislocation due to direct hits.

The third kind of injury is that to the decoration. There
is much to be thankful for, for the injury is less than is gen-
erally supposed; moreover, the lost items are perfectly docu-
mented. Nevertheless it is impossible to be resigned to the
loss which has occurred. It will always be regretted be-
cause it is irreplaceable. A multitude of minor carvings,
such as gargoyles, small figures, and leafage, have been
spoiled, and at least half of the more important pieces have
received noticeable injuries. A good part of this dates from
1914. To the burning of the roof is due the ruin of the back
faces of the western towers; to the burning of the scaffold
about the north tower is due the most deplorable injury of
all, that suffered by the northern half of the fa9ade; and to
shell-fire is due the damage suffered by many fine sculptures
around the rest of the building. A number of the kings in
the great gallery are in a more or less hopeless condition,
but their merit was very moderate and their loss is corre-
spondingly less regrettable. Thirteen of the attractive
canopied angels are badly damaged. Every one knows, too,
that the great western portals have suffered seriously. The
damage to the canopied groups on the reveal of the arches is
rather extensive. Just what will be done about the great
figures below is uncertain. Many heads have been picked
up and it would be possible to reproduce existing casts of
destroyed portions, but whether a restoration of this sort
will be attempted remains to be seen. Of the thirty-five fine
statues at the sides of the doors, only three (all on the north
porch) are a total loss. Five are badly wrecked, four are
much broken, but still attractive, fifteen have minor in-
juries, and eight are untouched. The effect of the portals
from a little distance is not bad even now, and they can be
made fairly presentable by supplying the numerous missing
crockets, pinnacles, and other minor carvings, but of course
they will never again be what they were.

The glass of the cathedral is another loss of capital im-
portance. It is perhaps less than is generally supposed,

At the crosing of the south transept.

however. The aisle and chapel windows were all modern,
mostly of plain glass, so that they can perfectly well be re-
placed. The same cannot be said of the clearstory windows.
They were all old glass of great value, and all suffered very
regrettable damage from fire, from shell-fragments, and
from concussion before they were finally taken down. A few
of the windows are fairly presentable; half of the western
rose still exists, and something was saved of almost every
other window. It has been said that about half of the sub-
stance of the windows was rescued. That we have even so
much is due to the Paris firemen who, suspended on ropes,
climbed about the lofty windows and dismounted the frames
during bombardment.

Aside from all the obvious damage some account must
be taken of cracking and dislocation throughout the mass of
the masonry generally, the result of shock. My attention
was particularly called to this by the architect in charge. It
is not the sort of thing one notices from the ground. But it
will be a large item in the restoration. The scheme is to rake
out weakened joints and repoint them very carefully. This,
the administration believes, is essential in order to recon-
solidate the building. That it will prolong the work goes
without saying. I have tried to make it clear, however, that
most of the work to be done about the cathedral is tedious
detail work of just this character, rather than a wholesale
rebuilding. In this fact is at the same time the hope and
the despair of those concerned with the structure.

The restoration is in the hands of M. Henri Deneux,
whose title is Architecte en Chef des Monuments Historiques.
He is a grave, unassuming gentleman admired by all who
come into contact with him. He knows the building better
that any one else, having worked about it for many years
and made a splendid series of measured drawings of it.
During the war he had charge of protective works at Reims
and elsewhere, and indeed received a shower of broken stone
while at work one day during a bombardment of the cathe-
dral. Not long after Reims was finally out of range of the
enemy he took up the work of rehabilitation. A gang of
prisoners was set to work at cleaning up. A temporary roof
was supplied, a considerable undertaking, involving 60,000
square feet of corrugated iron and much wooden truss-work.
The latter could not be made up on the spot because of the
lack of all things essential, but was prepared in Paris and
shipped up by rail. Work was finished in August, 1919.
That it took so long will surprise no one familiar with the
situation in the devastated districts, where the labor and
transportation situation is so difficult that some begrudge
even the small crew at work on the cathedral. Theoretically

260

ARCHITECTURE

the restoration will be paid for by the Germans, but the
French state can give it only a minimum allowance while
whole populations are still living in shacks and cellars. Yet
an effort was made to install the clergy in some corner of the
church. The parish has worshipped in a very modest hall two
or three squares away. Excavations have been undertaken
in the choir for the investigation of the foundations and a
series of old tombs known to exist below the pavement.
They have accomplished more than was expected, for they
have brought to light a beautiful flamboyant jube that was
broken into thousands of pieces at some time and used as
fill. How any one ever had the heart to smash up such an
excellent piece of carving is hard to understand. The toy
vaults, the graceful tracery, the tiny crocketed finials are
beautifully cut. A vine which runs through part of the orna-

mentation has charming little leaves, and bunches of grapes
no larger than a franc piece. As the fragments are found
they are laid out in the near-by chapels, where a patient man
is working day in and day out trying to put this Humpty-
Dumpty together again.

Next the nave will be closed off, to become a workshop,
and the slow work of restoration will begin. How long it
will take not even M. Deneux can say. That will depend on
the credits and the number of workmen the government can
spare and upon the success of the Societe des Amis de la
Cathedrale de Reims, newly founded under the patronage
of President Poincare and Cardinal Lucon, in soliciting volun-
tary contributions. But it can hardly be less than fifteen
or twenty years.

Housing Shortage and Health

A SCARCITY of housing facilities directly tends to lower
-t"^- quality and to induce cheap and undesirable substi-
tutes. And these affect the social life, comfort, and health
of the family. It may not have occurred to the average
person, but it is true, that there are housing substitutes as
there are substitutes for food, leather, and clothing. Among
the substitutes for proper and adequate housing may be
mentioned tents, shacks, and house-boats, and not forgetting,
either, the doubling-up evil, which means the housing of
two or more families where space, light, air, and sanitary
provisions are wholly inadequate.

Housing shortage also tends to lower housing standards,
and unless watched carefully permanent deterioration in
the character, comfort, and safety of home dwellings will
follow.

All this is prefatory to the statement that at the present
time the shortage of houses is so wide-spread and so evenly
distributed over the whole country that the really alarming
character of the situation is not, it is feared, generally recog-
nized or understood. In this connection, and giving almost
at a glance the housing situation, the following statistics
compiled by Mr. Wharton Clay, showing the proportion of
families to dwelling-houses for the last thirty years, tell a
most significant story. While the figures from 1890 to 1920
are well worth study, for the purposes of this article those
from 1916 on must suffice. Here they are:

In 1916 there were 20,263,051 dwellings for 23,292,887
families; in 1917, 20,672,051 dwellings for 23,799,275 fami-
lies; in 1918, 20,808,562 dwellings for 24,305,662 families;
in 1919, 20,829,039 dwellings for 24,872,051 families, and
for the year 1920 the proportions are 20,900,000 dwellings
for 25,319,443 families. This means an existing shortage
of 4,419,443 houses for family dwellings, and on a basis of
five members to a family, 22,097,215 persons in this country
to-day are not being properly or adequately housed.

According to the editor of American Building Associa-
tion News, who has charted by years the housing situation
in this country, the shortage in housing facilities has shown
a sharp and decided upward swing since 1917. He also is
authority for the statement that in 1918 only 20,000 new
houses were built when there should have been twenty
times that number. Last year showed some improvement
with a little over 70,000 houses completed, according to
the estimates of the U. S. Building Corporation. This slight
increase in building has by no means kept pace with the in-
crease of population, which is far ahead of any building pro-
gramme, until now it is estimated that for every 100 exist-
ing houses there are at least 121 families to be provided for.

A situation like this means but one thing and that is
acute congestion, which is certain to have a direct and un-
favorable influence on both the health and morals of family
life. In order to meet this evident and wide-spread short-
age, the authority already quoted estimated that at least
2,139,000 homes must be constructed by or before 1926.
And even this programme will not insure a return to pre-
war conditions by any means. To bring this about 3,340,000
dwellings will have to be built during the period named.
This would mean that in a town of 25,000 people 150 homes
must be built every year for five years; and, of course, in
like proportion for cities of larger size. That this housing
situation as revealed by the facts and figures given has an
important bearing on community life and health is quite
apparent. It in fact constitutes a serious and ever-present
menace to the public health and safety even under normal
disease conditions. But in the event of outbreaks of any
of the more dangerous types of communicable diseases, this
menace then would be greatly increased both as affecting
sickness and death rates and in more than doubling the work
of health authorities in their efforts to bring and to keep
such outbreaks under control.

The Alvin T. Fuller House

Robert C. Coit, Architect

AMONG the fine residences that line the shore drive
which links the old historic city of Newburyport with
its New Hampshire neighbor, Portsmouth, there is no
more interesting summer home than that of Hon. Alvin T.
Fuller, at Little Boars Head.

It stands back from the main road, only the high-road
lying between its wide sweeping lawns and the sea.

The house which stands the central feature of the home
grounds is an effective combination of white paint and red

The sun-room with brick wall and tile floor.

brick. This contrasts charmingly with the green lawn and
the darker green of the dwarf evergreens which are massed,
not only against the terrace, but around the house. The
planting is formal, for, owing to the exposed location, ever-
greens have been utilized to a great extent, as they endure
the severe winter much more successfully than do less hardy
shrubs and plants.

At the left a charming pergola curves to follow the line
of the boundary wall. Beyond the pergola the graceful
curve of the wall is defined by rows of specimen spruce-
trees.

Still another ornament to the grounds is an old well
with carved stone base showing quaint figures. Above is a
canopy of wrought iron and the whole is set in a border of
day-lilies, surrounded by a circular bed planted in sections
with geometrical precision, producing a desired color effect.

The grounds, attractive as they are, however, are only the
fitting and worthy adjuncts of such a house as this. Mr.
Robert C. Coit, of Boston, the architect, has designed a
house to fit cleverly into the landscape. An especially inter-
esting feature is the porch at the motor entrance which is sup-
ported by unusually beautiful columns and flanked by pyram-
idal evergreens in painted tubs. The picturesque feature
is the gable that appears like the end of an old-time house
with Dutch lean-to roof, over which the main body of the
house is superimposed. The effect of the larger and more
pretentious house so artfully concealing the quaint old-
fashioned small one is very unusual and delightful.

Everywhere is found excellent treatment of details.
The leader pipes are ornamental and the blinds, with their
cut-out crescent motifs and unique " S " hinges, are also good.
But perhaps the novel feature of this side of the house is
the variety of windows that are used and their arrange-

ment. Windows of various sizes are introduced wherever it
is necessary or convenient. A group of three windows in the
circular tower indicates the ascent of the stairway within,
while another group of four windows affords light at the sum-
mit of this stair-tower, where it breaks through the roof.
Other odd windows are placed in this tower. The lines of
the steeply pitched roof have been broken by single and
grouped dormer-windows, which let in an abundance of
sunshine and air. An open-air sleeping-porch has no win-
dows at all, but there are attractive white lattices which are
sufficient to soften any effect of bareness which would
otherwise be felt.

In the sun-room, which is in the brick gable, the aper r
tures are charmingly curved at the top with fanlight effects,
while the casement windows, like all the others, are com-
posed of small panes above and a single large one below.

At the right of the hallway, before one enters the living-
room, is the master's den.

From the master's room we may pass on directly into
the large living-room, which occupies the whole of the length
and a goodly portion of the width of the main body of the
house. Opening on the one' side into the sun-room in one
of the wings, and on the other into the dining-room in the
opposite gable, it affords pleasing vistas which give added
homelike effect.

The sun-room, in the right wing, has walls of faded
old brick, and the windows are unshaded save for the odd-
figured oddly colored linen hangings which frame the case-
ments.

The rooms on the second floor are interesting in their
way as the rooms on the lower floor.

The nursery >n this floor, for two little girls, is an ideal
room of its kind. White furniture with cane insets and
dainty floral decoration could not be improved upon, while
the screen to match, with its bluebird decoration, the quaint
Brownie andirons and Bunny door-stop, provide articles of
never-failing interest to the child.

Similarly located, but on the third floor, is the baby's
nursery. Here the walls are covered with a blue figured
paper, while the big braided rugs on the floor show a pre-
dominance of the same color.

Attic or third-floor rooms are always interesting, and
the master's room, in the opposite wing from his young son's,
shows that quiet taste combined with practical comfort.

The dining-room.

26l

262

ARCHITECTURE

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Book Review

THE ENGLISH INTERIOR. A REVIEW OF THE COURSE OF
HOUSE DECORATION FROM TUDOR TIMES TO THE END
OF THE XVIIlTH CENTURY. By ARTHUR STRATTON, Architect.
Containing Upwards of loo Full-page Plates, Presenting Many Illus-
trations Printed in Collotype, Including a Series of Measured Draw-
ings, and Numerous Illustrations in the Text from Photographs,
Sketches, Drawings, and Engravings. Large quarto. New York:
Charles Scribner's Sons.

There is stately dignity in the size and beauty of this handsome volume
in keeping with the subject. Through its pages you enter the great as well
as many of the minor homes of old England, and follow in text and illus-
trations the development of English social manners and customs, in the
environment of architecture and the allied arts that were developed in the
various periods discussed.

In early Tudor times the Englishman's home was indeed his castle,
and massive walls and dungeon-like towers and a great central hall, where
family and servitors might dine in common, were features of the times. In
the centre of the hall was the fire, and the smoke found its way out through
the roof. This was the period of the huge timber roofs, when the massive
oak beams served both a utilitarian and a decorative purpose.

Various structural features were used as decoration, and tapestried
walls, moulded ceilings, and great fireplaces marked the best Tudor struc-
tures.

In the days of Elizabeth began a more exuberant manifestation, and
architecture, no longer influenced by the need for defensive structures,
became freer and more ornate. Walls were beautifully panelled, chimney-
pieces elaborately carved, ceilings covered with plaster ornament, and
windows filled with leaded patterns on colored glass.

Under the Stuarts foreign influences began to be much in evidence.

It was Inigo Jones who first started English architecture in new ways,
brought the classic traditions and the spell of Italian art to bear upon
both exterior and interior, and his great successor, Sir Christopher Wren,
nobly carried on the good work thus begun.

The Georgian Period Mr. Stratton calls "the most clearly defined and
homogeneous period in our architecture"; certainly it was a period of great
richness and variety, of affectations of the classic, of the reign of the cul-
tivated amateur a period of elegance, of building for the purpose of social
occasions, of a sacrifice of the elements of home comfort to halls and salons
in which to display beautiful clothes and carefully trained manners.

What were the principal features of English interiors, considered in

detail ? We ask the question because the author has so admirably answered
it in Part IV of this volume, where he takes up such details as Wall Treat-
ment, Decorations in Color, Ceilings of Wood and Plaster, Fireplaces and
Chimney Pieces, Doors and Doorways, Staircases.

All of the famous designers and architects are represented Inigo Jones,
John Webb, Sir Christopher Wren,'Sir J. Van Brugh, Gibbs, William Kent,
Isaac Ware, Robert and James Adam, and others. The comprehensiveness
of the many illustrations in the text, and the splendid full-page plates make
the volume a complete reference of incalculable value to every architect or
specialist in interior decoration.

The following is a condensed contents, showing the great scope of the
book: Section I. INTERIORS OF THE TUDOR AND EARLY STUART PERIODS.
Significance of the Interior. The Beginnings of English Interior Decora-
tion. Characteristics of the Early Tudor Type. Exuberance of Elizabethan
and Jacobean Rooms. Early Interior Planning. Section II. LATER STUART
AND EARLY GEORGIAN INTERIORS. The Renaissance Wave and Transitional
Decoration. Inigo Jones and his Influence. Wren, Gibbons, and the
Craftsmen of the Period. Eclipse of the Stuart Type and Gradual Evolu-
tion of the Georgian Interior. Section III. INTERIORS OF THE TIME OF THE
LATER GEORGES. Characteristics of the Georgian Period: Its People and
their Houses. Splendid Georgian Salons. English Rococo Decoration.
Reaction to the Delicacy and Simplicity of the Brothers Adam. The Em-
pire Style and the Victorian Decadence. Section IV. THE CHIEF FEATURES
OF INTERIOR DESIGN AND THEIR TREATMENT. Wall Decoration. Ceilings.
Fireplaces and Chimney Pieces. Doors and Doorways. Staircases. Sec-
tion V. SERIES OF UPWARDS OF roo PLATES ILLUSTRATING THE PROGRESS
OF ENGLISH INTERIOR DECORATION.

The senate of the University of London have recently conferred the
title of Reader in Architecture upon Mr. Stratton, F.S.A., F.R.I., B.A.
For some years he has held the post of Lecturer in the School of Architec-
ture at University College, and his new appointment is tenable at the same
college.

Mr. Stratton's other literary work is well known. Some years ago he
published an interesting monograph on Sir Christopher Wren. Later he
completed the monumental work on "Tudor Architecture in England,"
commenced by the late Thomas Garner, and he also edited the most recent
edition of Anderson's "Architecture of the Renaissance in Italy."

Great Diiter, Northam Sussex. The great hall.

ELY HOUSE. DOVER STREET. LONDON.
DETAILS OF THE DINING ROOM.

26 S

266

ARCHITECTURE

J C A I F / -1-0

HOUSE, WINTHROP WITHINGTON, JACKSON, MICH.

Leonard H. Field, Jr., Architect.

Editorial and Other Comment

Working Together for Better Conditions

TO preach an optimism we can't practise is an affront to
our readers, an open challenge of our sincerity and
understanding of actual conditions, but if we cannot with
candor predict good times in sight, we may at least unite
in the old Spartan virtue of making the very best of bad
conditions. We have had plenty of time to realize that con-
ditions are quite beyond the solving of the individual, and
that we are in a tide of affairs that no ordinary resistance
will stem, and that we can only turn on our backs and float,
waiting for a favorable current to bring us safely to land.

It is mighty hard to accept our failures and recognize
the fact that the old ways of doing business, old standards
of living, old standards of morals, have gone, that we must
adjust ourselves to something entirely new. We do a lot
of talking, use a lot of words that bear a strong accent of
condemnation, use up a lot of vitality in useless kicking,
and settle down to a more or less placid resignation.

What is the use ! We are helpless, so let us just stand
and wait while the world goes on, while the profiteers grab
the plums, and the congestion of population, due to the
housing shortage, becomes a dangerous national menace, a
disintegrating power in everything that makes for progress
and the restoration of normal conditions.

We are told that at the bottom of trouble in the build-
ing trades is primarily the lack of adequate transportation,
shortage of cars, of all kinds of rolling-stock, and yet some
of us can't help wondering why it is that we pass so many
empty cars on sidings everywhere and see so many loaded
ones waiting days to be discharged. The other day we saw
several hundred cars, representing railroads all over the
country, empty, and we wondered if they were not lost and
forgotten, and waiting for some friendly railroad man to
wake up and start them loaded on a journey toward home.
No doubt the gigantic problem of resystematizing our rail-
roads will take a lot of time (years, we hope not), and we
must be as patient as our training will permit. But there
does seem to be a lot of waste motion, and to pass a train
of empty freight-cars now and then, makes us wonder why
they are not loaded and put to some use on their return
journey. Surely there are plenty of things to be carried,
coming and going.

We are inclined to believe that the war, while no doubt
the leading factor in bringing real condijtions to a climax,
and making manifest a general condition of unpreparedness,
is by no means to be blamed for all our ills. We have grown
tremendously in the past twenty years, and the war taught
us, as nothing else could, how little we had appreciated the
growth of our population and the wide-spreading influence
on our social and industrial life of great masses of unassimi-
lated and un-Americanized aliens. It has been this element

that has been largely responsible for the disorganization and
instability of industries identified with the housing problem.

The trail of the profiteer, too, leads through all things,
and materials for home-building are diverted into channels
where the profits are greater and the return on the invest-
ment more immediate.

Maybe we can only sit tight and wait, and in the mean-
time pull together in the determination to find a practicable
way of better equalizing the distribution of both materials
and labor. None of the professions have felt the stress of
the times more keenly than the architects as a body, and
many of them have been compelled to turn their experience
and energy temporarily into other fields. There is no going
back to pre-war conditions, but there must be a way devised
for meeting the new conditions, of making it possible for the
architect to obtain supplies for the hundreds of minor build-
ings so grievously needed everywhere. The big things will
take care of themselves, if permitted, but the building of
homes for people of modest means is more vital than any
other form of present-day building, and the architects must
stand as one demanding that the problem receive first con-
sideration. ,

New York's Housing Problem

THE housing problem in New York probably is typical
of conditions generally, so that some of the proposed
relief measures in that city should be of interest and value
everywhere. That this problem'is beyond solution by any
single group of men has become obvious, and that a broader
view than is possible under ordinary business conditions
will be necessary is also very evident.

There can be no effective arguments or plans based on
other than on strictly business results, of course. Capital
in these days demands and receives a reward commensurate
with increased costs. Senator Calder has made the follow-
ing proposals:

"(1) The exemption of mortgages up to the sum of
from $40,000 to $50,000 from the provisions of the State and
federal income tax;

"(2) The exemption from all federal and State income
tax for a period of ten years of all profits of builders while
engaged in actual construction, providing these profits are
invested in the construction of new dwellings;

"(3) The exemption from the federal income tax of
mortgages on all new dwellings, regardless of the amount;
and,

"(4) The creation of a commission to modify the build-
ing code of the City of New York, removing the restrictions
and difficulties in the way of construction of cheap houses."

Senator Calder also suggested an inquiry into prices to

267

268

ARCHITECTURE

determine whether or not building material manufacturers
are combining into groups to raise prices.

The lack of building is attributable to many causes,
chiefly to a shortage of materials, transportation, and the
high price of labor.

Measures to remedy the situation by tax exemption,
according to an editorial in the New York Evening Post, will
"greatly puzzle those at both ends of the range of opinions:
those who attribute all housing troubles to the cussedness of
house owners, on the one extreme, and those who advocate
the single tax, at the other. Single-taxers will fail to see
why some improved property should pay and other be ex-
empted. Those who have it in for tenement owners in gen-
eral will rage at the idea of exempting any of them.

"Actually the drawbacks to exempting new houses
from tax extend further than at first appears. A writer in
The Sun and New York Herald calculates that the tax ex-
emption on new tenements will amount to some $40,000,000.
If all the housing required shall be built, and shall obtain
tax immunity, it may well come to some such great figure.
But the State and local governments will need a correspond-
ing sum in order to take care of the added property and in-
habited area.

" From where, then, shall the money come ? Perhaps
some genius could devise a new form of taxation to provide
it. More likely it will come from an increase in the rates
of the present realty tax the obvious proceeding. But to
tax some property in order to exempt other property, to
tax one tenement owner in order to exempt his neighbor, to
tax old buildings already heavily burdened with up-keep in
order to exempt new ones, would savor of unfairness. It
would at the same time raise, by the amount of the added
tax, the cost of the least desirable living quarters, which by
the rule of marginal utility sets the price for the rest."

Building Costs

NO doubt there are many clients, or possible clients, who
look upon the architect's estimates of probable build-
ing costs with more or less suspicion, classing him with the
general run of profiteers. It is hard to convince a would-be
home-builder that the architect, like himself, is simply the
victim of conditions.

The increase in the percentage of cost of building ma-
terials from 3 per cent in 1915 to 140 per cent in 1920, with
labor costs varying in their increase from 60 to 300 per cent,
is the answer.

A War Memorial for California to be a Home of
the Fine Arts

From an address by Willis Polk to the Faculty and Students of the
California School of Fine Arts

ALL have heard the old story of the bully who disputed
the sidewalk in Jamestown with George Washington.
The bully said: "I never get out of the way of a blackguard."
George Washington, with his best smile and in his most
amiable manner, politely stepping aside, replied with a gra-
cious wave of the hand : "I always do."

It was said that we were too proud to fight, but we did !

We entered the war to make the world free for Democ-
racy. Up to date it appears that the war has only made part
of the world free for Bolshevism. But have no fear, the war
has made several million Americans sit up and take notice.
There will be no Soviet Bolshevism, no autocratic rule, in this
country, the spirit of Democracy will not perish from the
earth the American Legion will attend to that.

The American Legion is going to build in San Francisco

a monumental group of buildings in memory of the men and
women soldiers, sailors, and civilians who died that De-
mocracy might live. This group of buildings to commemo-
rate the victory of Democracy will be a nurturing place for
all the highest ideals of a free people. It will be a home of
the Fine Arts painting, poetry, sculpture, music, and ar-
chitecture. It will be a fitting temple for those ideals for
which we waged the war !

The faculty and students of the California School of Fine
Arts and their successors will find in this memorial a home
and be provided with facilities for study. Will they be
worthy of it ? This year your student body was awarded
6 out of 10 of all the honors available to art students through-
out the country. Next year you ought to get 7 out of 10.
The year after 8 out of 10, and thereafter 10 out of 10, for
California is really and truly the true home of real art.

In the War Memorial, the Art Association will have its
galleries, the school its ateliers. Students from all the world
will, in time, seek this school for instruction rather than will
our students go forth for enlightenment. That is, if nature,
temperament, and determination are no less strong with us
than were these characteristics with the Egyptians, Greeks,
Italians, and other predecessors of present-day ideals of civil-
ization, order, and art.

As far as the students, and the faculty, too, for that
matter, are concerned, it must be remembered that success
in any vocation means patient, unending plodding. There is
no short cut to success. Impressionist, cubist fads are enter-
taining, but usually are uninstructive and detrimental to
healthy artistic development. The students must study
the methods of the old masters, not to copy them, but to seek
inspiration.

Michelangelo, Rubens, Rembrandt, Raphael, Leonardo,
Velasquez all the masters were artisans as well as artists.
Their work was complete in the last detail.

Can you match the incomparable finish of the "Winged
Victory of Samothrace," or the immortal sculptures of Phid-
ias, with the works of Rodin ! I say no, a thousand times no !

The Lumberman's Attitude Toward a Forest

Policy

PUBLIC-SPIRITED lumbermen are not opposed to a
forest policy. They recognize that both national and
industrial welfare demand early development of an Amer-
ican forest policy which shall substitute for indifference
and accident an intelligent, practical, equitable, and con-
certed programme for the perpetuation of the forests:
The lumbermen believe

That growing future timber crops must be largely,
though by no means wholly, a government and
State function;

That government and States should be permitted to
condemn any deforested land classified as suitable
chiefly for forest-growing, and pay for it at prices
comparable to those paid in voluntary transactions.
That land classification and studies should be under-
taken jointly by industry, States, and government.
That the Forest Service should be the recognized leader of
public forestry thought and effort along general lines.
That wise conservation requires the determination of
better methods of waste prevention and of utiliza-
tion of the forests we already have.
That a successful forest policy means much more than
tree-growing. It means confidence and security in
every legal and commercial phase, to industry and
public alike. .,

SEPTEMBER, 1920.

ARCHITECTURE

PLATE CXXIX

ENTRANCE DETAIL.

Andrew J. Thomas, Architect.

GARDEN APARTMENT BUILDINGS FOR THE QUEENSBORO CORP., JACKSON HEIGHTS, QUEENS, NEV^YORK.

SEPTEMBER, 1920.

ARCHITECTURE

PLATE CXXX.

THE GARDENS.

PLOT PLAN. Andrew J. Thomas, Architect.

GARDEN APARTMENT BUILDINGS FOR THE QUEENSBORO CORP., JACKSON HEIGHTS, QUEENS, NEW YORK.

SEPTEMBER, 1920.

ARCHITECTURE

PLATE CXXXI.

FRONT ELEVATION.

-TYPICAL FLOOR -PLAN

-ANDREW -J-THOMAA -

-A.RCHITECT-
Nt|3T'EA5r4St* STREET- KYC-

CENTRAL UNIT. Andrew J. Thomas, Architect.

GARDEN APARTMENT BUILDINGS FOR THE QUEENSBORO CORP., JACKSON HEIGHTS, QUEENS, NEW YORK.

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ARCHITECTURE

PLATE CXXXIV.

LIVING-ROOM.

HOUSE, C. C. MERRITT, LARCHMONT, N. Y.

Sterner & Wolfe, Architects.

SEPTEMBER, 1920.

ARCHITECTURE

PLATE CXXXV.

DINING-ROOM.

HOUSE, C. C. MERRITT, LARCHMONT, N. Y.

Sterner & Wolfe, Architects.

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ARCHITECTURE

PLATE CXXXVIII.

LIVING-ROOM WING.

SERVICE AND GARDEN ENTRANCES.

HOUSE, ANDREW J. THOMAS, SCARSDALE, N. Y.

Andrew J. Thomas, Architect.

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ARCHITECTURE

PLATE CXLI.

LIVING-ROOM.

HOUSE, ANDREW J. THOMAS, SCARSDALE, N. Y.

Andrew J. Thomas, Architect.

SEPTEMBER, 1920.

ARCHITECTURE

PLATE CXLIII.

5E.CTION-AT-aNTEB.LINC.

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RICH AVtMUt AND PROSPLH AVUUL. MOUNT VtUHON NLW YORK,

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SEPTEMBER, 1920.

ARCHITECTURE

PLATE CXLIV.

-4 DotlMi AND 15*

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APATtTMtHT HtfOAt.

R- ' DJCH - AND PfcOSltCT- AvtHUti-
MouHT-VClLNOM NY-

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Mount Vernon's First Large Apartment-House

THE Fred F. French Company drew the plans and con-
structed the thirty-two-family apartment-house of
colonial design situated at the southeast corner of Rich and
Prospect Avenues in the heart of Mount Vernon's best resi-
dential section. Macombs-Nelson, Inc., which is controlled
by Charles L. Adams of New York and Mount Vernon, is
the owner. The operation which was completed last fall was
partially financed by the Mount Vernon Trust Company,
who made the owners a conservative building and permanent
loan. This is the first apartment building of this magnitude
to be erected in Mount Vernon. There are three distinctive

entrances and three separate public stairs, each serving two
or three apartments to a floor. The entrances are set back
from the curb a'bout 75 feet, in addition to which ample
grounds extend entirely around the building, which is built
130.6 feet on Rich Avenue and 84 feet on Prospect Avenue
on a plot 175 feet x 112 feet.

The typical floor comprises two 2-room apartments,
three 4-room apartments, two 5's and one 6.

In the larger suites a large living-room running through
the entire wing, with windows at both ends, insuring cross
ventilation, has been featured.

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269

The Construction of the Small House

By PI. Fandervoort Walsh

Instructor in Architecture, Columbia University School of Architecture

ARTICLE I
THE PRESENT-DAY ECONOMIC TROUBLES

THE PROBLEM

designing of the small house is one of the most
A fascinating of all problems in architecture to the
young man, and yet it is one of the most elusive, for economic
forces seem to be very persistent in keeping the first-class
architects from this field. Although in the next five years
it will be necessary to construct about 3,300,000 new homes,
if we expect to reduce the congestion of housing to a pre-war
basis, yet the country seems to be about to face a famine of
well-designed houses in filling this building programme.

The general conditions in the profession show that only
the very wealthy clients carry out their schemes, while the
vast majority of people with moderate means are turning
to other channels for securing their homes. Mr. Average
Citizen finds that the home he has been saving his money
to build has flown from his hand, like a bird. The sketches
and plans he had prepared for a nice little $10,000 home,
now represent an investment of $20,000 or more. Once
having calculated upon a building loan of 60% of the
value of the house and lot, he now finds he can secure only
about 40%, if he can manage to draw any money away from
the great speculative schemes which have been so attractive
during the last few years. In fact, if he expects to build
at all, he must be reconciled to a small six or seven room
house which will cost him $10,000 or more, or as much as
the large house which he had planned originally to build.
On account of the servant shortage this may not be so bad
a proposition.

He brings his trouble to the architect in this manner:
"But I can buy a house and lot at 'Heavenly Rest Real
Estate Park' for that price, and on the instalment plan, too.
I don't see why the cost of a house built from your plans
should be so much greater than this." And the worst of it
is, that the facts which he states are true.

A dwelling built from an architect's plans is more ex-
pensive, to-day, than the speculative house, for the very

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reason that it is carefully planned and requires good materials
and construction; but Mr. Average Citizen cannot see this
difference, because he cannot understand the poor quality
of materials and construction in the speculative house, nor
has he been educated to appreciate the artistic difference.
Moreover, the contractor who bids on the plans of an archi-
tect in these days of chaotic prices, plays well on the safe
side. He estimates as near as he can to the actual costs
and then adds a large per cent to cover the risk of possible
increase in wages, materials, costs, and delays. If he built
the same house for speculation, after it had been completed
he would know the exact cost, and be safe in setting his sell-
ing price which in most cases could be lower than an estimate
on the same house in plan form, since the element of risk
has been removed.

To show to what exaggerations this danger of risk car-
ries the estimates, a well-known architect in New York
City had bids taken for a small, four-room and bath, frame,
gate-house for a large estate on Long Island. This house
was only 19' x 28', and was very plain. The lowest esti-
mate was $11,000 which is about $1 per cubic foot. Now
the chief reason for this excessive cost was that the plans and
specifications of this architect were exact and binding,
but the wages which the contractor had to figure on, and
the cost of material were rising. Some will say that the
contractors knew that the owner was wealthy, and that this
was the cause, but if this was partly the motive, never-
theless the other was the prime motive, for there have been
too many similar cases. Each contractor was afraid of his
own estimate, and therefore played well on the safe side,
yet, if they had built this small cottage themselves, they
could have found its exact cost, and sold it cheaper than the
bids which they turned in to the architect. In fact, cheap
stock plans drawn by incompetent architects which have a
minimum number of lines on them, and which are accom-
panied by brief specifications will bring in lower bids, be-
cause of the fact that they are not binding and the builder
is permitted to "get away with things." Carefully drawn
plans and accurate specifications are not desirable, if low
bids are wanted, provided the owner does not care what
kind of a house he gets.

Many architects have conscientiously tried to solve
the cost problem by inventing cheaper methods of con-
struction, but to little avail. The estimates come in just as
high, because the average small contractor is afraid of any
new innovations, since there is too great an element of risk,
and he is very conservative. One of our leading architects
developed a new system of partition construction for the
small house which in materials and labor saved about 50%
over the ordinary type, but when he first introduced it, the
estimates were just as high as ever. As he was interested in
seeing these partitions tried out, he endeavored to get the
contractor to build them in this new way, and received the
same high price as was charged for the older and more usual
type. In fact the architect was showing the contractor how
to make .some money, but he was so conservative that he

270

ARCHITECTURE

271

A house of this 'type, before the war, could have been built for about $10,000.

would not do it. It is gratifying to know that at last the
architect has built some of these partitions himself and found
that they are exactly what he had estimated them to be.

SOME SOLUTIONS

In endeavoring to find the solution to these problems,
which the young architect must face in this field of design
if he wants to handle any of the small-house work of the next
five years, a few suggestions have been collected which seem
to have some practical merit.

1. First of all the architect must eliminate as far as he
is able the large element of chance which the average con-
tractor must take in making bids upon his plans. If he can
reduce this to a minimum, then he will automatically reduce
the bids. This has been successfully accomplished by hav-
ing a written agreement with the various contractors who
are competing, that, if they receive the contract, the owner
will be responsible for and pay for any increase in labor or
materials which may take place during the period of erection.
Likewise the contractor is made to agree that the owner
will benefit, if there is any reduction in the costs of labor
or materials during the same period..

This simple understanding relieves the nervousness of
the contractor who is bidding, while at the same time he is
made aware of the fact that he is competing with other
contractors on the same basis. Architects who have tried
out this system of agreement have found that excessive
estimates have been reduced to a minimum.

2. More radical means have been tried by certain firms
which may not be approved by the profession, and yet which
have brought very successful results. The architect has
connected with his office a department which handles the
construction in the same manner as a contractor. Outside
bids may be taken, if the owner desires, in order to check up
the estimates of the architect. This is not a difficult system
of handling the small house, for neither the work of planning
nor construction is so great as to overwhelm one organization.
Of course this is not so practical with large buildings, but
then we are all aware of the phenominal success of great
construction corporations which supply the plans and put
up the building, and handle the whole project even to secur-
ing the furniture. Such firms have frightened some archi-
tects into the feeling that the profession would be absorbed
by such developments. But as a counteraction to them, it
is not bad for the architects to work in the reverse way and

absorb the contractor's end of the busi-
ness, especially in the small house.

3. Still another attempt has been
made to reduce costs by designing en-
tirely with stock details and forms.
Certain mills have secured high-class
talent to design stock doors, cornices,
windqws, columns, and the like, which
are very beautiful, and a careful use
of them results often in much saving;
but there is much doubt whether this
can ever be made a satisfactory system,
for some one must originally form these
details, and after a while they will go
out of the public style, and will revert
back to the speculative builders to use
in an awkward manner, as they have
always done in the past. However, the
use of standardized parts may be very
successful in the hands of a good de-
signer.

4. There is still another suggestion

as a solution of the problem, and it is rather gloomy, yet it
has many excellent points. One must frankly assume that
the day of the small inexpensive house has gone beyond re-
covery. Conditions in the building trades have made it im-
possible, and most of the "own your own home propaganda"
is bunk. It is pointed out that the average family cannot
afford to own its own home as constructed to-day, but that
it must join in co-operation with other families. In other
words, the semi-detached house or the two-family house built
in well-planned groups by large co-operative associations is the
only practical solution for the individual house. Such groups
will eliminate much of the expensive street paving as ordi-
narily required and cut to a minimum the water-supply lines
and sewerage systems. Semi-detached houses in groups are
capable of saving the cost on one outside wall, one chimney,
one set of plumbing pipes for each house in the group. The
heating may also be reduced to a community basis, and the
land so distributed that the best air and light can be had
with the miminum waste.

Whatever is the best solution, this fact stands out
clearly, that the young architect who is going to compete
in this class of work must be absolutely certain of the vari-
ous forms of construction and materials which go into making
a good house and how these may be abused by the specula-
tive builder to underbid his honest design. If he is not well
posted on this subject, he cannot hope to convince his client.

(To be continued.)

It requires $10,000 to build a house of this type to-day. Compare it with
former house.

272

ARCHITECTURE

FIRST rtOOK PiM

JCAIC *' t'O-

it. I MAN 6U/LP/NG

/S-/7JSr -fftaJT.
Me* rcfx cirr

CROSS i CROSS

ELLIMAN BUILDING, 15 EAST 49ra ST., NEW YORK.

ARCHITECTURE

273

MR. ELLIMAN'S PRIVATE OFFICE.

RECEPTION-ROOM. Cross & CrosSi Arch!terts .

ELLIMAN BUILDING, 15 EAST 49 STREET, NEW YORK CITY.

The Functions of Lighting Fixtures

By M. Luckiesh

Director of Applied Science, Nela Research Laboratory

IN the broader view of lighting the lighting-fixture is con-
sidered chiefly as a means to an end. It is a link in the
chain from the meter to the final lighting effect, but being
visible it should be a satisfactory object from an artistic
point of view. The usual view of lighting has been a super-
ficial one, because fixtures have been considered too much
as objects of art and too little attention has
been given to the results which they are
able to produce in a room if they are de-
signed with lighting effect in mind. The
chief criticism which may be directed toward
lighting-fixtures is that they are aimless
from a lighting view-point. The design of
fixtures has been left to the artist, and ar-
tistic or supposedly artistic fixtures have
been the product of the designer. However,
here is a field for the correlation of science
and art. The fixture should be designed
scientifically for obtaining certain results,
then the artist should be commissioned to
clothe it in a satisfactory artistic exterior.
However, in this discussion attention will be
given only to an analysis of the functions
of fixtures in lighting.

Of course, there are many fixtures used
in lighting purely or predominantly for their
beauty as ornaments. This practice will
always continue because they cannot be excelled as deco-
rative objects.

FIG. I.

OPAQUE

FIG. 2.

There are many thousand fixtures on display and illus-
trated in catalogues. One may enter a dealer's store and

FIG. 4.

FIG. 3.

FIG. 5.

see hundreds of
them massed on
the floor, walls, and

ceiling, but from the standpoint of light-
ing effect this vast number dwindles to
a bare dozen types, excluding those that are purely novelties.
The primary function of fixtures is to distribute light and,
although no two of different design but of the same general
class would distribute light in exactly the same manner, their
general lighting effects are similar.

It is difficult to devise terms which satisfactorily de-
scribe the lighting effects produced by the various classes
of fixtures, but an attempt will be made to utilize terminology
in use despite its shortcomings. In the terminology asso-
ciated with science it is
strikingly true that prog-
ress is continually reveal-
ing errors and misconcep-
tions of the past. For
instance, many cling to
the terms electricity and
magnetism as though
they were unrelated, as
supposed years ago.
Likewise, when the great
divisions of physical
science were first made,
none of the learned men
of that time suspected
any relation between
light and electricity. FlG 6

Hence, light has long
prevailed as a distinct

division despite the fact that light is now considered to be
electromagnetic energy. It is well to reflect that all the
fences are artificial and that they have been created for
practical purposes and for reasons which may not appeal to
the more mature and capable judgment of later years. In
some cases it is difficult to find any traces to-day of barriers
that in earlier ages seemed natural and inevitable. Even
the formidable science of chemistry is fundamentally a
science of physics, that is, it merges finally into physics. If
it will be remembered that artificial divisions merge .into
each other, there will be no difficulty with the terminology.

A similar condition exists at the present time in the
terminology used in classifying lighting-systems. Direct
lighting is fundamentally that produced by a fixture which
directs most of the light generally downward upon the im-
portant area and is exemplified in simple form in Fig. 1.
Indirect lighting is that in which the light reaches the im-
portant area indirectly, that is, the light is usually directed
to the ceiling and upper walls to be reflected to the places
where it is utilized. It commonly consists of an opaque
bowl containing silvered reflectors surrounding the lamps,
as in Fig. 2. Semi-indirect lighting is a combination of these
two, and is usually accomplished by means of a diffusing
glass bowl open at the top. Examples of semi-indirect units
are shown in Figs. 3, 4, and 5, although the proximity of
the bowl to the ceiling in Fig. 5 makes it approach a "direct-
lighting" fixture. Fig. 4 represents a transition between
Figs. 3 and 5. From such lighting-units some light reaches
the important area, such as the reading-table, directly from
the bowl, and some of the light escapes from the top to the
ceiling to be reflected.

Certain fixtures might be considered to be "direct-
indirect." For example, an opaque inverted bowl with a
hole in the bottom, such as illustrated in Fig. 6, emits an
upward component which reaches the place of utilization
indirectly, and a direct component escapes from the aper-
ture in the bottom of the bowl. Some fixtures are provided
with pendant shades surrounding an inverted bowl, as that

274

ARCHITECTURE

275

illustrated in Fig. 7. These are direct-indirect units. In
indirect lighting the primary light-sources are completely
concealed, and the light in effect comes from secondary light-
sources such as the illuminated ceiling. Furthermore, in
so-called "concealed" lighting no fixtures in the ordinary
sense are used, the lamps being concealed behind a cornice
or moulding. This has been termed "cove" lighting.

This classification into direct, semi-indirect and in-
direct lighting has grown to be quite inadequate, owing to
the tremendous progress and increasing complexity of the
science and art of lighting. While it is convenient to use
these terms in the absence of better ones, it is well to reflect
that these divisions are quite artificial. From a scientific
view-point it would be better to classify all fixtures in terms
of the upward and downward components which they emit;
however, for the present purpose this method would be un-
satisfactory, because it would involve numbers or values
which could not be visualized except by the expert.

As already shown, it is impossible to define accurately
direct, semi-indirect, and indirect lighting, but a further dis-
cussion of this difficulty should help the reader to visualize
the functions of fixtures. A bare lamp amid dark surround-
ings and a search-light projecting its beam into space are
extreme examples of direct lighting, but a bare lamp in a
room with light surroundings is also classified as direct light-
ing. Enclosing the lamp in a diffusing glass sphere reduces
the brightness of the lighting^unit very much, but we still
have a system of direct lighting. If these units are multi-
plied so that there are a dozen or a hundred in the same
room we still have direct lighting. Now let us take an in-
verted glass bowl, which would be the basis of a semi-indirect
system. If it is of clear glass, sand-blasted on one side, nearly
as much light will be emitted generally downward as up-
ward, but if it is made of thin marble very little light will
be emitted downward by the bowl. However, both these
extremes and all the intermediate conditions are termed
"semi-indirect lighting."

Another example which may aid in appraising fixtures
is illustrated in Fig. 8. A diffusing bowl is suspended a few
inches below a circular white surface. Some of the light

escapes directly from the
bowl, and most of the re-
mainder which is emitted up-
ward from the source to the
white surface is reflected
generally downward. Thus
it is seen that the fixture in-
volves the principles of so-
called semi-indirect and in-
direct lighting. However,
the bowl, which in semi-
indirect lighting is usually
suspended at a considerable
distance from the ceiling, is in
this case hung close to the cir-
cular surface, which may be
considered to be a very much
contracted ceiling. The final
result, as determined by the
appearance of shadows and
by other means, is quite
similar to that of direct light-
. ing from a large lighting-unit.
In the home this fixture can be fastened on the ceiling or it
may be suspended from it. In large interiors it has the
advantage|of bringing a clean white "ceiling" close to the
light-source.

FIG. 7.

FIG. 8.

Fie. 9.

A fixture which has the appearance of a semi-indirect
bowl, but in effect is an indirect fixture, is illustrated in
Fig. 9. The opaque bowl of an indirect fixture has been
replaced by one of diffusing glass or of other translucent

material, and a small lamp
has been added to illuminate
this bowl. This type of light-
ing-unit arose to meet the
objection sometimes raised to
the effect that we expect to
see the bowl of the fixture
luminous and are disap-
pointed if it is not. In fact,
this is one of many examples
in lighting which demonstrate the influence of habit an'd
usage. In this case it is interesting to note that the objection
to the dark bowl of an indirect fixture generally wears off in
time. Luminous bowls can be very beau-
tiful and desirable fixtures, but they do
not meet the chief objection to totally or
predominantly indirect lighting in the
home. Some indirect light is desirable,
but direct light from proper fixtures is
indispensable to the best effects in general
in the home.

In indirect lighting-systems in which
lamps are concealed in a cove or in an
opaque bowl, the ceiling is the secondary
light-source. If we imagine such an illuminated ceiling to
contract and to increase in brightness until it becomes very
small and very bright, we witness in the mind's eye an
evolution from indirect lighting to direct lighting. If we
follow this evolution, classifying it the while, at what
point does one system end and the other begin ? Wall-
brackets are commonly considered as direct-lighting units,
but if they are upright they usually omit an upward com-
ponent because the upper part of the shade is open. This
would provide direct and indirect light. In fact, nearly all
fixtures desirable in the home omit upward and downward
components, and it is safer to visualize their distribution
of light in terms of these two components of varying propor-
tions. However, it is necessary to have terminology in which
to discuss or to classify lighting-systems, so that the fore-
going will serve the purpose if they are understood to be
general terms.

Regardless of these terms, the final appraisal of lighting-
systems must be in terms of such factors as diffusion, tint,
and distribution of light; the brightness of the shades and
of the backgrounds; the relative amounts of scattered and
direct light; the character of the shadows; the distribution
of light upon the important areas of the room; the suit-
ability of the intensity for reading or for other purposes;
and the general mood of the room. No system is a catholicon.
There is a place in residences for all that is good in lighting.
The aesthetic problems or desires of taste are so varied that
for their satisfaction a variety of fixtures must be available.
However, there is a need for fixtures with more definite aims
in meeting the demands occasioned by a broader knowledge
of the possibilities of lighting. Light is a wonderful tool,
important and useful beyond the conception of most per-
sons. To use it successfully it is necessary to study that
which is to be illuminated and to know the functions of fix-
tures.

Purely utilitarian lighting is sometimes the first con-
sideration, but it is at least a by-product in all cases where
artistic effects dominate. Lighting-fixtures should control
light as efficiently as is compatible with the desired effect,

276

ARCHITECTURE

but efficiency involves satisfactoriness. Beauty and utility
overlap; they cannot be considered separately in the home.
Usefulness is a part of beauty and therefore a lighting-fix-
ture cannot be beautiful if it does not fulfil its intended
purpose regardless of the grace of its lines or of its expressive-
ness as a work of art. Beauty is the result of harmony the
accord of all the elements; therefore, when a lighting-fixture
is intended to fulfil the double purpose of an object of art
and of a distributor of light, the fulfilment of the latter aim
is essential to harmony and hence to beauty. And, finally,
to those accursed by miserly dispositions which do not per-
mit them to see the usefulness of the rose, let us state that
the utility of beauty is recognized by those who live.

Most lighting-fixtures distribute light symmetrically
although by no means is the control of light confined to such
distributions. In fact, many lighting-units are in daily use
which provide asymmetrical distributions. For example,
the show-window reflector is placed at the upper front of
the window, and although it hangs in a pendant position
it directs light downward and backward. Such units are
in use for illuminating pictures on walls, and have even been
designed for wall-brackets so that the light is directed pre-
dominantly away from the wall. On the other hand, half-
shades are in use on brackets and portables to illuminate
pictures or ornaments, or to provide an indirect lighting
by reflection from the walls. The reflectors used behind
cornices in imitation of flower-boxes on the wall should be
of the asymmetrical type, so that the light is directed away
from the wall and upward instead of being confined to a
spot on a portion of the adjacent wall. For the concealed
units of this type the silvered and metal reflectors are usually
satisfactory, but where they are not concealed the so-called
prismatic glass reflectors satisfy utilitarian purposes. The
latter are useful, for example, in the kitchen, if light is to
be directed predominantly toward the cooking range or work-
table. It would be tedious to read the detailed uses for such
units, so they will be passed by with this brief mention. It
is sufficient to know that such are available, so that they
may be utilized when they best serve the needs.

In this general view of the functions of fixtures a dis-
cussion of details would lead far afield. There are number-
less designs available, and it is surprising how many fixtures
widely differing in appearance will produce approximately
the same lighting effects. On the other hand, fixtures ap-
pearing quite similar may produce very different lighting
effects. Herein lies one of the potential features of lighting,
for a desired lighting effect is not limited by the appearance
of the fixture. In choosing fixtures the lighting effects which
they produce are of primary importance, and if these effects

are not obvious from the construction of the fixtures the
purchaser should demand that they be demonstrated under
conditions which are favorable to the formation of a judg-
ment concerning them. In general, a fixture which contains
two or more circuits, each providing a lighting effect dis-
tinctly different from the others, is a more potential factor
in lighting than aimless fixtures which produce only one
effect.

It is not difficult to appraise a fixture. If it is a shower
the shades should be deep enough, and of such shape that
the lamps are concealed. Even a satisfactory fixture of
this sort, if hung too high, for example, over a dining-table,
becomes undesirable. Owing to the variation in the heights
of ceilings this factor becomes important. Many beautiful
brackets are equipped with frosted lamps, but these cease
to be beautiful when lighted. In fact, they are usually very
glaring. This is an excellent example of lack of foresight
and slavishness to "art" on the part of the designer. The
fixtures are too often visualized by him only as objects; if
he visualized them lighted he would not be guilty of their
design without shades. In a similar manner the candelabra
with its cluster of unshaded frosted lamps evolved. In gen-
eral, such lamps are usually glaring and, therefore, can have
no place in an artistic lighting-scheme in the home. If such
fixtures are hung high in large exteriors with light ceilings
they may not be glaring. By equipping them with shades
the annoying condition is replaced by a charming restful
effect. In general, there is no place in the home for unshaded
lamps. They are satisfactory under some conditions in
large interiors when glittering splendor is desired, but rooms
in ordinary homes are too small to afford escape from the
glare of unshaded lamps.

If the appraisal of fixtures progresses in this manner,
gross mistakes will not occur in the choice of fixtures. A
judicious use of common sense combined with focussing
the attention upon the manner in which fixtures distribute
light will be productive of satisfactory results. But it should
be remembered that lighting effects do not depend so'ely
upon so-called fixtures. Lamps are easily concealed in archi-
tectural and other ornaments and special construction often
yields results which are novel and interesting. In general,
then, lighting effects are of primary importance, and, ex-
cepting in those cases where fixtures are purely ornamental,
the appearance of fixtures is a secondary though important
consideration. It is always possible to satisfy the latter
requirement without sacrificing the desires as to lighting
effects. In fact, the uninitiated are likely to be surprised
at the similarity of lighting effects which can be obtained
from fixtures apparently differing widely in construction.

The C. C. Merritt House

THE idea was to get an architectural effect with simple,
inexpensive materials put together in an inexpensive
way. There was a large quantity of stone on the premises,
and it was laid up just as a foundation wall would be from
start to finish. All of the joints were slushed and pointed up
roughly, and on completion given a coat of whitewash of
half parts of white Atlas and limoid with a percentage of
waterproofing compound in it.

You will note that there are no sills and that the out-
side steps, etc., are of brick and blue stone flagging.

The flat roof is tar and gravel, and the others tile. Un-
fortunately, the variations in colors and the cement beds
these are laid in do not show in the photographs. There is
a minimum of trim used throughout the house none to the

windows except a stool. A very small, plain base and only a
mould at the door-casings. The wide-board floors through-
out the first floor are white pine of variable widths. In-
expensive hardware is used. Plain T hinges and ordinary
thumb latches throughout. What little ornament there is,
such as the doorways, mantels, and stairs, was concentrated
on and well done. The service part of the house kitchen,
laundry, and pantry were more extravagantly treated, be-
cause I used steel dressers, cork tile floors, and considerable
electrical equipment.

All the plastering throughout is in the brown finish,
just trowelled up a little smoother than usual, but showing
the trowel marks.

ARCHITECTURE

277

278

ARCHITECTURE

279

Concrete Construction

By DeWitt Clinton Pond, M.A.

IN the previous articles on reinforced-concrete design,
principles were investigated but their practical applica-
tion was only vaguely hinted at. For the purpose of sum-
ming up all the foregoing information an actual problem in
design will be taken, and all the principles and their applica-
tions will be thoroughly discussed.

A building, known as the No. 395 Hudson Street Build-
ing, is, at the time of this writing, being erected in lower
Manhattan. This building is to be one of the largest re-
inforced-concrete structures in the Borough of Manhattan,
and perhaps one of the largest built for commercial pur-
poses in the country. In plan it will cover an entire city
block, and its longest dimension will be 339 feet 9,%" inches.
Its width will be approximately 200 feet.

The firm of McKenzie, Voorhees & Gmelin are the
architects and the Turner Construction Company the con-
tractors for this structure. The author wishes to acknowl-
edge the help which he has received from the architects
and engineers.

The building will be used for several purposes. One
portion, which will be five stories high, will be used for a
garage on the first floor and for a shop on all the other
floors. The other portion, which will be nine stories high,
with a large two-story penthouse above, will be used as a
warehouse on the first, second, third, fourth, fifth, sixth,
and part of the seventh floors. The other part of the seventh
and the eighth floors will be used for a shop. The ninth
floor will be utilized as an office floor, and the first floor of
the penthouse will be given over to use as a dining-room,
kitchen, conference room, and also a rest-room for the
women employees. The penthouse will be large, but there
will be a fair roof area around it which will be used for rec-
reational purposes. It is probable that handball courts
will be installed, or bowling-alleys. The second floor of the
penthouse will be used for tanks for the sprinkler, house,
and stand-pipe systems. These tanks will have a total
capacity of 72,000 gallons of water. On this floor there
will also be elevator machinery, fans, a refrigerating-plant,
and other mechanical equipment.

Owing to the several uses that the different floors will
have, there will be variations in live loads as well as in
types of construction. Most of the construction will be
flat slab construction, but owing to the fact that over a
portion of the first floor there will be stored electric conduit,
the live load on this portion of floor will be considered as
1,000 pounds per square foot, and beam and girder con-
struction will be used to support it. As the ninth floor will
be used for office purposes, it is desirable that columns be
eliminated as much as possible, and so, many of the col-
umns stop at the ceiling of the eighth floor, and forty-foot
spans are encountered in the tenth floor and roof construc-
tion. Here again it is necessary to use beam and girder
construction. In order to conceal these girders and beams
a hung ceiling is used over the ninth floor.

It will be seen that a study of the engineering prob-
lems involved in the design of such a building will furnish
a very complete resume of all the information given in the
second series of articles of "Engineering for Architects."

The method employed by the engineers in attacking
the problem of design has been to first determine the col-
umn loads and develop a tentative column schedule. Then
these loads have been brought down to the footings, the
footings designed, and then the columns and floors have
been designed from the basement up. This method has
been used in order to enable the actual work of construc-
tion to proceed almost as soon as the floors and columns
have been designed.

Owing to the very large size of this building it will be
impossible to undertake the design of all the slabs, beams,
girders, bands, columns, and footings. Only a section of
the floor plan will be discussed, and this will include nine
bays at the corner of plan which is located at the intersec-
tion of Clarkson and Hudson Streets. In these nine bays
most of the different types of construction used in the de-
sign of the building will be found.

Fig. I shows the architectural plan of the first floor
for this portion of the structure. It will be seen that the

FIGURE. I

nine bays, or floor panels, measure 20 feet by 20 feet, ex-
cept those along the north side of the building, which mea-
sure 20 feet 11 inches by 20 feet. In the centre panel there
is a wagon court. Above this are four crane beams, which
will be carried on the second-floor construction. Between
each pair of crane beams motor-operated hoists will be
suspended. These hoists will be used to lift bodies off
trucks and carry them into the building, where they will
be unloaded. The floor level of the wagon court pitches
toward the back, and a gutter is located under the loading
platform. In general the loading platform and first floor
are 3 feet and 6 inches above the level of the wagon court.
This will mean that certain beams and girders will be at

280

ARCHITECTURE

281

different levels, as noted G5-below and S40-top, in the
structural plan, Fig. II.

This structural plan shows the spacing of beams and
girders. Slabs are designated by the letter S, beams by

'B, and girders by G. The lists which are shown in Fig.
Ill and Fig. IV give the depths and other dimensions of
the structural members, and it is only necessary to refer

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to these lists to find out the amount of steel used, or any
other bit of necessary information.

The first problem in design to be investigated will be
the design of a typical slab. It will be noticed that the
majority of the panels are framed alike. The panel enclosed
by columns 68, 69, 77, and 78 can be considered as typical.

The beams run north and south and the girders east
and west. The beams divide the panel into four parts,
and there is one beam in the centre of the panel. Usually
beams are spaced farther apart, but the live load is so heavy
in the present case that it is better to space them closer
on centres in order to avoid thick slabs and deep beams.

The spacing shown on the structural plans gives a
span of 3 feet 10 inches for the slab, 17 feet 3 inches for the
beams, and 20 feet for the girders. The structural plan
shown in Fig. II is the actual one used in the work of con-
structing the building, and it is obviously not the regular
method of procedure to have the plan before one when the
actual design is worked out. It is something like having
the answer given to the problem before the problem is
stated. However, the author will endeavor to approach the

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design of the structural members in the spirit of a new prob-
lem, and the reader can check the results by referring to
the dimensions and sizes given in the plan.

The engineer in first laying out his work would prob-
ably divide the bay in four parts, spacing his beams 5 feet
on centres. The beams would then be considered as being
1 foot wide, leaving a span of 4 feet for the slab. The typi-
cal slab would then be 1 foot wide and 4 feet long.

The next step in the design of the slab will be the de-
termination of the load upon it.

The load per square foot upon the slab will be the
usual combination of dead and live loads. The live load
has already been given as 1,000 pounds per square foot.
The dead load, or weight of the slab, depends upon the thick-
ness of the slab, and this will be assumed as 5 inches. By
referring to the first article on concrete it can be seen that
for every square inch in the area of the cross-section there
will be a pound added to the weight of a square foot of
floor slab. In other words, as there are 60 square inches in a
slab measuring 5 inches by 12 inches, there will be 60 pounds
of dead weight for every square foot of slab. To this
must be added the weight of the flooring. This is wood
block paving and will be considered as having a weight
of 25 pounds per foot. The total weight per square foot
of floor area will be 1,085 pounds, and the total weight on
the slab will be 1,085 X 4 = 4,340 pounds. Applying the
formula M = ^ Wl, and considering / as 4 feet plus 5
inches, the maximum bending moment will be fa X 4,340
X 53 = 19,168 inch-pounds.

To find the actual effective depth, equate this with
1&9.7 <P.

19,168 = 1,279.7^ 2 .

d 1 = 14.9.

d = 3.8.

Allowing for fireproofing, the thickness assumed as 5
inches is found to be satisfactory.

(Continued on page 284.)

282

ARCHITECTURE

BUILDING AT RESERVOIR.

RAILROAD STATION.

Study & Farrar, Architects.

BUILDINGS FOR WATER DEPARTMENT, CITY OF SAINT LOUIS, MO.

ARCHITECTURE

283

PUBLIC COMFORT STATION, COMPTON HILL.

DISTRIBUTION STATION, CHESTNUT STREET. Study & Farrar, Architects.

BUILDINGS FOR WATER DEPARTMENT, CITY OF SAINT LOUIS, MO.

284

ARCHITECTURE

(Continued from page 281.)

The next step is to find the stress in the steel. M =
19,168 inch-pounds. Also M = S X | X d, or, by trans-
posing, S = M -T- (J X d). By equating these two equa-
tions the following result is obtained:

S = 19,168 H- (J X 4).

S = 19,168 X f = 5,479 pounds.

5,479 -=- 16,000 = .34 square inches.

The area of a J-inch round bar is .1963 square inches.

.34 -H .1963 = 1.74 bars in 12 inches of slab, or 12 -f-
1.74 = 7 inches on centres. The slab will be 5 inches
deep, and will have J-inch round rods spaced 7 inches on
centres.

The next step will be the design of a typical beam. It
will be remembered that in the preliminary study it was de-
cided that the beams would be 5 feet on centres and 1 foot
wide. Owing to the unusually heavy live load, the beam
will be assumed to be 2 feet 6 inches deep, and the girders
will be assumed to be 2 feet 6 inches wide. These dimen-
sions may be modified after calculations are carried through.
If the girders are 2 feet 6 inches wide, the beams will be 17
feet 6 inches long. It must be remembered that all figures
given so far are only tentative.

As in the case of the slab, it will be necessary to find
the load on the beam. The load on the slab was found to
be 1,085 pounds per square foot. To this must be added
the weight of the beam. If the beam is 2 feet 6 inches deep,
it will project 25 inches below the slab, and as it has been
assumed to be 1 foot wide, the weight of the concrete be-
low the slab will be 12 X 25 = 300 pounds. The load per
square foot of superficial floor area will be 300 -r- 5 = 60
pounds. Adding this to the load of the slab, the total
weight per square foot of floor area carried by the beam will
be 1,145 pounds.

The total weight on the beam will be 17.5 X 5 X 1,145
= 100,187 pounds. M = 100,187 X 240 X ,V = 2,003,740
inch-pounds. From the equation S = M -r- (| X d), and
taking the effective depth as 28 inches, the stress in the steel
can be determined.

S = 2,003,740 -H (J X 28) = 81,656 pounds.
81,656 -T- 16,000 = 5.1 square inches of steel.

By referring to the table in the first article on concrete
construction or to any steel handbook, the areas of bars
can be found. If it is decided to use four bars, each bar
must have an area of \\ square inches. It will be seen that
four If-inch bars will be sufficiently strong. Two will be
bent up and two straight.

Shear must next be investigated. The load on the
beam has been found to be 100,187 pounds, and each reaction
will equal 50,093 pounds. The effective area of the beam
will be | X b X d. Substituting for b and d, this expres-
sion becomes f X 12 X 28 = 294 square inches. 50,093 H-
294 =170 pounds per square inch. As the Building Code
only allows a unit shear of 150 pounds, the result obtained
above is too large. Rather than increase the depth, it will
be better to make the beam wider.

| X b X 28 X 150 = 50,093.

b = 50,093 -r- (f x 28 X 150).

b = 13.6 inches, or approximately 1 foot 2 inches.

The slight increase in width will cause the dead load
on the beam to increase slightly, and it might be well to
check the calculations over to see if the steel will be over-
stressed. The steel will be found to be strong enough.

In accordance with the calculations already carried
through, a typical beam will have a width of 1 foot 2 inches
and a depth of 2 feet 6 inches. It will have for reinforcing
against bending two Ij-inch double-bent square bars and
two l|-inch straight bars.

As a matter of checking, the next item to be investi-
gated will be the compression in the concrete. The beam
being a T beam, the cross of the T will be 74 inches long,
and the distance from the top to the neutral axis 10^ inches.
There will be no attempt made to explain the calculations
given below. They can be checked by referring to the
earlier articles on concrete.

Arm of the T = 6 X 5 = 30 inches.

Total width of cross = 30 + 14 + 30 = 74 inches.

Area of cross = 74 X 5 = 370 square inches.

Distance to neutral axis = -| X 28 = 10| inches.

Compression at top = 650 pounds per square inch.

Compression at neutral axis = 0.

Compression at lower side of slab = 310.

Average compression above lower side = 480.

Total compression in cross = 480 X 370 = 177,600

pounds.
Total compression in stem of T = 155 X 77 = 11,935

pounds.
Total compression in concrete = 189,535.

This is much greater than the stress in the steel, so the
beam is safe as far as compression in the concrete is con-
cerned.

In following articles the design of stirrups will be taken
up, as well as the design of other members in the floor de-
sign.

Announcements

Mr. Clarence E. Wunder, announces that owing to
increased business the architectural and engineering firm
started by Mr. Kurt W. Peuckert in 1894, changed in 1910
to Peuckert & Wunder, and since Mr. Peuckert's death,
in 1914, continued by Mr. Wunder at 310 Chestnut Street,
Philadelphia, will move on July 21, 1920, to larger and more
convenient offices at 1415 Locust Street, where the business
will be continued with the present efficient personnel under
the new firm name of Clarence E. Wunder, architect and
engineer.

Coffin & Coffin, architects, announce the removal of
their office to 522 Fifth Avenue, New York City.

C. Howard Crane, architect, Elmer George Kiehler,
associate, Cyril E. Schley, announce the opening of a Chi-
cago office at 127 N. Dearborn Street, to be in charge of Mr.
H. Kenneth Franzheim.

Peacock & Frank, architects and engineers, announce
the opening of offices at 520-521 Colby-Abbot Building,
Milwaukee, Wisconsin.

The Road Back to Human Ideals

IT is not enough to be born healthy and happy into this
world; we must in addition be nourished and trained in
order to reach maturity and to enjoy the fulness of" life it-
self. Without training we lack judgment, and without ex-
perience we shall grow up warped and narrow, incapable
of appreciating our fellows and unable to make the best of
our own lives. It is unfortunate that modern education
utterly fails to enlarge the vision; indeed, in its general ef-
fect it seems definitely to narrow and impair the faculties
of perception. The old humanistic touch has gone; ma-
terialism has thrown its dull shadow over the ancient sunlit
places, and the fruit of the mind does not ripen as of old.
How otherwise can we explain the lamentable shortcomings
of to-day ? In an age of marvellous mechanical achieve-
ment, of perfect and unparalleled technic, scarce an artist can
be found, save one or two who painfully search in the track
of the acknowledged masters of the past; and the multitude
who take our galleries and museums for granted are content
to leave their faculties undeveloped, and are not even per-
turbed by their inability to appreciate or discriminate the
work of men who lived in life's fulness and spent their days
in interpreting its joy.

Yet the men and women of to-day are not without the
full tide of life in their veins. Joy and sorrow, the divine
beauty of human character, as well as its attendant foils,
and the lines and color of human and natural beauty, engage
their lively interest; passions, impulses, and even inspira-
tion, are yet strong and insistent. But judgment in the
larger sphere is strangely lacking. Ideas are in disarray.
The wildest theories gain currency. Fantastic opinions are
thoughtlessly uttered. All that is expressed in the word
"design" the synthetic and creative genius which is instinct
in the created universe this, the very breath of art, seems
aloof and distant from the modern mind. The masterpieces
of mankind are tolerated, bought and sold for large sums,
even made the occasion for fashionable parades of dress,
and honored by the dry and incomprehensible disquisitions
of eminent virtuosi, but never arouse the people to a passion
of admiration or a frenzied attempt to rival their beauty.

The labor sickness in the country at the present time
is not traceable in the main to any of the causes commonly
held to explain it; it is symptomatic of a lack of interest in
craft. A man's work is no longer the natural outlet for that
part of his nature that cries for expression.

It is so strange a circumstance that the most essentially
human organs should cease functioning that most people
refuse to believe it and seek refuge in an attempt to prove
that the whole condition of life has altered. That the con-
ditions of life have changed there is no question, but these
people deceive themselves if they judge that any change of
condition, however apparently revolutionary, will in the
smallest degree modify the need which men feel for art and
all that it means.

We have said that education has lost* its old potency,
and there is very little doubt that the paralysis of the art-
interest is largely due to the completely changed orientation
in life caused by natural science.

It is not that modern science and modern art are an-
tagonistic. They are of the same blood, and there is too
much of a family compact between them to admit of an-
tagonism. The analytic genius of a century has been busy
on a minute examination of the structure of natural forms

and of the exact working of the dynamic forces of nature
which have been harnessed to our use. Our mental forces
exhaust themselves on objective research. We even attach
ourselves to the natural processes and regard ourselves ob-
jectively and dispassionately. Yet we have solved none of
the greater mysteries of life; we have resolved none of the
paradoxes which are involved in the passions and deep de-
sires implanted in our hearts. The desire to reconcile good
and evil, and the yearning for immortality, are not satis-
fied by the deftest of mechanical devices, nor is the principle
of natural selection a touchstone which will transmute the
thousand perplexing riddles of daily life into golden harmony.
But music and poetry, painting and architecture, when
loved and fashioned by men and women of all classes, act
like a charm and bind the broken fragments of our experi-
ence into a thing which satisfies the mind and heart. For
in these arts man is not merely exploiting nature for his ma-
terial advantage, nor seeking knowledge for material ends;
he is using the divine instinct of creation within him, form-
ing and devising in his handiwork the harmony which he
believes and wants to believe to be the underlying principle
of all life.

To some it will seem that a considerable mental effort
is required to gain that simple, trusting attitude toward life
which makes for beautiful craftsmanship for its own sake.
But nothing of the kind is required. The road back to human
ideals is by the study of the work of the artists of the past,
of a time untouched by the particular disease that vitiates
modern production. Many people are obsessed with the
notion that the study of old work can only lead to the fetter-
ing of originality and the enslavement of the mind. Let us
dismiss the idea utterly. Good craftsmanship yields to the
student innumerable secrets of the means of expression, and
inspires him to emulate, not copy, the artist. In the days of
apprenticeship a gifted master will have a great following,
and among his pupils there may be some who will never
rise above the standard of competent journeymen. Yet
even these will not be servile copyists; they will content
themselves with the discoveries of their master, and per-
petuate the principles of his technic.

It is not a fanciful theory that the measure of our means
of expression is largely dependent on our knowledge of the
work of the great artists of the past, for without the language
built up by them we must remain largely inarticulate. The
church, it is true, in ten centuries invented and brought to
perfection a language of art which we call Gothic; but this
could not become permanent, and the Renaissance proved
the necessity for the world-wide conventions which we know
by the name of the classical style. If we would invent a
new language we must postulate an entirely new civiliza-
tion, and one superior in staying power to the Christian
community of the Middle Ages. Moreover, in order that
we should have the benefit of the vast experience of the race,
nature has arranged that all human activities should be
governed by the convention of time, instead of providing
that everything should happen contemporaneously. So
through the records and monuments of each age we are able
to know the result of life under all conditions, and gain wis-
dom and judgment by their comparative study.

From an article in The Architectural Review, London, on
"Should London Preserve her Churches."

285

XX11

ARCHITECTURE

' GMtlJN. At':;

3 ra

I I S'H

Artist's Drawing of the Big New Warehouse and Loft Building Now Under Construction at 395 Hudson Street, New York

McKrniie, Voorhees t3 Gmclin
Architects

Turner Construction Co.
Builders

This building, when complete, will
be occupied jointly by the Western
Electric Co. and the New York
Telephone Co., and will occupy the
entire block surrounded by Hudson,
West Houston, Greenwich and
Clarkson Streets. The building
furnishes a most interesting side-light
on the trend of building design in
Manhattan. For many years it has
been popular to assume that rein-
forced concrete, although an ideal
material for industrial structures,

could not be used for loft and office
buildings and apartment houses.
With the present cost of labor and
material, however, the economy in
favor of reinforced concrete is so
big that many owners are now turn-
ing to this material as the only way
out of their difficulties. In this time
of building shortage many office and
loft buildings 12 stories and less in
height could be efficiently, economi-
cally and expeditiously built of re-
inforced concrete.

Turner Construction Company, NewYork City

ATLANTA

BUFFALO

CLEVELAND

PHILADEL PHIA

IJLCt

"OLD NEW AMSTERDAM" (BETWEEN SOUTH FERRY AND THE BRIDGE).

Drawn by G. A. Shipley

ARCHITECTVRE

THE PROFESSIONAL ARCHITECTVRAL MONTHLY

VOL. XLII

OCTOBER, 1920

NO. 4

i>iiiiuiiiiiiiHi'.mnuui>n!uuMniiunumufli' .

Making Over Old New York

A Modern Development in Turtle Bay
Edward C. Dean, William Lawrence Bottomley, Associate Architects

By Ernest Peixotto

ONE of the most interesting problems confronting our
architects in connection with the scarcity of apart-
ments and domiciles in New York City has, undoubtedly,
been the remodelling of blocks of old residences to meet the

needs of modern life
houses, dating for the
most part from the hide-
ous brownstone period,
bought in groups of ten
to twenty and treated
as a single unit to serve
as co-operative com-
munity centres.

In my opinion the
happiest solution of this
particular problem, to
date, is that known as
Turtle Bay. Turtle
Bay takes its name from
an inlet of the East
River that is so desig-
nated on the old maps
of Manhattan Island.
Its houses face on 48th

and 49th Streets between Second and Third Avenues ten
houses on each street.

The stupid brownstone fronts have been scraped and
stuccoed and relieved, on the 49th Street facade, with iron
balconies and tall gables that recall the old houses of Ant-
werp or Bruges. The 48th Street front has been treated in a
more severe style, with simple rows of windows surmounted
by a long cornice and an attic story suggesting some row of
Georgian houses in London or Liverpool. Both facades are
enclosed by iron palings of simple design, whose spikes are,
however, surmounted in places by turtles that recall the
name of the place.

The architects associated in the remodelling of Turtle
Bay were Edward C. Dean and William Lawrence Bottomley.
Both are known for the picturesque quality of their work.
Both love color; they both love the unexpected in design, the
accidental. Mr. Dean's remarkably interesting work in the
Women's Cosmopolitan Club has already been presented to
readers of ARCHITECTURE. His more recent reconstruction
of a group of Neo-Greek houses on the old London Terrace

Detail in garden, Turtle Ba

in West 23d Street for the New School for Social Research has
added greatly to his reputation, as in this able piece of work
he has achieved a remarkable result with the use of the ut-
most simplicity of design and materials.

In Turtle Bay, however, he has found the best oppor-
tunity that has thus far come his way, and it is in the garden
and in the interiors of the houses that his talent has found its
best expression.

The plan of each house has been reversed, so to speak.
That is to say, the living-rooms, dining-rooms, and the more
important bedrooms face into the gardens, while the kitchens
and rooms of lesser consequence front upon the street. The
large interior garden is the unique feature of Turtle Bay.
The high "back-yard" fences have been removed and re-
placed with low stone copings that mark the limits of each
private yard.

But down the centre of the garden a broad passageway
has been left that is common ground, and this has been em-
bellished with a number of charming features: pergolas,

:n ,Ioggia, Turtle Bay.

287

288

ARCHITECTURE

Detail in Cosmopolitan Club. Edward C. Dean, Architect.

fountains, gate-posts, and runlets of flowing water. The in-
dividual gardens have also been planted with cedars and
handsome trees and decorated with pools and fountains and
with stone and terra-cotta pots placed along the wall tops,
which, by a clever treatment of brick and stucco, already
look quite old and weathered.

In order to cut off the view of the adjoining houses,
loggias have been built at the east and west ends of the gar-
den, consisting of sturdy arcades surmounted by terraces
backed with high walls adorned with flower-pots. These
loggias have been stained a warm salmon pink that recalls
the garden walls of the Italian Riviera, while all the houses

Loggia of dwelling, Turtle Bay.

that face into the garden are painted in pale pastel colors
pink, gray, mauve, blue, and light ochre that remind one
of the gay streets of Nervi or Rapallo.

Yet, strangely enough, Turtle Bay, in spite of these fea-
tures, does not seem too exotic nor out of place in busy New
York City. Perhaps this is in some measure due to the peo-
ple who live in it, for they are, for the most part, well-known
writers, architects, or artists whose background is cosmo-
politan rather than provincial.

The individuality of the owners is also indelibly stamped
upon the interiors of the houses. Some of these are quite
simple, depending for their effect upon plain wall spaces and
old-fashioned furniture. Others are treated with the most
modern of colorings and hangings, while others again are
decorated in an oriental manner with Chinese carvings and
stuffs, and with rare, exotic bibelots. One owner, who oc-
cupies two houses, has created a great living-room, a lofty
chamber whose coffered ceiling is supported by sixteen-inch
beams and corbels and decorated in the manner of the Italian
(Continued on page 290.)]

Alterations to rear of dwellings, Turtle Bay.

A wall fountain, School for Social Research, New York City. Edward C. Dean, Architect

ARCHITECTURE

289

2 go

ARCHITECTURE

(Continued from
page 288.)

Renaissance.
The frieze is
treated in simi-
lar fashion and
the walls are
hung partly
with superb
tapestries and
partly built in
with tall book-
cases that ac-
commodate a
library of sev-
eral thousand
volumes. The
effect of these
rich tapestries
and handsome
bindings and of
the stained and
painted ceiling
and frieze, com-
b i n ed with
beautiful and
carefully select-
ed furniture, is
really magnifi-
cent, and one
can scarcely be-
lieve that this great room, with its Old World atmosphere
and r&repatina, was created only- within the past few months.
The same may be said of Mr. Dean's own residence.
With his love of the unusual, he has produced a remarkably
interesting series of apartments, that cannot be classified
under any of the well-known "styles," yet constantly sug-
gest the rooms in European houses, for in them he has util-

A Spanish balcony, Turtle Bay.

ized antique
columns and
capitals, gilded
caryatids,
painted panels
and icons, bro-
caded lambre-
quins fringed
with gold gal-
loon yet using
all these fea-
tures with not-
able restraint,
contrast i n g
their richness
with perfectly
plain wall sur-
faces of beauti-
ful texture;
suggesting in
his combina-
tions of richness
and simplicity
the work of the
Hispanic build-
ers who loved
to display their
elaborate bits of
detail against
perfectly plain
and simple walls.

This, indeed, is the key-note of the work at Turtle Bay:
a union of simplicity with the beauty of unusual things; a
picturesqueness that would make an artist want to run and
get his sketch-book; a personality and an atmosphere of
quiet charm, combined with a feeling of "rus in urbe" that
will make of each of its inhabitants a lover of his own par-
ticular home.

The central garden-path, Turtle Bay.

Study for a French farmhouse to be built in Maryland. Edward C. Dean, Architect.

The Fletcher Building

A Fine Example of the Use of Reinforced Concrete
By Frank J. Helmle

The Fletcher Building. New York City. Helmle & Corbett, Architects.

REINFORCED concrete has for several years been the
standard material for the construction of factories and
warehouses. It has also been used extensively for hotels,
offices, and loft buildings, but this use has been much more
general in the South and West than in New York.

There are several reasons for the backwardness of New
York architects in adopting reinforced concrete for the above
uses. One reason is that in the case of buildings over twelve
stories in height reinforced-concrete columns, if used in the
lower stories, would be of excessive size. Another reason
is that it is difficult, if not impossible, to obtain for the ex-
terior surfaces of a concrete building the absolute perfec-
tion of texture and alignment which can be obtained with
cut stone or brick. A third reason is that structural steel
has been the established material for use in buildings in
the metropolitan area for a great many years. Architects,
owners, and contractors have all been familiar with the
details of structural-steel construction, and a considerable
amount of inertia has had to be overcome in changing from
onej standard and satisfactory method of construction to
another.

Reinforced concrete has probably been the most
economical form of fireproof construction ever since it
passed the experimental stage. Prior to the present period
of inflated prices the margin in favor of reinforced concrete
as against structural steel fireproofed was probably not over
10 or 15 per cent of the cost of the structural frame of the
building. This was equivalent to possibly 5 per cent of
the total cost of the building, and was, except in the case
of the most progressive architects and owners, not sufficient
to overcome the inertia above referred to. At the present
time, however, the margin in favor of reinforced concrete
is approximately 40 per cent of the cost of the structural
frame. This increase in margin is partly due to the con-
stantly widening experience of the reinforced concrete con-
tractors' organizations and their workmen, partly due to
improvements in standardization of methods, and partly
due to the high cost of structural steel and brick as com-
pared with reinforced-concrete materials.

It has therefore become necessary that architects, in
the interests of their clients, should consider seriously the

(Continued on page 293.)

291

2Q2

ARCHITECTURE

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ARCHITECTURE

293

VARJCK. JT. E.LEVATIO/1
FLETCHER DUILDWQ

VAR.ICK.- CTLAND--*XB-WATTJ- JTR.EETJ

.NEW VOK-.K CITY
HELMLt AND COR.tETT-AKCHlTE.CTJ -bR.OOK.LYAt- /4 .V.

(Continued from page 291.)

use of reinforced concrete. As a matter of fact, the dis-
advantages referred to in the early part of this article, name-
ly, column sizes and exterior appearance, are far less serious
than many have supposed. A reinforced concrete column
in the first story of a twelve-story building, having columns
18 inches on centres in both directions and designed to carry
live loads of 150 pounds per square foot, would be a round
column 30 inches in diameter. If, for some special reason,
it should be necessary to make the columns in the lower
stories even smaller than this, structural-steel cores could
be used at an additional expense, which would use up
only a very small part of the saving effected by the use of
reinforced concrete for the balance of the structural mem-
bers.

Regarding the external appearance of a rein forced-con-
crete building, the accompanying cut of the Fletcher Build-
ing on Varick Street, New York, shows what can be done.
The exterior of this building is entirely of reinforced con-

crete, but there are endless possibilities in the combination
of brick, terra-cotta, or stone with concrete surfaces.

An important point for consideration is that with an
all-concrete exterior the expense incurred for architectural
effect is very small, as most of the architectural members
are also structural members. It is probable that in the cost
of the Varick Street building the cost of the exterior walls,
including ornamentation, is no greater than the cost of the
structural-steel wall columns, lintel beams, fireproofing, and
backing would have been if this building had been constructed
of structural steel. In other words, the entire cost of the
face brick or stone work which would have been necessary
with structural steel has been saved.

Another way of looking at it is that if an owner insists
upon a brick or stone exterior this face work can be applied
to a concrete frame as cheaply as to a steel frame, and the
economy of using reinforced concrete in place of structural
steel for the interior columns and floor systems will still
accrue to the owner's advantage.

Alterations of Buildings for Commercial Uses

AV alteration is always a special problem, as
well as an interesting study for the architect
who likes to take advantage of difficult and unusual
opportunities. The details involved are quite dif-
ferent from those of a new building, and are really
in a class by themselves. The client says: "Mr.
Architect, I have an old ramshackle building on
Q Street, and I do not know how to make it over
so that I may get the proper income from it." He
turns the question over to the architect and, if the
result is a failure, only the architect is to blame.
He may be either incompetent or careless of his
client's interest, or sometimes both. To some archi-
tects a job is merely a job they work only for
the money that they may make out of it. Others
who have an interest in a particular piece of work
take pride in doing their utmost to produce a
finished and successful building, not only for the
client's sake but for the reputation of the archi-
tect and the profession generally. If a client has
a definite object to obtain, the problem requires
very careful consideration.

The costs, of course, are always a serious item,
and only careful attention to essentials and the
ultimate profitable rental of the premises can com-
pensate for these. Too often there are architects
who will undertake such work with the idea that
almost anything is good enough, not realizing that
even in alteration work they have fine opportu-
nities for originality and manifestation of their
special knowledge. The speculative builder is usu-
ally anxious only to get the job finished. The
architect with a proper sense of responsibility will
carefully consider financial returns based on right
planning that make for better renting values and
a larger use of space. The radical, queer, and un-
usual thing is not to be tried, but the conserva-
tive and dignified styles with everything carefully
designed and proportioned to the character of the

A room in New York Galleries.

New York Galleries, 419 Madison Avenue, New York City. (Alteration.) Geo. Mort Pollard, Architect.

building. The successful architect of to-day is
one who not only looks at the money end of it,
but who also takes the broader view of the
public interest, of the advantage to the com-
munity of the properly designed and con-
structed building.

In remodelling 419 Madison Avenue for
the New York Galleries every detail was care-
fully taken into consideration. Materials on
hand and the materials available in the market
had to be considered. Special attention was
given to the adaptability of the old buildings
for their new and special use, and for an agree-
able and attractive fa?ade that would have
commercial value in its appeal to the interest
and the taste of the public. The building is
clearly founded on Italian models, with broad
masses attractively relieved by the placing of
the doorway and the windows.

It is intended to carry out the interior of
the building in a series of rooms carefully
studied for the display of furniture groups,

(Continued on page 296.)

294

ARCHITECTURE

295

i*' J ' 3

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M u A

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III

2Q6

ARCHITECTURE

Doorway, New York Galleries, 419 Madison Avenue, New York City.
(Continued from page 294.)

providing such backgrounds adequately to express and har-
monize with various periodic styles. The room shown is

Doorway, $ East 40th Street, New York City.

Egyptian Lacquer Co., 5 East 4Oth Street, New York City. (Alteration.)
Geo. Mort Pollard, Architect.

one of six in course of construction. The basement below
the sidewalk is to be in Caen stone, with flooring of broken
flagstone set in cement. There will be a fireplace of aiti-
ficial stone, with fifteenth-century fire-tools and implements.
The space will have an area of 58 by 50 feet. On the top
of the building, back of the balustrade, will be constructed
a solarium for the display of garden furniture.

No. 5 East 40th Street, which was done for the execu-
tive office of the Egyptian Lacquer Company, required a very
different study for the special needs of this business. The
old house was remodelled from top to bottom, always with a
view to the future development of the company and to the
possibility of its outgrowing this building and the need of
renting or selling it advantageously. Both these buildings
are therefore types showing special consideration for stylistic
details.

There is a refreshing and pleasing aspect in the result
of such alterations, and in time promise the almost com-
plete passing of the old brownstone era, rows of buildings
of uniform ugliness, and inefficient planning. We owe the
change to the opportunity offered by present needs and the
fact that architects are given a chance to show that merely
from a commercial point of view an attractive and individual
exterior is. the best of investments.

Our New Architecture

IF there was ever any doubt in the minds of the profession
or the public as to the wisdom of New York's new zon-
ing laws, with regard to their influence upon the quality of
our architecture, it is being dissipated rapidly by the obvious
success and distinction of the new business buildings that have
been and are being constructed under its wise provisions.

There have been new problems presented for the archi-
tects to solve, and they have generally met them with the
intelligence and good taste that might be expected of them.
Fortunately, they have in most cases had the sympathetic
co-operation in their problems of the business concerns
which have supplied the capital.

The great masses of straight walls reaching skyward, that
have always been so difficult to handle, now broken up into
separate planes above a certain height, add a new element of
die picturesque, as well as new elements of light, air, and pro-
tection for neighboring buildings. There is every promise
of a great new development in which mere size and bulk
will be subservient to a larger consideration for both beauty
and fitness. The high building will make a new appeal to the
artistic sense, as well as the practical one, of all concerned.

Taking It Seriously

WE have awakened apparently to the increasing menace
and dire need of housing all over the country. For a
long time the shortage, with its consequent congestion and
dangerous unrest, has been very much in evidence, and a lot
of words have been spilled in discussing ways and means of
remedying conditions; but it has taken the imminence of the
beginning of a new renting season and the prospect of thou-
sands of evictions, the consequent legal complications and
downright hardships, not to say possible riots, involved, to
bring about any real, concerted legislative action.

New York has decided against mortgage exemption on
new building, and has decided to let savings-banks mind
their own business. The part of the discussion that seems
worthy of the minutest examination is the question of profi-
teering in essential building materials.

There has been too much meddling with the natural
laws of supply and demand, but these are abnormal times
and old ways have been forgotten in the insatiable greed
that has governed the control of certain kinds of business.
Competition has been at a standstill, for why compete when
there is not enough to go around, and the smallest mer-
chant can vie with the big one and follow his lead in the
general game of making hay while the sun shines ?

No one needs to be told that the mood of the time is:
"Get it never mind how, but get it." The following, from
a recent editorial in The American Contractor of Chicago,
admirably expresses the attitude of thousands of workers:

"The 'go to h ' attitude toward the job is so uni-
versal that those who realize productive effort is the founda-
tion of society cannot escape the keenest anxiety for the
future of this and other nations. When it becomes the rule

rather than the exception that workers everywhere are dis-
honest in their attitude toward work and employment,
quite as a matter of course, our system is not 'threatened,'
with decay but already is crumbling.

"The labor-unionist and the liberal economist will ex-
plain that the wage scale and working conditions are chiefly
to blame. There is involved something more than this, some-
thing vastly more fundamental and dangerous. There is in-
volved an ethical code and a concept of honor and honesty.
Granted that a wage may be too low, or too high for that
matter, when an individual has agreed to do a specific task
for a specific wage, accepting the wage without doing the
task to the best of his ability is a dishonest thing and nothing
else can be made of it.

"The attitude is not limited to organized labor by any
means. Everywhere one finds evidence of a determination
on the part of producers to render the least service for the
most pay without doing the service agreed on.

"Are we reaping the results of an educational system
which overemphasizes material success and measures respect-
ability in terms of bank rolls ? The law of business as it is
taught everywhere is to buy as low as possible and sell as
high as possible, and when that formula is translated into the
attitude of producers it is bound to kill our pride of work-
manship and ideals of service."

A Grave Question

f I A HERE is one aspect of the present congestion of popu-
A lation in our cities that seems to need the gravest
thought and consideration of what it means in the future.
The gate of our country is again wide open, and the officials
at the Ellis Island Immigration Station are literally over-
whelmed by aliens who are coming to us in great hordes
thousands upon thousands a large part of them destined to
stop at already congested centres, where they will swell the
dangerous and unassimilable groups of foreign-language-speak-
ing people that segregate in their own particular sections and
add to the already seemingly insoluble problem of housing.
Would it not be well for us to first try to put our house in order
before we open the doors to guests we have no room for ?

The war taught us no greater lesson with regard to our
home affairs than that, in making our American army, we
had first to teach thousands the meaning of the simplest
words in our language primer; and need we have a greater
lesson in caution regarding the character and quality of a
new immigration than such a horror as the recent Wall
Street explosion ? Do we not owe something to the people
already here ? Is not our problem of making the world safe
for democracy dependent first upon the regulation of our
own affairs ? Is there justice or charity or right in permit-
ting the steamship companies to profit at the expense of
thousands of deluded people who are led by their specious
propaganda to forsake Europe and come to a land that al-
ready needs time to absorb and educate in our own ways
of thought the millions of aliens already with us ?

We should at least be in a position to select our associ-

297

298

ARCHITECTURE

ates with some regard for what is good for this loved coun-
try of ours. It is a heritage of freedom that we should pass
on, but a freedom that must respect our laws and our tra-
ditions, with a regard for our language and the thought of
our national unity, made up of Americans either native or
foreign-born. We permit the adult alien, who too often can
neither speak nor write our language, to become a voter in
too short a time. We keep open house for those we cannot
accommodate nor begin to assimilate for many who neither
understand us nor try to.

One of our newspapers said recently in an article upon
the conditions at Ellis Island:

"The State Department may send instructions to Amer-
ican consuls abroad to exercise greater care in giving per-
mission to aliens to come to the United States. The para-
sitic element is more noted among the recent arrivals than
heretofore. The consuls are not having very much diffi-
culty in halting radicals, but it is the shiftless element and
the destitute that will be stopped before they embark."

The labor problem is already a grave one and should
we not be sure there is work ahead for all those here before
we go on adding a greater mass of people who with present
conditions only make the difficulty of solution greater ?

Home-Building and Labor

IT is labor in the guise of carpenters and masons and
others who are making home-building for thousands im-
possible. There is an evident downward trend in the cost
of materials, lumber, cement, brick, but labor stands pat,
and those who might build are appalled by the cost of labor
calculated in day's work. If labor worked with the zeal of
honest craftsmen in honest work, the day's accomplishment
in speed might offset the heavy toll in the cost per hour.
But the conscience of labor in the mass seems to have be-
come atrophied. It is no longer how much can be done, but
how little; and the old pride in good work, the self-respect that
belonged with an honest day's work honestly done and as far
as it could be done, no longer governs; the lazy, the inefficient,
and the trouble-makers, who would live as the lilies of the field,
are at par with the men of real skill and special knowledge.

In figuring the cost of building any sort of a house in
these days, one should begin with the cost of labor, and add
to any estimate of before-war times anywhere from thirty
to forty cents an hour for every man employed, and re-
member also to deduct about the same ratio for inefficiency.

It is labor that must be awakened to the need of greater
production within a given time, if wages are to be main-
tained and the work of rehabilitating the world, _of making
life easier for labor and for us all, are to be realized.

There are already signs that some wise heads are be-
ginning to see light. A new association to be known as
"The National Industrial Commerce of Building and Con-
struction" was organized recently in Chicago, representing
both capital and labor, pledging that they would "pull in
harness until the shortage of one million homes in America
is filled." Verily we may yet be in sight of balm in Gilead,
and the sound of the hammer on the million homes may be
as the ringing of glad bells.

Go to it !

The National Council of Architectural
Registration Boards

THE first formal meeting of the National Council of Ar-
chitectural Registration Boards will be held in St.
Louis, Missouri, on November 18 and 19, 1920.

All architectural registration or licensing departments,

boards or committees throughout the United States are in-
vited and urgently requested to send representatives to this
meeting in St. Louis.

While membership in the council is restricted to the
legally appointed representatives of the registration or licens-
ing authorities of States having registration or license laws,
the council would be glad to welcome the attendants at the
council meeting of committees of architects from States hav-
ing no registration or licensing laws.

Legislative committees from States having laws pend-
ing will find the proceedings of the council very helpful and
instructive. Among the papers to be presented will be a re-
port of a committee appointed at the Washington conference
to make a careful, analytical, comparative study of the vari-
ous registration laws now in force in the various States. Ef-
forts will be made to harmonize these various requirements
so as to make easy reciprocal transfer from State to State
and thereby facilitate interstate practice.

A desirable outgrowth of the conference will be the
formation of some sort of clearing-house of information with
reference to the records of architects asking extension of
registration from one State to another. It is hoped that the
council may be able to recommend a uniform law, which
may be adopted by the various States.

Committees and registration officials are urged to make
arrangements for representation at the earliest possible date
and notify the secretary of the council, furnishing the names
and credentials of their official representatives.

The Money Value of France's Loss in Art
Treasures and Historic Monuments

ONE of the most interesting items in the latest inventory
of the losses of France through the war is that which
tells of the extent of the damage to her art treasures and
historic monuments. The official estimate for this loss, which
has been obtained by the Paris Information Service of the
Bankers Trust Company, is placed at over $125,000,000. ,

This figure, which has been recently calculated for the
information of French minister delegates to forthcoming
international conferences, has been arrived at after an ex-
haustive examination of the ruins of historic monuments,
statues, churches, museums, and their contents. The irre-
placable nature of these losses is indicated by the sum of
600,000,000 francs which is set against " moral injury." ^

"This sum of 600,000,000," explains the official text?"
"is an approximation of the loss the French people have
sustained by having lost forever works of peculiar value
because of their beauty and historic associations."

In order that a fair statement of values might be made
the art commission sets forth the losses in terms of both pre-
war and post-war currency as follows:

1914 value
Historic buildings (750 in all) . . . 300,000,000 francs

Historic monuments 25,000,000

Museums 15,000,000

Moral injury 300,000,000

Total 640,000,000 "

1920 val
1,200,000,000 francs
50,000,000
30,000,000
600,000,000

1,880,000,000

The 640,000,000 francs of losses, on the basis of pre-war
values, are equal at normal exchange, which then prevailed,
to about $128,000,000.

An estimate of the loss in stolen or damaged jewelry and
precious stones is placed at 1,119,000,000 francs, present
values.

The loss in personal property and objects of art owned
by private individuals has been placed at 4,500,000,000 gold
marks.

OCTOBER, 1920.

ARCHITECTURE

PLATE CXLV.

.*'

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LAWRENCE MEMORIAL CHAPEL, LAWRENCE COLLEGE, APPLETON, WIS,

Child* & Smith, Architects.

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OCTOBER, 1920.

ARCHITECTURE

PLATE CXLVII.

AUDITORIUM.

PLANS.

Childs & Smith, Architects.
LAWRENCE MEMORIAL CHAPEL, LAWRENCE COLLEGE, APPLETON, WIS.

OCTOBER, 1920.

ARCHITECTURE

PLATE CXLVIII.

\lz JCALE PLAAU Or TOWE.IL.

E M RIAL CHAPEL

LAWRENCE MEMORIAL CHAPEL, LAWRENCE COLLEGE, APPLETON, WIS. Childs & Smith, Architects.

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OCTOBER, 1920.

ARCHITECTURE

PLATE CLI.

LIVING-ROOM, RESIDENCE, E. C. DEAN.

DINING-ROOM, RESIDENCE, E. C. DEAN.

ALTERATIONS, TURTLE BAY, NEW YORK CITY.

Edward C. Dean, Architect.

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OCTOHER, 1020.

ARCHITECTURE

PLATE CLIV.

ENTRANCE-LOBBY.

ft. /IH.

RUSSELL SAGE DORMITORY, LAWRENCE COLLEGE, APPLETON, WIS.

T1PICAL fLOOR. PLKN

Childs & Smith, Architects.

OCTOBER, 1920.

ARCHITECTURE

PLATE CLVII.

LIVING-ROOM.

BASEMENT PLAN, GARAGE, ETC. Wa.ddy B. Wood, Architect

RESIDENCE, B. B. JONES, WASHINGTON, D. C.

OCTOBER, 1920.

ARCHITECTURE

PLATECLVHI.

DINING-ROOM, RESIDENCE, B. B. JONES, WASHINGTON, D. C.

Waddy B. Wood, Architect.

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ARCHITECTURE

299

rfiZTTE O U H

StCONP RoOtt. PLAN

TIB3T floon, PLAN

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Competition for Milwaukee County General Hospital

Including Nurses' Home, Laboratory Building, Power-House, Garage, and Laundry
Van Ryn and De Gelleke, Armstrong and De Gelleke, Associated Architects

MAIN hospital building is to be planned to take care of
515 beds, with a view to future extension to take care
of an additional 500 beds. The following departments in
this building must be planned at once so that they are of
sufficient size to take care of a 1,000-bed hospital: adminis-
tration department, operating department, culinary and
dining-room department, and check-room.

Nurses' home is to be planned to accommodate 100
pupil nurses and 36 graduate nurses, with a view to future
extension to take care of double this number of pupil and
graduate nurses. The large sitting-room or amusement-
hall on first floor, toilet accommodations, gymnasium,
swimming-pool, private laundry, and trunk-room are to be
planned at once to accommodate the additional nurses.

The power-house and laundry are to be planned at once
to take care of a 1,000-bed hospital.

JURY OF AWARD

The owner agrees that there will be a jury of award
consisting of nine (9) members as follows: 3 architects,
selected from names as suggested by the Wisconsin chapter,
A. I. A.; 1 physician, 1 surgeon, 1 superintendent of nurses,
the chairman of the county board, 1 member of the board
of administration, and 1 other member of the county board.
The personnel of the jury of award shall be as follows: archi-
tects, Arthur Peabody, A. I. A.; Elmer Jensen, A. I. A.;
Irving Pond, A. I. A.; physician, surgeon, and superintend-
ent of nurses not yet selected; board of administration,
William L. Coffey; chairman of county board and 1 other
member of county board to be selected.

COMPENSATION TO COMPETITORS

The owner agrees to pay to the successful competitor,
as determined by the jury of award, within twenty days after
such determination, the said sum of $5,000, being the amount
of the first prize in said competition. If said competitor is
selected as architect of the building, the said sum shall be
considered as part payment of his total fee. In case of delay
in building operations on the part of the owner, such delay
shall not rescind any former action of the owner as to the
selection and future employment of the architect to whom
the work has been awarded.

In full discharge of his obligations to them the owner
agrees:

To pay the following prices to those ranked next to the
successful design: to the design placed second, $1,500; to
the design placed third, $1,200; to the design placed fourth,
$1,000; to the design placed fifth, $750, within ten days of
the judgment.

REQUIREMENTS OF THE BUILDINGS
The buildings are to be built of good available materials
in accordance with good practice, with a view to rigid econ-
omy consistent with good lighting, ventilating, sanitation, and
good taste.

A compact design is desired.

The exterior should be a combination of brick and stone,
or brick and terra-cotta, or a combination of the three. Sheet-
metal or wood exterior architectural treatment will not be ac-
ceptable. The entire buildings should be fireproof and corri-
dors should be made as noiseless and soundproof as possible.

300

ARCHITECTURE

301

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DESIGN FOR MILWAUKEE COUNTY GENERAL HOSPITAL.

LIST OF DEPARTMENTS OF BUILD-
INGS TO ACCOMMODATE 515 BEDS

Medical; Surgical; Maternity;
Pediatrics, Orthopedics; Eye, Ear,
Nose, and Throat; Genito-Urinary;
Psychopathic; Nurses Indisposed;
Doctors Indisposed; Administration
Department, first floor, central wing;
Operating Department, fourth floor,
rear wing; Out-Patient Department,
ground floor; Psychopathic Out-
Patient Department, ground floor;
Culinary Department, unit on ground
floor, and kitchen, basement, and
first floor, rear wing; Dining-room De-
partment, second and third floors;
Isolation Department, eighth floor.

TUNNEL

A tunnel of sufficient size and
conveniently located is to be provided
for, to connect the main hospital
building with the laboratory building
and the building containing power-
house, garage, laundry, and workshop.

The Jury made the following awards :
1st Van Ryn and De Gelleke,
Milwaukee, Wis., Armstrong and De
Gelleke, New York, Associated Archi-
tects. 2d Schmidt, Garden & Martin,
Chicago. 3d -Eric Gugler, New York.
4th Clare C. Hosmer, Chicago,
William H. Furst & R. G. Wolff, Asso-
ciated Architects. 5th Robert Mess-
mer's Sons, Milwaukee, Wis.

Town Planning for Convenience and Health

By Louis Lott

THERE is not a community in the United States that
cannot, by scientific analysis of the problems contained
within its city plan and in its industrial and commercial ex-
pansion, so regulate its future developments and improve-
ments that these will prove permanent assets. Problems
definitely and well solved, by taking them up in the order of
their importance, gradually work toward the definite goal of
an orderly, beautiful community.

A comprehensive town plan co-ordinates all of the diver-
sified interests and activities within a community, both pub-
lic and private. It provides for adequate street traffic,
transportation, and safety. It groups all business and other
activities of a kind in given districts. It protects the home
and private property from depreciations. It provides for
parks, boulevards, playgrounds, and play-fields, and for
school and building sites. It also provides for city exten-
sion and increased population, and protects a community
from such losses and shortcomings as were caused by the
lack of such a plan in the past. It furthermore does away
with duplication of public and private efforts and waste, pro-
vides for maximum, intensive use of all community facilities,
serves as a common tie of all interests, as a guide to public
officials and private investors, and finally establishes definite
objectives and goals. Thereby it co-ordinates all efforts
toward a better, more healthful, more prosperous, and more
attractive-looking community, creates order where there is
chaos, and in the end will make as smooth-working a ma-
chine of the physical city as it is possible to make, for, being
comprehensive, it takes all features and questions of the
community into consideration, according to their degree of
importance, and harmonizes them with each other. The
plan beomes homogeneous and lop-sided development is
avoided.

In this manner the industries of a community, for exam-
ple, will receive the utmost assistance, for such features as
docks, streets, traffic, railroads, etc., that have a bearing
upon them, as well as the transportation, housing, and recre-
ational facilities for their employees are studied: not only
in relation to the community as a whole, but also to those
industries, so as to enable them to reduce their overhead
expenses to a minimum and thereby effectively compete in
the world's markets. It must be borne in mind that if
physical defects in the city plan prevent such industries from
doing their business in the most economical and efficient
manner, or if the lack of housing, or the quality of the same,
etc., handicap such firms in procuring adequate help of the
best quality, then all of this is not merely a matter that con-
cerns these industries only, but it is also vital to the com-
munity as a whole, since its welfare and prosperity is more
or less dependent upon the welfare and prosperity of its
industries and commercial activities.

It follows, therefore, that both public and private
efforts must be correlated, and that there must be team-
work of the highest order that will work toward the greatest
benefit for all, which can only be accomplished by having
some definite plan to work by that will take care of all inter-
ests and secure their support and co-operation.

In these fast-changing times it is not wise to plan for
more than about thirty years ahead, and then the plan
should not be considered as an absolutely definite, immuta-
ble law, but as a sort of community constitution that, after

due and deliberate consideration, is subject to amendments
and changes when unforeseen conditions arise.

After the plan has been prepared, then follows the ap-
proximate computation of the cost of execution of the fea-
tures of the plan, and upon this a budget is made; then, it
being obvious that some things are more important and
pressing than others, these are first undertaken and con-
tinued as fast as available funds will permit.

Some communities being more or less awake to their
future possibilities, or having been forced into it by neces-
sity, have in recent years, following the lead of European
cities, undertaken to prepare corrective plans for some par-
ticular evil or for some immediate necessity. Some have a
zoning plan, which is explained later; others have a park-and-
boulevard plan, or a civic-centre plan, a railroad plan, a
street-correction plan, or a city-extension plan, but only a
few have to date undertaken a "comprehensive-development
plan" that combines all of the above, and which embodies
a complete analysis of a city's problems, both as regards
its future needs and its immediate requirements. In some
these improvements are steadily proceeding from year to
year, according to their plan; in others little is being done,
because there is no team-work, which is mostly due to the
fact that the public was kept in ignorance while the plan
was being prepared, and therefore there is no enthusiasm,
co-operation, team-work. Consequently the public should
be enlightened upon this subject, and, furthermore, be made
to understand that comprehensive community development
is not a matter of a spurt, "and have it over with" our
favorite way of doing things but is a steady, determined,
conscious effort for city improvement that goes on through
generations, being practically a perpetual effort toward a
definite end.

New York City is several times referred to in the course
of this article, because this city furnishes the most striking
town-planning examples for comparison that can be found.
True, New York presents an abnormal, unique case, without
a parallel, yet its conditions and the evils of its city plan
pertain to a lesser degree to every community in this coun-
try. As an example, its surface traffic conditions have at
this time reached a stage where they have gotten almost
beyond control, in spite of all efforts of the authorities to
regulate them, and will become worse and worse from year
to year as the density of the population increases. This
eternal jam, especially that within the down-town financial
district, and also within the hotel and theatre districts, may
fascinate the occasional visitor who remains a week or two,
but as an every-day experience no perfectly sane person could
term such conditions as normally healthy, or conducive to a
maximum conservation and enjoyment of life and its boun-
ties. New York may therefore serve as a warning to many
of our smaller and younger communities, not to wait, in char-
acteristic American fashion, until an intolerable condition is
upon them and has obtained a strangle-hold, before a remedy
is attempted that will then be prohibitive in cost, but to plan
now to avoid conditions that may in future years work hard-
ships upon the community.

Chart No. I (p. 304) is general and shows the subcharts
in their order. At the base of the preparation of a comprehen-
sive town plan must be the desire and necessity for a better-
(Continued on page 304.)

302

ARCHITECTURE

303

ALLEY-

- fi.ii.5T TLOOJL-PLAN

SECOND

MUNICIPAL BUILDING, DORMONT, PA.

Harry S. Bair, Architect.

ARCHITECTURE

(Continued from page 302.)

looking and more efficient community, and by collective
effort to make it such. Then follow the charts of arguments
favor of such a comprehensive plan, then those of the

comprehensive plan itself and of zoning, with their various
features explained in detail, then that of the local problems
of the community that must be solved, and finally the chart
of the goals to strive for.

This chart deals with the reasons why a comprehensive
city plan should be prepared: First, to provide present and

CHART I

Desire and necessity for a
better, better-looking, and
more efficient community.

CHART II .

Reasons for a
comprehensive plan.

CHAR T III

The
comprehensive plan.

CHA RT V

v CHART IV

Zoning.

CHA RT VI

Local problems.

Goals to strive for.

future generations with a thoroughly well-worked-out, sci-
entific document and sound principles, that will guide them
in their efforts toward development of the community from
every angle and from year to year, until such documents
and principles require revision in order to meet changed

MAIN STREET, DAYTON, OHIO.

some down-town New York streets to-day.

The lower floors of the buildings lining such streets will inevitably lose renting value,
and undesirable working conditions will be created as a result of the lack of direct day-
light. In the following figures the approximate percentage of available direct daylight is given
for buildings of various heights upon streets 60, 80, and 100 feet wide.

Assuming the windows to be within 8 inches of the ceilings, the clearstory height! to be
10 feet, and the rooms 25 feet deep, the lower three floors of a five-story building facing a
6o-foot street will receive 65 per cent of direct daylight; in an 86-foot street, 86 per cent; and
in a loo-foot street, over loo per cent.

In eight-story buildings the lower three floors will receive approximately 30 per cent
40 per cent, and 50 per cent respectively; in eleven-story buildings 21 per cent, 27 per cent!
and 35 per cent; in fourteen-story buildings, 13 per cent, 17 per cent, and 20 per cent, etc.

The curve^of per cent_ according to height of building is parabolic, whereas direct day-
light increases in direct ratio to the width of the street, for the widths here assumed.

These figures apply only to direct daylight, and do not take into account any reflected
light, which varies according to color and texture of outside walls, and of floors, walls, ceil-
ings, and furniture used.

The relation of the width of streets to the height of buildings should receive the most
careful consideration fiom city-plan commissions, architects, and property owners. City-
plan commissions should likewise remember that each additional story allowed upon a given
street width will increase the tenancy of the buildings and consequently add to the burden
of traffic.

conditions. Second, to make your community a better place
in which to work, live, and prosper. A better place in which
to work, for one thing, because of better street traffic and
transportation facilities that are afforded through an ade-
quate street system, that will allow the fastest and most
direct traffic, thereby conserving time, human effort, and
resources of the community. The appalling losses of time
and energy from this source to pedestrians, surface-cars,
busses, and vehicles of all descriptions will foot up to an
enormous total in most communities in the course of a year,

CHART II

To provide present and future generations with well-
thought-out plans and principles to guide development

that will make
your community

a better
place to
work in

a better
place to
live in

a better
place to
prosper in

because of

a better
street
traffic,

better
trans-
portation

a better
town-
plan,

greater
welfare,

maximum protection
against losses,

through a more ade-
quate street system

better-
looking
ctiy.

play-
grounds,
parks,
schools,
etc.,

guidance given in the
plan to public and
private investment,

that
will allow

shorter,
quicker,
and more
direct
hauls,

higher
standards
of exist-
ence,

protection
of
property
values
through
zoning.

better
housing.

thereby conserving time,
human effort, and
resources,

Some answers against
social unrest and
labor turnover,

sub-
stantial
building,

avoid-
ance of
piema-
ture
wrecking.

assist business, and
attract new industries.

better community spirit
and co-operation ,

Can we afford to tebnild
every 30-50 years?

because of definite
goals to strive for.

and will increase from year to year in proportion to the
increased use of motor cars and trucks, and again be it
remembered that such losses are not only of concern to the
individual, but to the entire community as well, since he is
a part of it, and any reduction of his earning power is a loss
of potential wealth to the community.

In planning for an adequate street system, the width
and number of major through-going, traffic-bearing arteries

ARCHITECTURE

305

should be scientifically determined to take care of a peak
load traffic at maximum speed that is compatible with
safety, and that will cause the least amount of confusion,
through provision of ultimate widening of such major streets,
and opening up, if necessary, of parallel streets to properly
take care of this traffic. This may also require the break-
ing through of some connecting-links.

The actual widening of such streets can be spread over
a great number of years, and in most cases need not cost the
community a penny. In some communities the strip of
ground needed for street-widening has been donated by the
adjacent property-owners; in others, where this voluntary
co-operation cannot be had, the improvement is either
charged against abutting and near-by properties that directly
benefit through such an improvement, or the taxable values
of these properties are raised in proportion to the increased
value caused by the development, so that the increased in-
come from taxation will ultimately cover the cost and inter-
est charges of the improvement.

Besides the difficulties and handicaps of traffic and
transportation, New York also presents the worst working
conditions in many of its office and loft buildings, as far as
light and sunshine are concerned, that can be found. In
many of these artificial light must be used upon the bright-
est days, not a ray of sunshine being able to enter into many
of the rooms of these buildings because they have made
canyons of the streets, especially in the down-town financial
district. However, as far as possible, the zoning law of 1916
has put an end to the further spreading of this evil.

Surely, such conditions cannot be considered satisfac-
tory standards under which to work or to expect this and
future generations to discharge their duties to the best and
fullest extent ! Other American cities are to a degree grad-
ually acquiring this same evil in their business sections, and
will eventually be as bad in this respect as New York's finan-
cial district, if they do not protect themselves through the
laws against the possibility of such conditions.

The foregoing should prove the necessity for a com-
prehensive city development plan, because it provides for
better working and business conditions, thereby assisting
business and attracting new industries and people.

In every community there is much useless duplication
of effort. For example, the statement is made by experts
that an average of thirty per cent of the mileage of street-
car lines is wasted because they have not been compre-
hensively planned.

Furthermore, the protection and guidance given through
the comprehensive plan to public and private investments in
permanent improvements will be a great factor in the avoid-
ance of waste and in the stabilizing of values, for, are not
in every community improvements constantly undertaken
that are ill-considered, in that they have been planned with-
out due consideration or good judgment as to the probable
general development of the community, and, in the end,
prove to be only temporary, or subsequently depreciate in
renting value because the improvement is not in the right
location ?

Eventually such buildings that were intended to be
more or less permanent are prematurely 'wrecked and have
served only a fraction of their possible usefulness, in some
instances less than ten per cent; in others the buildings
remain, and make the corrections in the plan or a public
improvement impossible, because the wrecking of one or
more expensive buildings makes the cost prohibitive. In
either case community resources and opportunities are
wasted.

Can the nation, with all its resources and wealth, afford
to rebuild a large percentage of its ill-considered buildings
every fifty years or so ?

The guidance given to public and private investment in
a comprehensive plan is extremely important. It conserves
capital, assists business in various ways, and stabilizes realty
values. As later shown under zoning, New York City has
lost untold millions because of the lack of zoning ordinance,
and has saved this and future generations perhaps billions
through this ordinance that went into effect in 1916.

In attacking this problem the community must make
clear to itself that present standards will soon become out
of date and that badly planned, unattractive, and poorly
constructed housing becomes, from the start, not only a
liability to the owner but to the community as well, since it
will soon turn into low-class property and eventually slums,
a scrap-heap of society and human endeavor, and a blot
upon the community, and, furthermore, just so much re-
source and effort gone to waste. Accordingly, will your
community be satisfied to accept as a standard the com-
monly seen long, dreary rows of detached apartment-houses,
one like the other, without any individuality or merit in
regard to looks; or will it accept as a standard spaces between
detached houses that will not even let in sufficient light and
air, let alone sunshine, or permit privacy; or will it allow
dingy, insufficient courts in apartment-houses; or will it
allow skimping in construction, that does not afford suffi-
cient protection from temperature changes that cause
discomfort and waste of fuel, or such construction that
easily falls into decay and soon presents a dilapidated ap-
pearance ?

The questions of quality of construction and sufficient
air and sunshine can easily be solved by ordinance regula-
tions, but the remedy for bad planning and ugliness can
only be secured by engaging the best professional services
obtainable, and since the low-price property-owner or spec-
ulator cannot and will not go to the legitimate expense of
engaging such services, these must be furnished by the gov-
ernment, either national, State, or municipal, such as the
United States Government furnished in its war-housing activ-
ities, or as the State of Wisconsin is doing in furnishing
small-house plans, or as the chapter members of the Ameri-
can Institute of Architects of various cities have recently
done, when each member donated a set of well-worked-out,
low-cost house plans to the public. However, the latter
must be looked upon in the light that "every little bit helps,"
and not as a remedy. In the absence of governmental or
municipal initiative it must devolve upon individual, or
upon collective, responsible citizenship to furnish such ser-
vices to the low-cost home-builders, if we are to have better-
looking residential districts, and in the long run better in-
vestments to the owners of such property; and here again
the question must be answered, Can the nation, with all its
wealth and resources, afford to rebuild a large percentage
of its housing every fifty years or so ?

The proper consideration of all of the above items can-
not help but increase local pride and patriotism and the
spirit of co-operation and team-work of all classes and inter-
ests in the community, and ought to be one of the answers
to the solution of the social unrest that is prevailing all
over the land. It will prove a material factor in lessening
the floating population and consequent labor turnover.
The ultimate attainment of the goals inspired by a compre-
hensive plan and principles that a community sets for itself
can only be had through the closest community spirit, co-
operation, and team-work.

(To bf continued.)

Tau Chapter House, Hamilton College, Clinton, N. Y.

R. E. Sluyter, Architect.

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/^\N main floor note accessibility of all rooms and utilities

ON main floor note accessibility of all rooms and utilities
from the hall without using any of general living
quarters as run-way; the adequate and convenient entrances,
coat-rooms, etc.; enclosed stair-shaft for fire protection,
this enclosed stair-shaft being most effectively economical
in control of heat; the two-front porch which can be glazed
if desired; the unobstructed view from the living-room bays;
the ample sun terrace; the dining-room down five feet to
put it on same level with kitchens, etc., and thus avoid
dumbwaiter service; the economical but convenient recep-
tion nook; the ample library to be used as sitting-room
during dances; the well-arranged axes; excellent wall
spaces; lounging spots in bays; ample windows, etc.

The second-floor plan calls for two-man studies of mod-
est dimensions but carefully planned for special study furni-
ture; a sitting-alcove at the head of the stairs; an alumni
suite, with bath, so arranged that two rooms, with bath,
can be shut off from the rest of the floor for house-party
chaperons, or to allow an alumnus even with his family-
suitable lodging. Wash-rooms are intended to be sufficient
for needs of house-party guests, as the second floor would be
turned over to them. The enclosed stair-shaft, in addition to
its fire protection, makes a second stairway to the third floor
really unnecessary at house-party time. It is intended that
individual living arrangements be distinctly not luxurious,
but simple, plus much-needed adequate sanitary facilities.

I -^ ,-r ., J -

'" . ._' -<:'

The third floor is divided into small dormitories accord-
ing to the generally adopted and most approved plan in mod-
ern fraternity houses and the plan approved by the active
chapter. Showers and wash-room facilities are concentrated
on this floor. Ample cross ventilation will be secured
through transoms. This floor will be kept cool for sleeping,
though ample heating will be provided. Finish and floors
can be as economical as judged proper. The enclosed stair-
shaft is a great addition to the safety of the sleeping-floor in
event of fire. At house-party time the third floor will be
occupied by the men. Bed equipment will be partly single
cots, partly double-deckers. Sleeping quarters so arranged
will also enable alumni returning to Commencement to be
adequately housed in larger numbers.

The basement floor includes on one level the dining-
room and service with sufficient room for live storage; on
the other ample coal and provision storage, heater-room, etc.,
and the large Lodge Room which can be decorated and fur-
nished at convenience with separate stair from main floor.
Some of this floor could be utilized for billiards, etc., if desired.

The sun terrace, lowered dining-room level, low service
wing will keep the house to the slope and hide artistically
the great drop on which the house will stand. This general
arrangement seems the only wholly satisfactory one on this
site one that will give light and air to the service quarters,
dining-room, and basement.

306

ARCHITECTURE

-2

_:
u

O
tt!

Construction of the Small House

By H. Vandervoort Walsh

Instructor in Architecture, Architectural School of Columbia University

ARTICLE II

GENERAL TYPES AND COSTS
TYPES OF HOUSE CONSTRUCTION

Type I

ALL small houses may be classified into four types, ac-
cording to their construction. The first type is the
commonest and is the wooden-frame structure. This has
exterior walls and interior partitions built of light wooden
studs, and the floors and ceilings framed with wooden joists.

Typs

The exterior walls may be covered with clapboard, shingles,
stucco, brick veneer or stone veneer. The roof is generally
covered with wooden shingles, although slate, tile, asbestos,
and asphalt shingles are often used. These houses are the
most numerous, because the cost of wood in the" past has
been so much less than other materials that they appealed
to the average builder's financial sense. However, the cost
of such dwellings to the country has been very high, for
they are extremely dangerous when attacked by fire. More
than twenty-two millions of dollars are wasted in fire each
year in these houses. These dwellings also cost us a great
deal in up-keep. It would be interesting to see what was
the total cost per year to repaint them and keep the roofs
in order. It certainly would run into the millions. Although
wood has increased from about $30.00 per thousand board
feet to about $85.00 in the Eastern markets from pre-war
days, yet the wooden house is still listed as the cheapest,
for the cost of other materials has also increased, as brick
from $10.00 per thousand to $25.00 until very recently, and
cement from $2.00 to $4.50 per barrel. In any comparison
the wooden-frame building is taken as the base or cheapest
type of construction, although it is the most expensive in
up-keep and fire-hazard of all. Until the price of wood in-

creases in excessive proportion to other materials, there is no
doubt that this type of house will be the commonest. How-
ever, there is much that can be done to make them more fire-
resisting, and although we cannot look to the speculative
builders to use such methods, since they increase the costs
slightly, yet the architect should not overlook them.

Type II

The second type of dwelling which is next in vogue
has exterior walls of stone, brick, concrete, or terra-cotta,
and interior floors, partitions, and roof of wooden-frame con-
struction. These are very slightly more fireproof than the
wooden-frame structure, and as a class they are more costly
in the beginning, but require less expense in up-keep. They
resist attack from external fires better than the wooden-
frame building, but if the fire starts within, they will burn
just as readily. Although the fire loss per year of this class
is not nearly as great as for the first type, yet it must be
appreciated that there are not so many of them. The chief
advantage of the masonry house of this second type lies
in the lowered cost of up-keep, longer life, and saving of heat-
ing-fuel in the winter. A great deal of literature has been
circulated by brick, cement, and hollow terra-cotta tile
manufacturers
by which the
public has been
educated to be-
lieve that this
type of struc-
ture is much
more fire resist-
ing than it is.
Of course this
campaign of
education was
intended to
stimulate in-
terest in their
product, and it
had no unself-
i s h motive
back of it. The
result of this
propaganda is
evident in the
public belief
that such
houses are fire-
proof houses,
while as a mat-
ter of fact
they are .not.

Tuft. I Masonry and Il)oo4

308

ARCHITECTURE

Ttrpe3L Masonry walls - .Interior- Wood

Jtrpe

Type III

The third class of dwelling is quite rare, and very few
small houses are built that could be classified under it.
Some builders call them fireproof houses, although this is
erroneous. These buildings have walls, roofs, floors, and
partitions built of incombustible materials, but the finished
floors, the trim, windows, and doors are of wood. The ex-
terior walls are of masonry construction, and the construc-
tion of the floors and roofs consists of steel beams with terra-
cotta arches or concrete floor slabs, spanning in between
them, and the partitions are of terra-cotta, gypsum, metal
lath and plaster, or other similar materials. They may also
be built of reinforced concrete throughout, or any other
combination of these materials. There have been very few

j floors, farht, n fire -proof,
indo4us t doors and trim of

examples of this kind of construction used in the small house.
It is an unfortunate condition that it is more adaptable to
the costly mansion than to the average house of the middle-
class citizen, for the high cost of construction of this char-
acter, in most cases, permits it to be used only by the
wealthy man. Examples where such houses have been
built generally show an-investment of $30,000 or more, or,
if they were built to-day, $60,000 or more. Those attempts
to use this form of construction in the small house have
been made by large building corporations, and have been
chiefly represented by concrete houses of very ugly design.

Type IV

The fourth and last type of dwelling is the ideal fire-
proof house, but it is so costly that very few examples exist.
This type can be termed fireproof with accuracy, for all
structural parts, including doors, windows, and trim, are of
incombustible materials. Metal trim is used or wood that
has been treated to make it fire-resisting. This latter class
of construction is so out of .the reach of the average home-
builder, on account of its cost, that its value cannot be thor-
oughly appreciated. Practically the only examples in exist-
ence are large mansions, built by wealthy clients.

COST DOES NOT INDICATE FIRE-RESISTANCE

In this classification of buildings, it would almost seem
that the cost of a building indicated its fireproof qualities.
This is not true, however. There are many expensive
dwellings which are just as great fire-traps as the less ex-
pensive ones. In both cases the fire hazards are the same,
if they are built of the same type of construction. In fact,
we could build a $60,000 dwelling according to Type II,
and also a $10,000 one according to Type II, and make
the latter more fire-resisting than the former by using cer-
tain precautions of construction in which the spread of fire
is retarded.

Except in unusual cases, then, it can be seen that the
construction of the ordinary dwelling will be either accord-
ing to the first or second type, and that any fire precautions
that are desirable must be applicable to them. Most com-
parisons of relative costs are made between the dwellings
included under these two types, and the difference will be
mostly a difference in the kind of exterior walls used in the
construction. In fact, if any comparisons are made between
different kinds of buildings, as to their relative costs, it is
essential that only one feature be made variable and that
all others be kept the same.

COMPARATIVE COSTS

In order to appreciate the difference in cost, due to the
kind of exterior wall used, the following estimates are given.

COMPARATIVE COSTS OF HOUSES OF TYPES ONE AND Two

Pre-war Conditions

TYPE ONE

1. Wooden frame, covered with clapboard 100 per cent

2. ' shingle 101.6 per cent

3. " " stucco 102.9 per cent

4. " " brick veneer 105.8 per cent

TYPE TWO

1. Exterior walls of hollow terra-cotta tile and stucco fin 106.3 P er cent

2. " " " brick lo-inch hollow type 109.1 per cent

3. " " " hollow tile, brick veneer 110.7 per cent

4. " " " 12-inch solid brick wall 113.0 per cent

The following comparative costs were made for the
present unstable conditions of the market, and their accu-
racy is only relative.

COMPARATIVE COSTS OF HOUSES OF TYPES ONE AND Two

Present-day Conditions

TYPE ONE

1. Wooden frame covered with stucco on metal lath 100.0 per cent

2. " : siding and sheathing 100.05 per cent

3. brick veneer on wooden sh. . 105.87 per cent

TYPE TWO

1. Exterior walls of hollow terra-cotta tile, brick veneered . . 106.5 P er cent

2. " " " 8-inch thick brick 106.75 per cent

These two tables are enlightening, to show that, al-
though materials have advanced in price, they have ad-

3 io

ARCHITECTURE

vanced in almost similar proportions, and that the com-
parative values between the different kinds of exterior walls
are almost the same as before the war.

APPROXIMATE COSTS

Besides desiring to know the relative costs between
different kinds of houses, the architect is constantly up
against the problem of approximating the cost before
he starts his plans. His client comes to him and tells him
that he wants a house to cost about $12,000, and then asks
how much of a house can be had for this sum. In order to
approximate this figure, the architect must use the cubic-
foot system of estimating. Now, while formerly this system
was fairly accurate, to-day it is almost impossible to give
a snap judgment as to cost on the cubic-foot basis. The
only safe way is to take the cost of last month's houses and
add about 20 per cent, say some contractors. Others say
it cannot be done at all.

Not only does the constant change in prices make the
cubic-foot system of estimating inaccurate, but there are
variations in cost due to the difference in interior trim and
arrangement of the same type of building. For instance,
the four-room cottage requires the same amount of plumb-
ing as the eight-room house, both having one bath, and the
cost for this equipment will be the same in each case, yet
the difference in cubage will be double in the larger one over
the smaller. A house which has much built-in furniture,
like bookcases, linen closets, buffets, etc., is going to cost
more per cubic foot than one without them. All of these
factors must be taken into consideration when using the
cubic-foot system of estimating.

CuBic-FooT SYSTEM OF ESTIMATING

It is necessary to have the same uniform system of de-
termining the cubage, if the same results are desired. The
following is the generally accepted method:

1. Determine the total building area of the ground floor,

extending from outside wall to outside wall. This
should include accurately all offsets and projec-
tions.

2. Determine the average height of the building from

the cellar floor to the average height of the roof.
Where gambrel roofs are used, the average height
is taken to a distance one-half the height from the
top floor to the peak of the roof.

3. Multiply the above together for the cubage.

4. Porches should be added at one-quarter of their

cubage, but if the second floor of the building pro-
jects over the porch, it should be figured in with
the building.

The costs which are given here for the cubic foot are
for the eastern section of the country, and cover a build-
ing having hardwood floors, cement basement floor, plas-
tered walls, steam heat, modern plumbing, electric lights,
and an unfinished attic. It must also be appreciated that
the figures are for a two-story house, and they may be slightly
reduced for a one-story. This is because the two-story house
has proportionately more of its interior finished than the
one-story.

PRICES PER CUBIC FOOT FOR TWO-STORY DWELLING

(June 1, 1920, near New York Ci(y)

Type I

1. Wooden frame building covered with siding, stucco,
etc., costs from 40 cents to 45 cents per cubic foot.

2. Wooden frame building covered with brick veneer
costs from 44.5 cents to 49 cents per cubic foot.

Type II

1. Exterior walls of brick, hollow tile, or concrete blocks

cost from 45 cents to 50 cents per cubic foot.

2. Exterior walls of monolithic concrete cost from 48

cents to 55 cents per cubic foot.

If any elaborate work is designed for the interior, the
costs will run up as high as 75 cents per cubic foot, and
in large houses often as high as $1.00 per cubic foot. It is
almost impossible to judge the value of a house design with-
out having a few recent examples to compare, since there
is required a considerable amount of common sense in using
the cubage cost.

FACTORS INFLUENCING THE SELECTION OF MATERIALS

From what has been previously stated, it will be noticed
that, as a rule, the architect in selecting the kind of material
with which he will build his house is limited on account of
expense to the first two types of construction namely, the
frame dwelling and the masonry house with wood interior.
The latter two fire-resisting types are better fitted to the
larger mansions where expense is not so important an item.
Undoubtedly the comparative costs between the various
kinds of exterior walls will have much to do with the selec-
tion; but more often the local conditions will outweigh these
considerations. In some places, a house built of stone will
be the best and most economical, in others, where there is
an abundance of good sand, the cement house will be suit-
able, while those located near brick centres will find this
material adaptable.

The ideal method, of selecting a material of construc-
tion purely from an aesthetic point of view, is not always
possible. But, after all, is not the most abundant local ma-
terial the most harmonious to use for any one locality ? Na-
ture adapts her creations to the soil and the scenery into
which she places them. All her animals are marked- with
colors which harmonize with the woods or fields in which
they live. In fact this harmony is their protection, and in
the war we imitated it in our camouflage painting. It is
astonishingly evident, in the New York Museum of Natural
History, how far more beautiful are animal tableaux which
are set in painted scenery, representing accurately their
natural habitat, than those which are exhibited alone in
the cases, without a suggestion of their surroundings. Their
marks and colorings seem ridiculous when they are sepa-
rated from their natural surroundings. The same principle
holds true in selecting the material for the small house. A
stone house, built of native stone, in a stony, rugged region
is the most harmonious of all. A cement house in a flat,
sandy country always seems in accord with the scene. A
brick house in hills of clay most certainly appears the best,
and a wooden house, near the great outskirts of the timber-
land is a part of the inspiring picture. Why are so many
of the old colonial houses so charming ? One of the reasons
is the careful use of local materials.

SOME PRINCIPLES OF ECONOMICAL DESIGN

In the first architectural studies of the house, since
this problem of cost is ever with us, it is well to be familiar
with some of those broad and general principles of economical
design.

The lower we keep our house to the ground, the less
will be the expense of labor, for, when work must be done

ARCHITECTURE

above the reach of a man's hands, it means the construction
of scaffolds and the lifting by special hoists of the materials.
This is not so important a consideration with the light wooden
frame building as it is with the masonry house. Wherever
we have brick, stone, or concrete exterior walls, for the sake
of economy they should be built low. Mr. Ernest Flagg
has found this to be so very true that, in houses which he
is constructing at Dongan Hills on Staten Island, he has care-
fully limited the height of all walls to one story, and starts
the construction of his roof from this level. Of course, at
the gable end of the house, it is necessary to carry them up
much higher. Now, the starting of the roof from the top
of the first floor makes all the second floor come within the
roof, and this heretofore has been impracticable, on account
of the great heat generated under the roof and the inability
of dormer windows to ventilate the rooms properly. Mr.
Flagg has solved this problem by inventing a simple roof
ventilator which is located on the ridge of the roof, and serves
the purpose of both lighting and ventilating. So successful
has this been, that the space which in most houses is called
the attic, and is wasted, has been made available and liv-
able. What he has accomplished by these ventilators is
the ability to start the roof at the top of the first floor, and
thus lower the exterior walls and set the attic in the place
of the second floor and make it very livable. Not only does

this principle of design save considerable money, but it fol-
lows one of those great laws of beauty, so prevalent in na-
ture. It makes the house low and nestling in the landscape,
thereby harmonizing it with the surroundings. The house
of the uncultured speculator stares blatantly at you and is
proud of its complete isolation and difference from the land-
scape; but the house of those who have taste is modestly
in harmony with the surroundings. The ugly house thrusts
into the air without close connection with the ground, while
the comely one cuddles in nature's lap. Is it not strange
that this principle of economy is a law of beauty ?

There are other features of economy in design which
should be observed. The simpler and more straightforward
the design, the cheaper it is and the more beautiful it can be
made in the hands of the good artist. Simplicity is the
highest art, as it is also the most economical thing. Like-
wise the cost of a house can be reduced by shaping as nearly
to a square as possible, and reducing the outside walls to
the minimum. The semi-detached house in the group plan
accomplishes this in the best manner, and gives to the whole
structure that low, long sky-line that is so very pleasing. This
also makes one soil line and one chimney do for both houses,
a great point in economy. As was said in the last article,
some architects believe these group houses are the only solu-
tion to the problem of the small house.

The Nebraska State Capitol Competition

We are in receipt of the following letter from Mr.
Willis Polk, of San Francisco:

"To THE EDITOR OF ARCHITECTURE:

" Referring to your comment on the State^Capitol Com-
petition in your August number, your conclusions in that
comment seem to coincide with the opinion of the late D. H.
Burnham, as expressed by him in a letter twelve years ago:

' 'We are not ourselves believers in the value of com-
petitions and it is our custom not to engage in them. Our
belief is that an Architect, properly trained by experience in
the class of buildings he is called upon to undertake, when
once fully informed as to the particular conditions of the
problem, can produce as many different sketches as could be
produced by a number of Architects; and that in any case
the real solution can be arrived at only by the process of
successive elimination through a series of studies in which
the Architect and the Owner work closely together.' '

Announcements

Arthur Dahlstrom, architect, formerly located at 612
Andrus Building, is now occupying offices at 305 Essex
Building, Nicollet at 10th Street, Minneapolis, Minn.

Harold Holmes, architect, announces that he is now
located in his new studio building, 151 East Chicago Ave-
nue, just east of the drive.

Mr. C. Frank Jobson, architect, of Chicago, announces
his office is now incorporated under the name of Jobson &
Hubbard, with offices at 225 -North Michigan Boulevard,
Chicago.

The Boston Varnish Company is following a progressive
idea in having had prepared a series of practical detail sheets
showing the use of their products in colonial architecture.
They cover a variety of subjects and are carefully measured
and drawn by Edgar and Verna Cook Salomonsky. ARCHI-
TECTURE will reproduce one sheet each month in its adver-
tising section. The series of twelve, enclosed in a folder,
will be mailed to any architect who will make a request for
same to the Boston Varnish Company.

A partnership for the practice of architecture has been
formed by Henry T. Barnham and Charles L. Hoffman,
under the firm name of Barnham & Hoffman, architects and
engineers, Chamber of Commerce Building, Richmond, Va.

Japanese Old-Timers in Electrical Industry

STUDENTS of the growing American enterprises in the
Far East will be interested in the statement issued by
the Nippon Electric Company of Tokyo, the Japanese sub-
sidiary of the Western Electric Company of New York.
Organized under American supervision less than a genera-
tion ago to manufacture the telephone and many of the other
electrical requirements of Japan, the Nippon Company had
1,340 native employees in its personnel when its fiscal year
closed recently. Of these, 143 had been employed by it over
ten years, 29 over fifteen years, while 11 had seen over
twenty years of service. All of these Japanese electrical
workers were men with the exception of 7. ,

Following the system used by the Western Electric
Company in America in rewarding length of service among
its employees, the Nippon Electric Company gave a dinner
to its old-timers at Sanyentei. Gold buttons and certificates
of service were presented to all those who had passed the
ten-year mark.

Book Reviews

OLD NEW ENGLAND HOUSES. BY ALBERT G. ROBINSON, author of
"Old New England Doorways." With nearly a hundred illustrations
from the author's unique collection of photographs. Charles Scribner's
Sons, publishers, New York.

Mr. Robinson's former book on doorways, of which a new and en-
larged edition uniform with "Old New England Houses" has been made
necessary to meet a wide demand, met with instant approval by both archi-
tect and layman.

In the new volume, for which he writes an introduction that is a brief but
illuminating review of the development of the various architectural types
of New England, are included nearly one hundred examples of old houses
gathered from all parts of New England. These represent not only some of
the stately old mansions of the well-to-do, but as well many of the simpler
smaller houses that line village streets or perch here and there on the
warm shoulder of some far-seeing farm hillside.

The author says that these old houses may be divided into four groups,
the difference being marked by the roof. One group includes the build-
ings, whether of one or two stories, with sloping roof of equal length in
front and back, mere rectangular boxes of varying size and proportions, with
a doubly sloping cover. These are commonly known as "gable" or "pitch"
roof houses. Not a few of this type show an attached ell, but in most cases,
if not in all, this is a later addition. A second group shows the "lean-to"
with the extension of the roof-line in the rear. While much more common
to houses of two stories in front, the long back roof appears occasionally
on houses of a single story. A third group includes the "gambrels." In
his poem "Parson Turell's Legacy," Doctor Holmes gives the origin of
the term:

" 'Gambrel ? Gambrel ? ' Let me beg
You'll look at a horse's hinder leg,
First great angle above the hoof,
That's the gambrel; hence gambrel-roof."

I am not prepared to say whether this is reliable information or a
product of the genial autocrat's fertile imagination. But old houses with
gambrel roof are abundant in New England. The form is used in quaint
cottages and in stately mansions like the "Dorothy Q" house in Quincy
and a number of others. The design appears to have been borrowed from
the Dutch, but it was used in New England as early as the last quarter of
the seventeenth century. While the use of the dormer-window, common
enough in the South, was unusual in the North, it is of frequent occurrence
on houses with the gambrel roof, both one and two storied. But there is a
material and not fully explained difference between the New England
gambrel and its prototype. The latter is quite the more graceful. Its
upper slope is much shorter and its lower slope less steep than is the New
England roof. While grace is lost, the New Englander gained in area of
headroom in what was, in effect, a second story. The fourth group consists
of the pyramidal type or "hip" roof, usually square boxes with the roof
sloping from the four sides to a common centre. This also shows variations
in roof angle as related to the wall of the house. Also, while in many cases
the four slopes met at a central peak, or stopped at the walls of a large cen-
tral chimney, in many other cases they terminated at the edge of a flat plat-
form around which, frequently if not usually, a low railing or fencing was
built.

Many visitors to old Mystic will remember a whole row of these square
boxes on "Skipper Street" (we protest against the reported change of such a
quaintly descriptive name of the street to such a commonplace one as some-
thing or other avenue), on top of which may be observed "The Captain's
Walk," a little square or round observatory surrounded by a railing.

The architect will find these Old Houses a useful and suggestive book
as a reference with their many variants of the Colonial style.

With the "Doorways" it gives him a very comprehensive presentation
of the period dealt with.

AN EPITOME OF HYDROTHERAPY, FOR PHYSICIANS, ARCHI-
TECTS, AND NURSES. BY SIMON BARUCH, M.D., LL.D., Con-
sulting Physician to Knickerbocker and Montefiore Hospitals, Consult-
ing Hydrotherapeutist to Bellevue Hospital, New York City, formerly
Professor of Hydrotherapy, College of Physicians and Surgeons, Co-
lumbia University. I2mo of 205 pages, illustrated. Philadelphia and
London: 1920. W. B. Saunders Company.

The chapter on "Hydrotherapeutic Instalments," including plans of
existing institutions and observations on common defects, will be of interest
to architects who are planning hospitals or who want to be informed as to
the best modern methods in hydrotherapy. The author emphasizes the im-
portance of hydrotherapy in the curriculum of the nurses' training schools
and of its great usefulness in our reconstruction hospitals.

A MANUAL OF FACE BRICK CONSTRUCTION. American Face
Brick Association, Chicago.

A book intended to show the value of brick as a building material and
to serve as a manual for the builder. The introduction includes an interest-
ing story of brick from primitive times. It is, above all, a book of practical
value and the many fine plates in color, with plans and details of construc-
tion, should prove a useful reference in the architect's library.

BRICK FOR THE AVERAGE MAN'S HOME. A Selection of Thirty-
five Designs for Practical and Artistic Homes, including Cottages,
Bungalows, Houses, and Apartments. The Common Brick Manu-
facturers' Association, Cleveland, Ohio.

Another book of practical service. Its many attractive drawings of
typical houses of brick with working drawings and specifications belong in
the architect's library with the book referred to above.

The two books admirably supplement each other.

FORM PROBLEMS OF THE GOTHIC. BY W. WORRINGER. Author-
ized American edition. G. E. Stechert, New York.

This book may well be called an attempt to arrive at the principles of
Gothic by way of aesthetic theory, a study of art as human psychology.
" The history of architecture is not a history of technical development?, but
a history of the changing aims of expression, of the ways and means by which
this technic conforms and ministers to the changing aims through ever new
and different combinations of its fundamental elements."

This edition is translated from the third German edition, according to a
preface written in Berne in 1912.

Wooden Doors Dating Back to Middle Ages

AMONG the famous doors of history are the carved
wooden doors of the church of Santa Sabina, Rome, de-
picting, in relief, scenes from the Old and New Testament.
These are one of the most remarkable examples of early
Christian sculpture extant.

In the earliest times, as in Babylon, doors swung on
sockets instead of hinges. In Roman days wooden doors
were decorated with bronze and inlaid, and throughout the
Middle Ages richly carved doors of wood adorned the
churches. In the Gothic period, wooden doors were dec-
orated with wrought-iron hinges which were often elaborated
into intricate ornamentation covering a large part of the
door. The doors of the cathedral of Notre Dame in Paris
of the thirteenth century are the finest examples of this class.
During the Renaissance in Germany and ' France elabo-
rately carved doors were among the most beautiful products
of wood sculpture.

Some of the old English doors were formed of narrow

planks placed side by side and in dwelling-houses generally
in the Middle Ages the doors were small and fairly simple,
meant for strictly practicable purposes and often provided
with some means of defense. The doors of the Norman
period were round-headed, while with the thirteenth century
came the doorway with the pointed arch and later, the flat-
tened arch.

In the case of interior doors, splendid old polished ma-
hogany doors were important features in some old English
homes, and there were old oak doors of wonderful beauty,
especially when found in oak-panelled rooms.

Haphazard selection of doors of the ready-made variety
should not be allowed in the building of a fine home, but the
doors should be designed by the architect who builds the
structure that they may be in keeping with the general style
of the house. Upon the attractiveness and distinction of
the door and doorway depends the visitor's first impression
of the home he is about to enter.

312

ARCHITECTURE

313

Important Notice

The Barrett Specification Type "AA"
2O-year Bonded Roof represents the most
permanent roof-covering it is possible to
construct, and while we bond it for twenty
years only, we can name many roofs of
this type that have been in service over
forty years and are still in good condition.

Where the character of the building
does not justify a roof of such extreme
length of service we recommend the Bar-
rett Specification Type "A" Roof bonded
for 10 years.

Both roofs are built of the same high-
grade waterproofing materials, the only
difference being the quantity used.

' When it comes to writing
Roofing Specifications "

Our sixty years' reputation in the roofing business
enables us to place at the disposal of the architect
and his client a "definite" Roofing Specification that
has been proved by the most exhaustive experience
to give those "better results" advocated in the Amer-
ican Architect editorial herewith.

This "definite" specification is The Barrett Speci-
fication. It is a formula for built-up roofs which most
architects endorse. Any reputable roofing contractor
can fill the prescription, and the owner is assured of a
roof with the lowest cost per year of service.

Full details regarding these Bonded Roofs and copies
of the Barrett Specification sent free on request.

New York
St. Louis
Detroit
Minneapolis
Atlanta
Lebanon
Hethlehem
' i,n,, ha

Chicago

Cleveland

New Orleans

Dallas

Duluth

Youngstown

Elizabeth

Houston

Nashville
Milwaukee
Toledo
Buffalo
Denver

THK BARRETT COMPANY. LIMITED:
Vancouver St. John. N. B.

1 Company

Salt Lake City
Bangor
Columbus
Baltimore
Jacksonville
Montreal Torot
Halifax. N. S.

Philadelphia

Cincinnati

Birmingham

Seattle

Washington

Syracuse

Winnipeg
Sydney. N. S.

Boston

Pittsburgh

Kansas City

Peoria

Johnstown

Latrobe

The Definite Specification

from Editorial Page, A merican A rchitcct, N. Y.

" r I ^HE physician who made a practice of
J_ prescribing certain drugs or others whose
* * * * properties were similar would
soon lose the confidence of his patients, and
yet that is in effect what the architect is doing
who persists in the outworn and discredited
practice of writing 'or equal' after the speci-
fication of a given material. * * * *

"Unless he entirely neglects to perform his
function and leaves the decision to the builder,
he must sooner or later determine what is to be
used and, considered both from the standpoint
of the client's interest and his own reputation,
it would seem to be desirable that he * *
make his decision when the specification is written
rather than after the contract is let.

"The old argument, * * * * that a definite
specification fosters high prices, has been effect-
ually disposed of by leading architects. * * '
It is evident that no manufacturer of standing
and responsibility would take advantage of a
definite specification to increase his price. To
do so as a policy would be business suicide. *

"If there is but one article or material that will, in the
opinion of the architect.give better results than any other,
he should have the moral courage to specify it outright."

The Competition for New York's Memorial Army and Navy Club

EADING architects of the country will be asked to sub-
mit competitive drawings of the $3,000,000 club-house
the Army and Navy Club of America is to build in New York
in memory of the three thousand five hundred officers who
died in the war. The memorial will be a national one, dedi-
cated to the commissioned men in all branches of the service
who made the supreme sacrifice.

Charles Dana Gibson, Edwin Rowland Blashfield,
Henry Bacon, and Benjamin Morris, with Admiral Bradley
A. Fiske, president of the club, form the committee ap-
pointed to select the design for the building.

Notable contributions have been made to American art
and architecture by members of the committee on design.
Edwin Rowland Blashfield decorated the great'central dome
of the Library of Congress. His war posters attracted inter-
national, attention. His most recent important work was the
design for the government's certificate of honor issued for every
man who died or was wounded in service during the war.

The impressive Lincoln Memorial at Washington was
designed by Henry Bacon. He formerly was a member of
the firm of McKim, Mead & White. He is a member of the
National Institute of Arts and Letters, and the National
Academy of Design.

Benjamin Morris was the architect for the Junius
Spencer Morgan Memorial at Hartford, the Westchester
County Court House at White Plains, and is the designer of
the new Cunard Building at 25 Broadway, New York. He
is president of the Society of Beaux Arts Architects.

Charles Dana Gibson is known throughout the world as
an illustrator. He has a wide personal acquaintance among
artists and architects. Life was recently purchased by Mr.
Gibson, and he is now its publisher.

The new club-house will be centrally located and will

serve not only as a monument to the men who died but also
as a home for living officers, active or retired, in the army,
navy, or State militia. Civilians interested in the nation's
defense are also eligible for associate membership.

The committee on design will decide the rules governing
the competitive drawings the club will request of all the leading
architects. Only tentative plans have been decided on, but in-
teresting features of the new building are included in these.

The memorial feature will probably take the form of a
central court or hall with bronze-panelled walls where the
names of those who made the supreme sacrifice will be en-
graved.

In the new club-house there will be at least four hundred
bedrooms. A large dormitory, furnished with cots, will also
be provided for use on special occasions when the city is
crowded with service men.

There also will be a large assembly hall and small rooms
for meetings of patriotic societies. Women friends of mem-
bers, or women relatives of the deceased men, will find a
dining-room and reception-room for their exclusive use.
Other features to be found in a modern club-house will be
included in the plans.

The club recently broadened its scope so as to include
in its membership all officers, ex-officers, and all commis-
sioned men with the Allied armies during the war, numbering
approximately two hundred thousand.

Among the men recently elected to life membership are:
Henry P. Davison, who is chairman of the civilian commit-
tee; Vincent Astor, lieutenant in the navy during the war;
Elmer A. Sperry, inventor of the gyroscope; J. P. Morgan,
Arthur Curtis James, Charles H. Sabin, Brigadier-General
Guy E. Tripp, Brigadier-General Samuel McRoberts, and
others of equal prominence.

Mortgage Tax Exemption

WE are indebted to the Metal Lath News for the follow-
ing clear statement on a vitally interesting question:

"The construction industry has been worried about the
transportation situation, but the minute that the banks were
unwilling to float loans, building activities stopped and rail-
road conditions and coal became only incidental.

"The banks were obliged to stop construction loans, not
because of prices of materials, but because they could not
dispose of the real-estate mortgages to their customers.
This was largely due to the federal income tax which,
with its heavy surtax on the larger incomes, makes mortgage
buying at 6% absolutely impossible. Exactly how this
works against the larger incomes the sources of most of the
investment money is seen below.

"The present agitation to make mortgages on homes
exempt from federal tax should, therefore, be thoroughly
understood by those who are in the building business, and
who are now powerless to aid in the housing shortage, be-
cause loans are not available.

"No one factor is as vital to the safety of the whole
country as the building of homes, and it is, therefore, the
privilege as well as the duty of every one connected with the
building industry who understands this situation and whose
very livelihood depends upon construction activity, to advo-
cate legislation which will release vast sums for home-building.

"The government that means the people have within

their reach a very powerful force to attract sufficient capital
to the construction of homes if it is only called into play.
To encourage American manufacture, a tariff was imposed,
and to increase farm loans and municipal improvements,
exemption from federal income tax was inaugurated.

"No one can blame the man with an annual income of
$50,000 for refusing to make investments that will yield but
$412 on $10,000 when he can get $600. It is good business
for rich man or poor to make the investment that looks
most profitable, so a unified appeal to every member in Con-
gress for the tax exemption of mortgages is now the only
logical solution.

"The bulk of new money for mortgages must come from
estates and individuals having such excess funds as are not
available until incomes of $20,000 or over are reached. As
an example, an income of $30,000 is subject to a federal
normal and surtax, totalling 21% in addition to the in-
come taxes levied by several of the States. This income tax
must be deducted from the gross return on the mortgage
before the net return to the investor is found.

"To compete with the 6% municipal bond which is
exempt from income tax, the banks cannot offer a $30,000
investor anything less than 7.6% on a taxable mortgage,
or to the $50,000 investor anything less than 8.7% and
have him come out even. With mortgages tax exempt,
however, .they could readily be sold at 5% and 6% bases."

I r

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A ILCH I T E CT V

-THE PROFESSIONAL ARjCHIT.ECTVR.AL MONTHLY'

vol. XLII. ^ o N T E N T S <> No - 5

NOVEMBER, 1920

TEXT PAGES

GENERAL PRINCIPLES OF SCHOOL PLANNING AND CONSTRUCTION (Illustrated) ---------- Pages 315-318

Tooktr y Marsh, Architects
THE IMPORTANCE OF GOOD DESIGN IN SCHOOL BUILDING (Illustrated) _____ _---- Pages 319-323.

Ernest Sibley, Architect
EDITORIAL AND OTHER COMMENT: "Our School Architecture," "Graft" ______ Page 325

SOME PRACTICAL SUGGESTIONS FOR THE DRAUGHTSMEN Page 326

By David B. Emerson
WASHINGTON'S SCHOOL SHORTAGE (Illustrated) -------_--_----- Page 327

THE RIDGEWOOD HIGH SCHOOL (Illustrated) Pages 328-329

By Edgtrton Szvartvjout

A NOTABLE ONE-STORY SCHOOLHOUSE _._ Page 329

By David Knickerbocker Boyd
THE SHEBOYGAN HIGH SCHOOL (Illustrated) - - Page 331

Childs y Smith, Architects
THE FREER GALLERY AND WHAT IT WILL CONTAIN (Illustrated) - - Pages 33^-334

Charles A. Platt, Architect

TOWN PLANNING FOR CONVENIENCE AND HEALTH (Illustrated). PART II - - - - Pages 334-338

By Louis Lott

CONSTRUCTION OF THE SMALL HOUSE (Illustrated). ARTICLE III ___- .._ Pages 340-343

By H. Vandcnoarl Walsh
ANNOUNCEMENTS - - Page 343

CONCRETE CONSTRUCTION. (Illustrated). ARTICLE II Pages 344-346

By DeWitl Clinton Pond
BOOK REVIEW - Page 347

PLATES AND ILLUSTRATIONS

THE BUTTER TOWER, ROUEN - Frontispiece

From the lithograph by Howard Leigh
DESIGN FOR SCHOOL, COHOES, N. Y. ------------------ Page 316

Tooker y Marsh, Architects

HIGH SCHOOL, NORWICH, N. Y. - Page 315

Tooker y Marsh, Architects. Arthur W . Coole, Associate

GRADE SCHOOL, HARTSDALE, N. Y. - Page 317, Plate CLXXIII

Tooker & Marsh, Architects, Arthur W. Cootf, Associate

COMBINATION GRADE AND HIGH SCHOOL, PORT HENRY, N. Y. - Page 318

Tooker y Marsh, Architects. Arthur W. Coote, Associate

HIGH SCHOOL, HEMPSTEAD, N. Y. - Pages 319-323

PLYMOUTH TOWNSHIP CONSOLIDATED SCHOOL, MONTGOMERY Co., PA. - - -- - - Page 324

C. E. Schermerhorn, Watson K. Phillips, Associate Architects

EVANDER CHILDS HIGH SCHOOL, NEW YORK CITY ------ Plate CLXI, Page 338

C. B. J. Snyder, Architect

HIGH SCHOOL, SHEBOYGAN, Wis. ----- .--. Pl ate CLXII

Childs y Smith, Architects
HIGH SCHOOL, RIDGEWOOD, N. J. - - - ----____ pl ates CLXIII, CLXIV, Page 328

Tracy y Swarttvout, Architects
DUNBAR HIGH SCHOOL, WASHINGTON, D. C. - Plate CLXV, Page 327

Snotvden Ashford, Municipal Architect
HIGH SCHOOL, PELHAM, N. Y. - - - - Plate CLXVI

Tooker y Marsh, Architects. Arthur W. Coote, Associate
BANKS SCHOOL, WALTHAM, MASS. ----- ...... plate CLXVII

Kilham y Hopkins, Architects
GRAMMAR SCHOOL BUILDING, ROSEMONT, RADNOR TOWNSHIP, PA. Plate CLXVIII, Page 330

D. Knickerbocker Boyd, John L. Coneys, Victor D. Abel, Architects
MEASURED DETAILS, EARLY ARCHITECTURE OF CONNECTICUT, PANELLING IN PARLOR, WEBB-WELLES HOUSE, WETHERSFIELD,

CONN. ------ - Plate CLXIX

Measured by J. Frederick Kelly. Drawn by Lorenzo Hamilton
PUBLIC SCHOOL, LITTLE FERRY, N. J. - - - - - Plate CLXX

Ernest Sibley, Architect
COMBINATION GRADE AND HIGH SCHOOL, GREENSBURG