Full text of "Architectural record"

See other formats

ARCHITECT VRAL
RECORD

AN ILLUSTRATED MONTHLY MAGAZINE OF ARCHITECTURE
AND THE ALLIED ARTS AND CRAFTS.

INDEX- VOLUME XXXVII

JANUARY— JUNE

1915

PUBLISHED BY

THE ARCHITECTURAL RECORD CO.

115-119 WEST 40TH ST., NEW YORK CITY

841 MONADNOCK BUILDING, CHICAGO 1211 ARCH ST., PHILADELPHIA

BESSEMER BUILDING, PITTSBURGH 114 FEDERAL ST., BOSTON

THE ARCHITECTURAL RECORD

INDEX

Volume XXXVII January-June, 1915

ARTICLES PAGE

ARCHITECT'S COUNTRY HOUSE, AN : RESIDENCE OF ELEC-

xus LITCHFIELD, NEW CANAAN, CONN Harriet T. Bottomley 49-63

ARCHITECT'S PART IN THE WORLD'S WORK, THE Frederick L. Ackerman 149-158

ARCHITECTURAL RECLAMATION OF SMALL AREAS IN

CITIES, THE Harold D. Eberlein 1-25

CERTAIN PHASES OF SPANISH COLONIAL ARCHITECTURE. . Marrion Wilcox 535-546

COLONIAL ARCHITECTURE IN CONNECTICUT, PART I Wesley S. Bessell 361 369

COLONIAL ARCHITECTURE IN CONNECTICUT, PART II Wesley S. Bessell 445-452

COLONIAL ARCHITECTURE IN CONNECTICUT, PART III. ... Wesley S. Bessell 547-556

COLOR IN ARCHITECTURE AT THE PANAMA-PACIFIC

EXPOSITION Wm. L. Woollett 437-444

GROUPING OF FARM BUILDINGS, THE: EXAMPLES FROM

THE WORK OF ALFRED HOPKINS John J. Klaber 341-359

HOTEL STATLER IN DETROIT, THE W. Sydney Wagner 321-339

HOUSE OF HOPE PRESBYTERIAN CHURCH, THE, ST. PAUL,

MINN 441-424

MEDIAEVAL MARKET PLACE AT YPRES, THE G. A. T. Middleton 289-299

MODERN VERSION OF THE EARLY PENNSYLVANIA

HOUSE, A. C. Matlack Price 76-81

MONTREAL ART GALLERY, THE Thomas W. Ludlow 133 148

NEW GENERAL HOSPITAL AT CINCINNATI, THE. J. R. Schmidt 453-463

NEW HOME OF JOHNS HOPKINS UNIVERSITY, THE .John Martin Hammond 481-492

OLD CITY HALL, THE, WASHINGTON, D. C H. F. Cunningham 269-273

OTIS AND CLARK, EXAMPLES OF THE WORK OF Herbert Croly 385-409

PANAMA-CALIFORNIA EXPOSITION, THE, SAN DIEGO, CAL. C. Matlack Price 229-251

PANAMA- PACIFIC EXPOSITION AT SAN FRANCISCO, THE. . Louis C. Mullgardt 193-228

PORTFOLIO OF CURRENT ARCHITECTURE 83-92, 177-186, 274280, 370-378, 464-473, 557-562

PROCTOR, JOHN C., RECREATION CENTRE, THE, PEORIA, ILL 1 17-131

RECENT ASPECTS OF GARDEN DESIGN Harold D. Eberlein 301-319

ROMAN ARCHITECTURE AND ITS CRITICS, PART I Prof. A. D. F. Hamlin 425-436

ROMAN ARCHITECTURE AND ITS CRITICS, PART II Prof. A. D. F. Hamlin 493-516

SOME RECENT BANK PLANS, THE WORK OF THOMAS

BRUCE BOYD John J. Klaber 97-115

THREE TYPES OF GEORGIAN ARCHITECTURE, PART II Harold D. Eberlein 159-176

TRINITY LUTHERAN CHURCH, AKRON, O I. T. Frary 253-267

Two DENTAL BUILDINGS IN PHILADELPHIA AND BOSTON. . Harold D. Eberlein 517-534

VILLA MADAMA, THE, PART II Howard W. Germann 27-47

WASHINGTON UNIVERSITY, ST. Louis, Mo Guy Study 65-75

THE ARCHITECT'S LIBRARY (BOOK REVIEWS)

Two BOOKS BY PRACTICAL THEORISTS, PART I Richard F. Bach 93-95

Two BOOKS BY PRACTICAL THEORISTS, PART II Richard F. Bach 187-189

BOOKS FROM UNIVERSITY PRESSES, PART I Richard F. Bach 281 286

OLD PHILADELPHIA • Harold D. Eberlein 286

BOOKS FROM UNIVERSITY PRESSES, PART II Richard F. Bach 379-381

THE COMMERCIAL PROBLEM IN BUILDINGS ' Herbert Croly 381-382

BOOKS ON MEDIEVAL ARCHITECTURE, PART I Richard F. Bach 474-47*

BOOKS ON MEDIEVAL ARCHITECTURE, PART II Richard F. Bach 563-566

NOTES AND COMMENTS

January: A Humorous Fountain in Munich— A New Type of Open Air School.
February: Sculpture and Architectural Design— Architectural Competitions.
March: The First Garden City in France— Ingenious Repairs to Strasburg Cathedral— An

Exposition of Art for Children— The Hotel Biron a National Monument.
April- Rough Texture Brick in a Large Composition— An Authentic Restoration of a Fine

Old Residence— Glass Houses— The Lincoln of the People— The Yale Bowl and the

Palmer Stadium.
May: A Seashore Cottage at Nantucket— A Bank, Monumental and Beautiful— A Layman

on Builders and Planning.
June: A Water Color Sketch in Terra Cotta— England s Imminent Italian Revival— A

Venial Professional Transgression— The Arch of Constantme.

COVER DESIGNS

January. South Entrance of Independence Hall, Philadelphia. Drawing by Jack Manley
Rose.

February: The Klingentor, Rothenberg. Water Color Drawing by Walter S. Schneider.

March: Detail of Court of the Four Seasons, Panama- Pacific Exposition. By Jack Man-
ley Rose and Grace Norton Rose.

April: An Italian Garden. By C. Matlack Price.

May: House Door at Oak Lodge, Ardmore, Pa. Painting by Charles Lennox Wright.

June: Entrance to Glynde, England. By C. Matlack Price.

TYPES OF BUILDINGS ILLUSTRATED

BANKS. ARCHITECT PAGE

Chase National Bank Kimball & Roosa 98, 100-101

Banking House of the Guaranty Trust Co York & Sawyer 103-110

Banking House of J. P. Morgan & Co Trowbridge &• Livingston 111-115

Bank, Litchfield, Conn Colonial 449

BRIDGES.

Cabrillo Bridge, San Diego Exposition Cram, Goodhue & Ferguson. .229, 242

CHURCHES.

Chapel at Washington University, St. Louis, Mo... Cope & Stewardson 73

Balvanera Chapel, Church of San Francisco, City of

Mexico 239

Church of San Diego, Guanajuato, Mexico 240

Trinity Lutheran Church, Akron, Ohio J. W. C. Corbusier 250-267

St. Martin's Church, Ypres 290-292

House of Hope Presbyterian Church Cram & Ferguson 410-424

Cathedral at Arequipa, Peru 540

Chapel of The Wdl (La Capilla Del Picito) at

Guadalupe, Mexico 541

Monastery in San Angel, Mexico 544

Cathedral at Cuernavaca, Mexico 545

CLUBS.

Franklin Inn Club, Philadelphia Francis D. Caldwell 14, 15

Mask & \Yig Club, Philadelphia C. L. Borie 16

Poor Rich'ard Club, Philadelphia 17

Indiana Hill Club, Winnetka, 111 Otis & Clark 389, 390

COMMERCIAL BUILDINGS.

Office of Mellor & Meigs Mellor & Meigs 25

Warehouse and Branch Office of the Rumley Prod-
ucts Co., Saskatoon, Can Hill & Woltersdorf 470

Thomas Church Bldg., Chicago Hill & Woltersdorf 471

Burke & James Bldg., Chicago Hill & Woltersdorf 472

Mcyer-Both Co. Bldg., Chicago Hill & Woltersdorf 472

Thos. J. Dee & Co Hill & Woltersdorf 473

News-Press Bldg., St. Joseph, Mo Eckel & Aldrich 561

DOMESTIC ARCHITECTURE (City, Country and Suburban).
Frame and Half-Timber—

Electus D. Litchfield, Esq., New Canaan, Conn Electus D. Litchfield 49

W. E. Marble, Esq., Greenwich, Conn Rowe & Smith 91

Farmer's Cottage, Estate of V. V. Brokaw, Esq.,

Glen Cove, L. I Alfred Hopkins 342, 347

Farmer's Cottage, Estate of Adolph Mollenhauer,

Esq., Bay Shore, L. I Alfred Hopkins 350

Farmer's Cottage. Estate of Mrs. Glenn Stewart,

Locust Valley, L. I Alfred Hopkins 356

Talmadge House, Litchfield, Conn 360, 446

House at Essex, Conn 362

House at Litchfield, Conn 363

Hayden House, Essex, Conn 365

'Starkey House, Essex, Conn 367

Oliver Wolcott House, Litchfield, Conn 368

Lyman Smith House, Litchfield, Conn 369

Geo. K. Smith, Esq., St. Louis County, Mo Roth & Study 377

Chas. M. Rankin, Esq., Terre Haute, Tnd Otis & Clark 393

Wm. S. Mason, Esq., Evanston, 111 Otis & Clark 402

John A. Jameson, Hubbard Woods, 111 Otis & Clark 408

Butler House, Litchfield, Conn 447

Sheldon House, Litchfield, Conn 448

Seymour Homestead, Litchfield, Conn 448

Reeves House, Litchfield, Conn 449

House at Windsor, Conn 452

Chas. Sharp, Esq., Los Angeles, Cal B. Cooper Corbett 466

Miss Alice M. Corse, Nantucket, Mass Henry T. Corse, Jr 479

• >-

ARCHITECT PAGE

Stucco and Concrete —
W. Park Moore, Esq., Elkins Park, Pa ............. Heacock & Hokanson ........ 274-276

W. Lawrence Miller, Esq., Elmsford, N. Y ........ John C. Moore ................. 277

Jas. W. Thome, Esq., Lake Forest, 111 ..... ........ Otis & Clark ................... 395

Walter R. Kirk, Lake Forest, 111 ................. Otis & Clark .................... 396

Mrs. Louise A. Denker, Los Angeles, Cal ......... B. Cooper Corbett ........... 465-467

C. F. Perry, Esq., Hollywood, Cal ................. B. Cooper Corbett .............. 466

C. Wesley Roberts, Esq., Los Angeles, Cal ......... B. Cooper Corbett .............. 467

Brick and Stone —

Small Houses in Mt. Vernon St., Boston ........... Richard Arnold Fisher .......... 12

Wm. T. Harris, Esq., Villa Nova, Pa .............. Duhring, Okie & Ziegler ....... 77

Cliveden, Germantown, Philadelphia .............................................. 159

Mount Pleasant, Philadelphia ..................................................... 168

The Woodlands, Philadelphia .................................................... 175

Upsala, Germantown, Philadelphia ................................................ 176

Norton House, East Goshen, Conn .............................................. 368-445

"Pencoyd," Bala, Pa ............................. Louis Carter Baker, Jr ....... 370-373

Henry S. Drinker, Esq., Wynnewood, Pa .......... Mellor & Meigs .................. 374

E. I. Cudahy, Esq., Chicago ........................ Otis & Clark .................... 387

Jas. Fentress, Esq., Hubbard Woods, 111 ............ Otis & Clark .................... 404

EXPOSITION BUILDINGS.

Panama-Pacific Exposition, San P'rancisco, Cal.
Palace of Varied Industries ....................... Bliss & Faville. March Frontis-

piece ... ............. 215, 218, 227

Palace of Fine Arts ............................... Bernard Maybeck .......... 202, 203

Palace of Education .............................. Bliss & Faville ............... 204, 205

March insert
Court of Palms .................................. Geo. W. Kelham ........... 206, 218

Palace of Horticulture ................. .......... Bakewell & Brown. . .206, 223, May

. colored insert.
Court of Four Seasons ........................... Henry Bacon ............... 208, 209

March insert, May colored insert.
Festival Hall .................................... Carrere & Hastings ......... 212, 224

Court of the Universe ............................ McKim, Mead & White. .213, 214, 228

Palaces of Food Products, Agriculture, Transporta-
tion and Mines and Metallurgy ................. Bliss & Faville ................. 216

Court of Flowers ............................... Geo. W. Kelham ............ 218, 219

Tower of Jewels ................................. Carrere & Hastings ............ 218

May colored insert.
Court of Abundance ............................. Louis C. Mullgardt ......... 221, 222

Palace of Machinery .............................. Ward & Blohm ................. 226

Arch of the Rising Sun ....... .................... ....................... March insert

California Building ...................................................... March insert

General- Views —

Sketch of the Exposition Grounds ........................................... 198, 199

Sketch of the construction for the Central Dome,
Palace of Fine Arts ........................................................... 200

Aeroplane view ............................................................... • • • 201

Sketch of the Palace of Education. . . . .............................. : ......... 204, 205

Sketch of construction around the Court of Palms ................................. 207

Sketch showing 'construction of the Court of Four
Seasons ....................................................................... 210

Sketch of interior construction of domes ......................................... 211

Sketch showing framework of the Court of
Abundance ................................... • ................................ 220

Sketch showing interior construction of Palace of
Machinery ...................... . .............................................. 225

Panama-California Exposition, San Diego, Cal.
Fine Arts Building ............................... Cram, Goodhue & Ferguson. 230

California State Building .......................... Cram, Goodhue & Ferguson. 232, ^

Varied Industries Building ........................ Bertram G. Goodhue ............ 234

Commerce and Industries Building ................ Bertram G. Goodhue.238, 246, 249, 250

Southern California Counties Building ............ Bertram G. Goodhue ............ 241

San Joaquin Valley Building ..................... Bertram G. Goodhue ............ 243

Arts and Crafts Building ......................... Bertram G. Goodhue ............ 245

New Mexico Building ............................. RaPP &ros. .... .............. -£»

Botanical Building ............................. Bertram G. Goodhue .......

FARM BUILDINGS ................................... Alfred Hopkins ............ 341-35S

F. Mayer & Bros., Chicago ................. Hill & Woltersdorf ........... 471

HISTORIC BUILDINGS AND MONUMENTS.

Villa Madama, Rome, Italy ................ .. .................................... m

Baths of Caracalia, Rome .......................................... ..........

PAGE

Colosseum, Rome 428

Parthenon in 1755 430, 498, 500

Tomb on Via Latina, Rome 431

Theatre of Marcellus, Rome 434

Arch of Titus, Rome 435

British Museum, London 494

Temple of Venus, Pompeii 496

Arch of Constantine, Rome 504

"Maison Carree," Nimes, France 506

Roman Amphitheatre. Nimcs. France 508

Temple of Jupiter, Baalbek, Syria 513

HOTELS, RESTAURANTS, ETC.

Assembly Tea Rooms, Boston Chas. M. Baker 83 -87

Hotel Statler, Detroit, Mich Geo. B. Post & Son 320-339

HOSPITALS, ETC.

General Hospital, Cincinnati, O Samuel Hannaford & Sons. . .454-482

Evans Museum and Dental Institute, University of

Pennsylvania, Philadelphia John T. Windrim 516-527

Forsyth Dental Clinic for Children, Huston Edw. T. P. Graham 528-533

MUNICIPAL BUILDINGS.

Post Office, Washington, D. C Graham. Burnham & Co 278-280

Old City Hall, Washington, D. C 268-273

OFFICE BUILDINGS.

(See Commercial Buildings).
SCHOOLS AND ACADEMIC BUILDINGS.

Washington University, St. Louis, Mo Cope & Stewardson 64 -75

University Hall 64 65

Busch Hall '.' '.'. . .'.'.'.'.'.'.'.'.'.'.'.'. . .' 67

Cupples Hall, No. 2 68

Tower Dormitory 68

Ridgley Library .- 69

Eads Hall 69

Cupples Hall, No. 1 75

Francis W. Parker School, San Diego. Cal Win. Templeton Johnson 88 -90

Johns Hopkins University, Baltimore, Md 481-492

Academic Building Parker, Thomas & Rice. 484, 485, 488

Botanical Laboratory 487

Geological Laboratory Cook & Welch 490

Physical Laboratory Wyatt & Nolting 490

Chemical Laboratory Carrere & Hastings 491

Mechanical and Electrical Engineering Building. . J. E. Sperry 492

STABLE.

Oscar F. Mayer & Bros., Chicago Hill & Woltersdorf 471

STUDIO.

Tree Studios, Annex Hill & Woltersdorf 473

VARIED TYPES OF BUILDINGS.

John C. Proctor Recreation Center, Peoria, 111 Hewitt & Emerson 116-131

Montreal Art Gallery, Montreal, Can E. & W. S. Maxwell 132-148

Tea House Duhring, Okie & Ziegler 310

Bath House Otis & Clark 398

ILLUSTRATIONS OF DETAIL

ALTARS 265

ARCADES '246

ARCHES 46, 435

BALUSTRADES 100, 465

CEILINGS —

Beamed 11, 147, 263, 326, 373, 523

Coffered 100, 105, 151

' Paneled 26, 30 et seq., 334

Vaulted 32 et seq., 123, 221, 230, 264, 290, 296, 321

CHANCELS 262, 418. 419, 421

CHOIR STALLS 291

COLONADES 131, 134, 143, 270

CONFESSIONALS 291

CORNICES 41, 172, 387

COURTS 117

DOMES 26, 31

DOORS (Interior) 5, 61, 83, February frontispiece, 142

DOORWAYS (Exterior) —

Georgian. . . January cover, 13. 15. 17. 19, 23, 48, 57. 84, 92, 159, 167, 173, 176, 272. 325,

340. 362, 366, 368, 378, May cover, 402, 445, 446, 448, 452, 549

PAGE

" Gothic 64, 72, 75, 252, 257, 259, 519

Renaissance, French 136, 139, March frontispiece, 215, 216

Renaissance, Italian 213, 228

Renaissance, Spanish 231, 235, 239, 240, 405

Modern Classic 16, 118, 206, 208, 279, 528

DOVE COTES 311

EXEDRAS 34, 36, 37

FANLIGHTS 40, 173

FONTS 390

FORECOURTS 270

FOUNTAINS 82, 85, 277, 312

GAZEBOS 306, 307

GARDENS April cover, -317, 319, 398, 464

GRILLES (Bronze and Iron) 110, 137, 146, 147

INTERIORS—

Auditoriums 123

Ball Rooms 331

Banking Rooms - 100, 101, 104, 105, 110, 112, 113

Banquet Rooms , 332, 333

Bedrooms ' 64, 180

Cafe 326

Class Rooms (Open Air) 90

Council . Rooms 147

Dining Rooms 60, 84, 182, 186, 329, 334, 400, 407

Drawing Rooms 184, 388

Ecclesiastical 262, 263, 264, 290. 291, 417, 418, 419, 420, 421, 422, 423, 424

Entrance Halls 6, 7, 56, 141, 178, 183, 399

Galleries 4, 9, 133, 142, 144, 230

Gymnasiums 128, 130

Kitchens 462

Libraries 147, 177, 335

Living Rooms January frontispiece, 4, 5, '•>. 11, 21, 58, 59, 375, 407

Lobbies 320, 321, 328, 524

Music Rooms 181

Operating Rooms 459, 460, 525

Parlors 12, 162, 171, 335, 338

Private Offices 115

Reading Rooms 488

Reception Rooms 179

Sitting Rooms 185

Stairways . . . . . 5, 56. 170, 186. 520, 523

Tea Room 84, 85, 86

Vestibules 83

Waiting Rooms 87

Wards (Hospital)

LAMP STANDARDS 140

LATTICES (Exterior) : 52, 76, 348, 352, 357

LOGGIAS... 29, 116, 125, 130, 312

MANTLEPIECES —

Modern January frontispiece, 177, 180, 182, 185. 186

Georgian'.'.'.'. . 8, 12, 21, 58, 60, 62. 87. 160. 164. 171. 338, 388

Renaissance, English 71, 115, 178, 179

Renaissance, French '.181, 184, 400

Colonial 373

MARQUISE •••• 325

NAKTHFX 263, 264

NAVE . :?;.'.:;..' '.v.v.v.v/.v.v.v.v. ......... . .- 417, 419, 420, 422

NEWELL AND HANDRAILS 146, 1

NlCHES

PANELING Colored insert May issue, 532, 534

PATIOS $29

PENDENTTVES

PERGOLAS '.' April frontispiece, 301, 303, 305, 306, 307. 312

Po^s™*5 ;" " • -309,' 310,' 314, '396

PORCHES " 48, 76. 340, 360, 394, 402, 447

PORTICO .'.'.'.'.'.'.'.'.'.'.'.'.'.'.'.'.'-'.'.'.' June frontispiece

PULPIT ' f£

ROOF GARDEN 7?2

ROTUNDA • ' ' i JQ

SCREENS «. r ™

SHRINES :.'• J

PAGE

SWIMMING POOLS 129, 130

TERRACES April frontispiece, 311, 391, 396

TOWERS 64, 255, 292, June frontispiece, 484, 485, 516

TRANSEPT 423

URN 300

WELL 309

WINDOWS —

Range ' 11

Mullioned 25

Traceried .27, 418, 423

Bay 81

Georgian 82, 324, 450, 451

Spanish Renaissance 237

WOOD CARVING 537

ARCHITECTS REPRESENTED
NAME HOME OFFICE PAGE

Bacon, Henry New York City 208-209

Baker, Chas. M Boston, Mass. . . : 83-87

Baker, Louis Carter, Jr Philadelphia, Pa 370-373

Bakewell & Brown San Francisco, Cal 206, 223

Bessell, Wesley Sherwood New York City 360, 362-369

Bliss & Favillc San Francisco, Cal. . . . 193, 204-205, 210, 211, 215-217, 218

Borie, C. L Philadelphia, Pa 16

Caldwell, Francis D Philadelphia, Pa 14, 15

Carrere & Hastings New York City 212, 218

Chard, Thornton New York City 177-186

Cook, Walter, & Winthrop A. Welch. New York City 491

Cope & Stewardson St. Louis, Mo 64 69, 71-73

Corbett, B. Cooper Los Angeles, Cal 464-469

Corbusier, J. W. C Cleveland, 0 252, 254-267

Corse, Henry T., Jr New York City 479

Cram, Goodhue & Ferguson Boston, Mass 229-233, 235-237, 242

Cram & Ferguson Boston, Mass 410, 412, 414, 424

Duhring, Okie & Ziegler Philadelphia, Pa 76-81, 310

Duhring & Howe Philadelphia, Pa 311

Eckel & Aldrich St. Joseph, Mo 561

Evans & Warner Philadelphia, Pa May Cover

Farquhar, Robert David Los Angeles, Cal 224

Fisher, Richard Arnold Boston, Mass Opp. 1, 2, 4-13, 18

Goodhue, Bertram G New York City 234, 238, 241, 243, 244, 247, 249, 250

Graham, Edw. T. P Boston, Mass 528-534

Graham, Burnham & Co Chicago, 111 278, 280

Hannaf ord, Samuel, & Sons Cincinnati, 0 454, 456, 462

Heacock & Hokanson Philadelphia, Pa 274-276

Hewitt & Emerson Peoria, 111 116 130

Hill & Woltersdorf Chicago, 111 470-473

Hopkins, Alfred New York City 340-359

Johnson, Wm. Templeton San Diego, Cal 88-90

Kelham, George W San Francisco, Cal 207, 218, 219

Kimball & Roosa New York City 98, 100-101

Litchfield, Electus D New York City 48-53, 55-62

McKim, Mead & White New York City 213-214, 228

Maxwell, E. & W. S Montreal, Can 132-147

Maybeck, Bernard San Francisco, Cal 200. 202 203

Mellor & Meigs Philadelphia, Pa 25, 374, 375

Moore, John C White Plains, N. Y 277

Mulleardt, Louis C San Francisco, Cal 220-222

Olmsted Bros Brookline, Mass 289, 301, 305-307, 309, 313, 315

Otis"& Clark Chicago, 111 Frontispiece, 386-408

Parker, Thomas & Rice Baltimore, Md. June Frontispiece, 484, 485, 486, 487, 488

Platt, Charles A New York City 303

Post, Geo. B., & Sons New York City 320-321, 323-338

Rapp Bros Trinidad, Col .»

Roth & Study St. Louis, Mo • 576-578

Rowe & Smith New York City 91-92

Sperry, J. E Baltimore, Md 492

Trowbridge & Livingston New York City Opp. 97, 111-115

Ward & Blohm San Francisco, Cal 226

Windrim, John T Philadelphia, Pa 516-527

Wyatt & Nolting Baltimore, Md 491

York & Sawyer New York City 103 110

CHITECTVRA,
RECORD

January i 9 1 5

Published by The Architectural Record C? ~ New York.

Buildinr

Made from Long, Tough Root Fiber

The inevitable time
has arrived when an improve-
ment in wall boards is ex-
pected. The demand is for a
board whose range of useful-
ness and inherent qualities
surpass all others.

This demand has been
met.

FIRERLIC BUILD-
ING BOARD owes many of
its advantages over ordinary
ground wood or paper pulp
boards to the unique and ex-
clusively controlled material
which is its base.

From a long, tough
fib^red root imported from
Turkish Arabia, there is
formed under pressure, a
strong, homogeneous, natural-
ly reinforced mass of closely
interlaced fibers, which gives
FIBERLIC, a uniform, rigid
and tenacious texture, impos-
sible in any board less care-

fully planned and manufac-
tured.

Chemically deprived
of its wood properties, FI-
BERLIC is difficult to ignite,
is a better insulator against
heat, cold, sound and vibration,
and absolutely excludes mould
growth and insect life which
flourish in ordinary wood com-
position.

FIBERLIC is made
in eighth, quarter and half-
inch thickness, an advantage
immediately apparent when
unusual requirements exclude
the consideration of light
weight board.

The complete story of
FIBERLIC is interesting from
purely an educational stand-
point, aside from establishing
a newer a'nd better method of
constructing walls and ceil-
ings.

We shall be pleased to answer fully and technically any questions. Send for sample

The Fiberlic Company

Camel en

New Jersey

VOL. XXXVII. No. I

JANUARY, 1915

SERIAL NO. 196

ARCH1TECTVRAL
RECORD

COVER — South Entrance of Independence Hall, Philadelphia.
Drawing by Jack Manley Rose

Page

THE ARCHITECTURAL RECLAMATION OF SMALL AREAS IN CITIES 1
By Harold D. Eberlein

THE VILLA MADAMA. Part II

Text and Measured Drawings by Howard W. Germann

AN ARCHITECT'S COUNTRY HOUSE: Residence of Electus Litchfield, Esq.,

New Canaan, Conn. - - - 48

By Harriet T. Bottomley

WASHINGTON UNIVERSITY, St. Louis, Mo. Cope & Stewardson, Architects * 64
By Guy Study

A MODERN VERSION OF THE EARLY PENNSYLVANIA COUNTRY

HOUSE : Residence of William T. Harris, Esq., Villa Nova, Pa. Duhring,
Okie & Ziegler, Architects - - 76

By C. Matlack Price

PORTFOLIO OF CURRENT ARCHITECTURE

THE ARCHITECT'S LIBRARY: Books by Practical Theorist— Gram and Blashfield 93
By Richard Franz Bach

NOTES AND COMMENTS 96

Editor: MICHAEL A. MIKKELSEN. Contributing Editor : HERBERT D. CROLY

Advertising Manager: AUSTIN L. BLACK
Yearly Subscription— United States $3.00 Entered May 22. 1902. as Second Copyright 1914 by The Architectural

— Foreign $4.00 — Single Copies 35 cents

Class Matter, at New York. N. Y.

Record Company — All Righto Reserved

PUBLISHED MONTHLY BY

THE ARCHITECTURAL RECORD COMPANY

115-119 WEST FORTIETH STREET. NEW YORK

F. W. DODGE, President

F. T. MILLER, Secretary and Treasurer

LIVING-ROOM—OWN HOUSE IN
LIME STREET, BOSTON. RICHARD
ARNOLD FISHER, ARCHITECT.

THE .

ARCHITECTVRAL
RECORD

JANVARY, 1915

VOLVME XXXVII

NVMBER I

S2? ARCH1TECTVRAL RECLAMATION
OF SMALL AREAS IN CITIES

By Harold D. Eberlem

MAKING the most of all available
space in our cities is a matter
of serious import. Indeed, in
many cases, it is more than a matter
of serious import; it is a matter, rather,
of imperative necessity. The necessity
is occasioned and emphasized by the
growing congestion -of population, a
population that is increasing by leaps
and bounds, and by the consequent
sharp advance in 'real estate values. Itr
not a few instances the problem of mak-
ing each square foot of space render
its utmost service and bring in the
largest possible financial return has be-
come intensely acute. The architectural
reclamation of neighborhoods or parts
of neighborhoods whose possibilities
have hitherto been ignored, offers one
valuable means of relieving the strain.
The pressure is felt in business and

4-o

residential districts alike. In the busi-
ness world, motives of convenience and
the stress of competition dictate a com-
paratively restricted area of activity as
the eligible location for those whose
commercial or professional success de-
pends largely upon ease and dispatch
of communication and personal contact
with their customers, clients or asso-
ciates. Modern transit facilities have
made it possible to realize this tendency
to rush to one focal point and, as a neces-
sary result, the skyscraper has been
evolved to relieve the situation in some
degree.

On the other hand — and here lies our
present concern — in urban residential
districts the pressure has been present
for some time past, is steadily becoming
more and more insistent and refuses to
be satisfied with the apartment house or

THE ARCHITECTURAL RECORD.

flat as the only practicable solution of
the difficulty. While highly organized
methods of transportation have greatly
fostered city growth and assured ease
of communication between the various
sections, the fact remains that certain
centrally located neighborhoods are
deemed particularly desirable for pur-
poses of residence, whether from consid-
erations of convenience, of personal
preference or, perhaps, from sentimen-
tal attachment. Concurrently with the
well recognized "back to the country"
movement, there is also a movement in
the opposite direction that sometimes es-
capes notice, a "back to the centre of
the city" movement that leads people to
seek dwelling places now where a few
years ago they would not have thought
for a moment of looking. Apartments
and flats are not to their taste and yet,
oftentimes, their means are not sufficient
to warrant the purchase or upkeep of a
large house on one of the fashionable
residential streets. Consequently they
must needs turn their attention to the in-
tensive use of space and look to the archi-
tectural reclamation of the unimproved
areas in small back streets for the one
feasible and satisfactorv solution of the
problem that confronts them. Thus, by
turning to good account the areal by-
product of an older and more prodigal
method of city building when, as yet,
there was no perplexing congestion ana
hence no particular need to economize
ground room, they both enhance the de-
sirability and value of property and ac-
complish their wishes in the matter of
location.

Others who are thoroughly interested
in this process of architectural reclama-
tion are those in easy but not affluent
circumstances who orefer to live in a
comfortable but modest way in the heart
of the city, where all things in which
they are interested, whether pertaining
to business or pleasure, are readily ac-
cessible by a few minutes' walk, rather
than have a more extensive establish-
ment in the suburbs or country where
residence, however agreeable, entails
spending daily a considerable time in go-
ing back and forth. Yet others, of ample
means, maintain country places where

they live during the greater part of the
year and do most of their entertaining
but choose to live in the city during the
winter and early spring and do not care
to keep up large and expensive houses
which it suits them to occupy during
only a limited period. When they are
in the city they wish to be in the midst
of it where the social life centres. All
classes are thoroughly representative of
the "back to the city" movement.

Opportunities for the felicitous archi-
tectural reclamation of modest neighbor-
hoods and streets are plentiful in the
older and larger cities of our Eastern
and Middle states. Boston, New York,
Philadelphia and Baltimore are full of
"backwaters" from the constant stream
of traffic that surges through the main
thoroughfares. Thousands of people
pass within a stone's throw of them
every day without being aware of their
existence merely because they happen
to be a few paces out of the beaten track.
Those who are wise enough to search
them out and make their homes there
enjoy a rare measure of privacy and
yet, at the same time, are in the very
heart of all urban activity. In their
unimproved state these places, it is true,
are often far from prepossessing. The
sites of potential development may be
occupied by stables, blacksmith shops
or tiny dilapidated houses of the most
flimsy and tumbledown character or there
may be small dwellings, old but struc-
turally sound, that need only judicious
remodelling, and sometimes but little of
it, to render them thoroughly habitable,
comfortable and highly attractive. In
either case, whether architectural recla-
mation involves building anew or only
a degree of alteration and re-adjust-
ment, it requires but the power to visual-
ize, coupled with ordinary sound real es-
tate judgment, to be able to appreciate
the waiting opportunities. While many
possibilities in this direction have been
eagerly seized upon and made the most
of in the cities mentioned, it is safe to
say that the field open for this sort of
improvement has been scarcely more
than entered upon.

In support of this statement may be
cited the facts as they appear, both in

THE ARCHITECTURAL RECORD.

LIVING ROOM AND GALLERY— OWN HOUSE, LIME STREET, BOSTON.
Richard Arnold Fisher, Architect.

ithe shape of actual achievements in
• architectural reclamation and in the
[physical possibility that invites improve-
ment. In every American city whose
;age has passed the century mark there
may be discovered attaching to certain
favored localities a distinctive atmos-
phere, subtle to be sure, and well-nigh
ibaffling of analysis, but strongly individ-
ual, nevertheless, and not to be ignored
as a negligible influence. Beacon Hill
in Boston has such an atmosphere of its
own and has it to a marked degree. It
is altogether too elusive to define in
.terms of logical exactitude, but anyone
'who has spent much time in Boston can-
mot but be conscious of it, especially
while passing along Mount Vernon
^street or through Louisburg Square.

Boston people have felt this mysteri-
•ous force attracting them and there has
been a noticeable movement back to that
district on the part of those who prefer
.to live there in modest elegance rather

than in ampler surroundings in a local-
ity which the casual observer, unaware
of Beacon Hill's pervasive charm, might
deem physically more attractive. Quite
apart, however, from this indefinable but
potent allurement, Beacon Hill has very
material advantages to offer in its quiet
and privacy in the heart of the city, along
with ready accessibility to all business and
social activities and in its proximity to the
Common, the Public Gardens and the
Esplanade. It only remains to find
eligible sites for architectural improve-
ment, and these are not wanting in the
many small streets that the oversight
of a former generation passed by in a
period of rapid expansion to the west
along Beacon street, Commonwealth
avenue, Marlborough street and other
streets in that neighborhood. What has
actually been accomplished in the way
of rendering the small streets of Beacon
Hill attractive for residential purposes
we shall see in following paragraphs.

DETAIL OF LIVING ROOM AND STAIR-
OWN HOUSE, LIME STREET, BOSTON.
RICHARD ARNOLD FISHER, ARCHITECT.

HALLWAY FROM DINING-ROOM TO STAIRS
—OWN HOUSE IN LIME STREET, BOSTON.
RICHARD ARNOLD FISHER, ARCHITECT.

LIVING -ROOM-OWN HOUSE IN
LIME STREET, BOSTON. RICHARD
ARNOLD FISHER, ARCHITECT.

THE ARCHITECTURAL RECORD.

The beginning already made has many
useful lessons to teach and augurs well
for the future of architectural and eco-
nomic development upon the lines
marked out.

Alluding once more to the influence
of a sentimental attachment or of a
characteristic local atmosphere and
charm in directing attention to the re-
clamation of neighborhoods and streets
that the march of improvement and ex-
pansion has swept past and left un-
touched, we turn to examine Philadel-
phia's opportunities for architectural
renewal of unproductive or decadent
areas. Architectural phenomena often
find their ultimate explanation in social
or economic conditions and in the pres-
ent instance a slight digression is neces-
sary to show why the strong desire to
live within a certain area has started a
train of remodelling and made architec-
tural reclamation the object of serious
effort.

TYPICAL FLOOR PLAN IN BRIMMER STREET

HOUSES.
Richard Arnold Fisher, Architect.

No one of Philadelphia's many foibles
and traditionary prejudices causes more
amusement or perplexitv in the minds of
non-Philadelphians than the generally
accepted convention that one must live
south of Market street in order to be
an fait socially or even respectable. No
end of fun has been poked at Philadel-
phia on this score. The fact, however,
remains; the feeling does exist and it
would be an easy matter to pick out a
number of instances in which nouveau
riche families, hailing from north of the
mystic line drawn along the middle of
Market street, have sought a place of
abode on Walnut, Locust or Spruce
streets or on one of the eligible cross
streets in their vicinity as a first step
toward winning a quasi-recognition in
polite society. In the early days it was
not so and it would not be difficult even
now to find on the taboo north side
plenty of estimable people of impeccable
birth and breeding whom the veriest
snob would kow-tow to did he know
their family antecedents, while Arch
street, well within the memory of the
present generation, was still a strong-
hold of the old Quaker element.

One can readily see why the coming
of the elevated railroad and manufac-
turing establishments made a difference
in some districts, but others that are
physically acceptable languish under the
blight of social ineligibility, while places
of less outward attraction are eagerly
sought for the distinction that residence
in them is supposed to confer. One can
also readily see why the really old sec-
tion of the city, with its many remaining
landmarks and characteristics of Geor-
gian date, should exert a powerful
charm, but to understand what must to
some seem merely a caprice of snobbery
one must know a bit of history, know
that many years ago it so chanced that
the lower ends of Chestnut, Walnut,
Spruce and Pine streets with the inter-
secting cross streets in the vicinity con-
stituted what may be termed the "court
end" of town, that the course of residen-
tial progress lay in a westward line as
business gradually monopolized the east
and, finally, that in Philadelphia and
Boston, the "two English cities in

SMALL HOUSES IN MT. VER
NON STREET, BOSTON. RICHARD
ARNOLD FISHER, ARCHITECT.

FRANKLIN INN CLUB — DEAN AND
ST. JAMES'S STREETS, PHILADELPHIA,
FRANCIS D. CALDWELL. ARCHITECT.

DOORWAY DETAIL— FRANKLIN INN
CLUB, PHILADELPHIA. FRANCIS
D. CALDWELL, ARCHITECT.

From a water color sketch by Eugene Castello.

MASK AND WIG CLUB, QUINCE
STREET, BELOW SPRUCE, PHILA-
DELPHIA. C. L. BORIE, ARCHITECT.

POOR RICHARD CLUB —
DEAN STREET, PHILADELPHIA.

5-o

THE ARCHITECTURAL RECORD.

America" as Freeman called them, a
strong residuary leaven of British con-
servatism and devotion to tradition has
always largely influenced the reckoning
of social status by an hereditary stand-
ard of birth and breeding rather than by
the fortuitous standard of mere wealth.

One may pooh-pooh this influence and
this explanation if one pleases, but the
proof of its reality and power is to be
found in real estate values in that sec-
tion of the city where so many of the
descendants of those who used to live
in the "court end" of the city have elect-
ed to have their present place of abode.
Thus also may be explained the ten-
dency to the architectural reclamation
of the small streets in that favored
neighborhood and therein lies the inter-
est for us and the connection with the
subject under discussion that the fore-
going explanation was needed to eluci-
date. Having grasped the complex na-
ture of the motives that prompt to the
architectural regeneration of the small
streets within a restricted area, it re-
mains to note the present condition of
those streets, what opportunities they
offer and what has been thus far accom-
plished.

According to William Penn's scheme
the city was laid out like a gridiron with
the principal thoroughfares intersecting
each other at right angles. This gridiron
plan was still further cross-hatched by
numerous small streets or alleys run-
ning, also at right angles, between the
larger streets. While there was still
plenty of room for development along
the principal streets these small back
streets were given over to stables and
the dwellings of mechanics, exceedingly
simple and unpretentious, but soundly
built and oftentimes with a touch of that
modest architectural elegance that re-
mained as a heritage from the Georgian
builders.

In not a few instances these little
houses have fallen into the hands of an
extremely undesirable class of occu-
pants and occasionally a condition of
squalor and dilapidation prevails so that
their presence within a few feet of
homes of wealth and refinement is alto-
gether anomalous even though the occu-

pants of the large houses turn their
backs and forget the existence of the
lesser homes until a brawl of drunken
negroes or some similar disturbance at
their back gates unpleasantly compels
their attention for a moment. The
source of annoyance, however, contains
the germs of remedy and the remedy
has begun to appear in a process1 of
architectural reclamation that is assum-
ing such proportions that we cannot af-
ford to overlook its record and the fore-
cast of .future development that it sug-
gests.

Following the order in which the ac-
companying illustrations occur, the
reader may first see a part of the work
of reclamation already accomplished in
Boston after the plans of Richard Ar-
nold Fisher, architect. The houses il-
lustrated are on Lime and Brimmer
streets in the Beacon Hill section, and
were erected by the Brimmer Street
Trust upon ground that was formerly
occupied by stables, small blacksmith

FIRST AND SECOND FLOORS-OWN HOUSE
IN LIME STREET, BOSTON.
Richard Arnold Fisher, Architect.

TYPICAL SMALL HOUSE —
SMALL STREET IN OLD PART
OF CITY, PHILADELPHIA.

-20

THE ARCHITECTURAL RECORD.

shops and other little buildings of tum-
bledown aspect and dilapidated condi-
tion. In this case the reclamation had
to be effected entirely by demolition and
building anew.

The problem presented was interest-
ing in many ways, but particularly in re-
spect of the size of the lots. They were
originally small and it was decided to
keep them so. The average size is
eighteen feet by sixty feet. Notwith-
standing this limitation excellent results
have been gained. Regarded from the
exterior, the houses in both Lime and
Brimmer streets present a reassuring
dignity of mien that dispels any appre-
hensive uncertainty as to the possibility
of making the small house an architec-
tural factor of importance and interest.
Studied from within, they show praise-
worthy ingenuity in getting a great deal
of space within a very small compass.
As may be imagined, there is no allow-
ance for waste room.

Although the frontage of the block of
houses on Brimmer street is treated as
practically one architectural unit, there
is enough individuality in the treatment
of the several houses to preclude the
charge of monotony. Furthermore,
considered together, their number sup-
plies a cumulative force and they acquire
the effect of a large building. The mode
of architectural expression chosen is
quite in keeping, through its late Geor-
gian characteristics, with the rest of the
larger houses in the surrounding district
which nearly all show unmistakable
traces of Bulfinch influence or the marks
of a slightly earlier period. No start-
ling or flighty effects have been attempt-
ed and the whole row is instinct with an
air of well-mannered sanity and sub-
stantial comfort. Before passing on to
other points, one cannot fail to note with
pleasure several agreeable touches of in-
terest that have been added in the shape
of the iron area and step railings and
the balustered piercings of the brick
coping on the two projecting end houses.
This same coping is reminiscent of the
British method of employing such a de-
vice to screen dormer windows and the
slope of the roof from view and present
a finished front to the street.

With the Lime street houses, just
around the corner from those in Brim-
mer street, there was the same limitation
in the size of the lots, all of which are
small. In this connection the archi-
tect's own house is particularly signifi-
cant, as Mr. Fisher designed it largely
"as an object lesson to show how a
house can be spacious in fact as well as
in appearance on a very small lot."

Upon examining carefully the floor
plans and the illustrations, the reader
will see how admirably Mr. Fisher has
succeeded in proving this thesis. There
is nothing cramped in the appearance
of the exterior and within there is such
an agreeable atmosphere of both breadth
and height that no one would fancy the
architect had been hampered by the
strait bounds of the property lines. The
house shows conclusively that dignity
and spaciousness are not matters neces-
sarily of size. Most of those who read
this can no doubt recall upon a moment's
reflection, little rooms they have seen
that seem large and full of dignity and,
on the other hand, large rooms that
seem small. If they analyze their im-
pressions they will see how all-important
is the consideration of relative scale and
proportions. Mr. Fisher has so man-
aged his proportions and detail that all
contribute to the effect of spaciousness.
He has achieved his purpose with re-
straint and without apparent effort and
is thereby entitled to all the more credit
in coping with a difficult problem where
any evidence of palpable striving for ef-
fect or any resort to "stunty" expedients
would have been fatal to the result.

Besides showing that dignity and
space are both attainable in a small city
house, Mr. Fisher has adroitly contrived
his rooms so that they furnish well and
thereby contribute to the general impres-
sion of amplitude. Free, unbroken
wall spaces help greatly in this respect,
while the large mullioned window at the
end of the living-room, consistent with
the seventeenth century English archi-
tecture of the rest of the house, admits
a flood of light and emphasizes the prin-
ciple, which we in America are too apt
to ignore, of admitting an abundance of
uncurtained light at one place. Inci-

THE ARCHITECTURAL RECORD.

LIVING ROOM— TYPICAL OLD SMALL HOUSE, PHILADELPHIA.

MANTEL DETAIL-TYPICAL OLD SMALL HOUSE, PHILADELPHIA.

THE ARCHITECTURAL RECORD.

dentally, it may be added that having
secured favorable conditions for effec-
tive furnishing, Mr. Fisher has shown
excellent judgment in the choice 'and ar-
rangement of his furniture in keeping
with the architectural character of its
setting.

Another point to be borne in mind in
connection with small houses of the type
under consideration is that it is better
to have a few rooms, well proportioned
and of good dimensions, rather than a
larger number of less effective rooms
some of which are not used to the full
extent that they might be. With fewer
rooms, carefully planned to meet all do-
mestic needs, it is possible to use fully
every available inch of space, as must be
the case if the small, compact house is
to be a thorough success. Many of the
best houses of our own Colonial period,
and large houses at that, had compara-
tively few rooms, far fewer than would
have been the case in most houses of
equal size designed today, but our fore-
bears found it not inconvenient and
managed to observe with ease all the
amenities of polite social life and we can
readily accommodate our manner of liv-
ing to the same conditions.

The two small houses in Mt. Vernon
street whose exteriors are shown in one
of the illustrations, also designed by Mr.
Fisher, are full of interest and sugges-
tivcness for the treatment of such prob-
lems. They are almost severely plain
and unpretentious, but several pleasing
and effective touches, compatible with
their studied simplicity, have been add-
ed in the form of semi-circular balconies
with plain iron railings before the tall
second floor windows, the recessed bays
in which the windows are set and the
stone string course crossing the brick
wall at the spring of the bay arches. On
comparing them, however, with the
tilock of houses at the corner of Lime
and Brimmer streets, one cannot help
feeling how much more satisfactory it
is to deal with a reclamation project of
some extent rather than with scattered
cases. It is often urged that it is scarce-
ly worth while, from a financial point of
view, for a busy architect to bother with
small houses. In isolated cases this

may or may not be true, but that objec-
tion cannot validly be made where the
operation covers a considerable extent
of ground and the architect's fee is not
a picayune affair. Furthermore, such
an operation provides a favorable oppor-
tunity for constructive handling that is
impossible where there is only a very
small frontage to work upon. With
reference to the cost of the houses in
Lime and Brimmer streets, it is not per-
mitted to state the exact figures but only
to say that the outlay involved was ex-
tremely moderate, altogether commen-
surate with the size of the lots and quite
within the reach of those to whom resi-
dence in reclaimed districts offers attrac-
tions.

Turning now to examine the progress
of the architectural reclamation of the
small streets in Philadelphia, we find
that the process has been in great meas-
ure sporadic. One of the few streets
that has shown any consistent and con-
tinuous development in this direction is
Dean street, or Camac, as it is now
called, running south from Walnut ..be-
tween Twelfth and Thirteenth and, in
its reclaimed portion, almost wholly
given over to small clubs. There are
the Business and Professional Men's
Club, the Franklin Inn Club and the
Stragglers' Club, all occupying old build-
ings that have been more or less remod-
elled. The most pleasing architectural-
ly and the one to which most has been
done is the Franklin Inn Club, situated
at the intersection of Dean and St.
James streets, neither of which is wide
enough to accommodate more than one
vehicle. This circumstance will explain
the presence of the green fender posts
along the curb to restrain a carter's
temptation to drive up on the narrow
sidewalk upon meeting a wagon coming
in the opposite direction instead of one
or the other having to back ungracefully
out of the street. These posts, besides
fulfilling a utilitarian purpose, serve as a
reminder of the Philadelphia of Frank-
lin's days, for they are the successors
of those mentioned by William Black,
one of the Virginia Commissioners who
visited Philadelphia in 1744 and record-
ed in his diary after having wined and

THE ARCHITECTURAL RECORD.

REMODELED FRONTS— OLD HOUSES IX LATIMER STREET, PHILADELPHIA.

SMALL DWELLING HOUSES-RECLAIMED PORTION OF SMEDLEY ST.. PHILADELPHIA.

THE ARCHITECTURAL RECORD.

dined too well upon one occasion: "I
grop'd my way to where I lodged after
having Butted against some Posts on the
Sides of the Pavement."

The reclamation of the Franklin Inn
Club was more in the nature of a restor-
ation than anythinge else. The general
contour of the old dwelling houses from
which it was remodelled suggested the
treatment adopted. The exterior was
coated with grey roughcast stucco,
throwing the white doorway, window
sashes and cornice and dark green shut-
ters into strong contrast. Beside the
doorway hangs a bronze shingle bear-
ing on either side in relief the head of
Benjamin Franklin, modelled by Dr. R.
Tait MacKenzie.

In the next block, beyond Locust
street, a whole row of small dwelling
houses of early date has been converted
into club houses beginning with the
quarters of the Sketch Club at the cor-
ner of Latimer street and including the
Coin d'Or, the Poor Richard Club and
the Plastic Club. Little has been done
to the exteriors of these houses save
painting and the making of necessary
repairs. It is gratifying to note with
reference to these clubs that the oppor-
tunity for improvement presented by the
backyards has not been neglected.

The other instance in which a con-
sistent effort at reclamation has been
made is in Carlisle street, a thorough-
fare running for one block from Pine
street to Lombard. Here a row of old
and uninviting brick dwelling houses
was taken in hand by a trust company,
repaired, slightly altered and painted so
as to be thoroughly attractive and then
let at a reasonable rental to desirable
tenants. In some cases the alterations
were designed to suit the wishes of the
tenants. The experiment proved so
successful and the character of the
neighborhood was made so agreeable
that the row has been dubbed, not inap-
propriately, "Pomander Walk."

Other attempts at reclamation, though
scattered, have been numerous and suc-
cessful. Many of the small houses are
so staunchly built that, so far as the ex-
teriors are concerned, they require only
well-designed woodwork for the win-

dows and doors, paint, the addition of
proper cornices and any other minor
items of embellishment that personal
taste may dictate, to transform them
into desirable places of residence. As a
fairly representative example of this
sort of thing may be cited .the houses
in Latimer street. At the left side of
the illustration may be seen what the
houses were before reclamation, while
at the right the result achieved at little
cost speaks for itself. The reclamation
of these houses is typical of what has
been done with scores of others.

The amount of interior alteration de-
pends, of course, upon the inclination of
the occupants, but time and again the in-
side arrangements are susceptible of
easy readjustment and the woodwork is
so good that little has to be done beyond
painting and papering and the addition
of bathrooms and plumbing. The little
house of which the exterior and interior
and a mantel detail are shown required
only such items, and it is only one of
many. It is hardly fair to cite this in-
stance, where so little has been done, as
a case of architectural reclamation, but
it serves to show what a groundwork
there is to work upon and how rich it is
in promise under sympathetic handling.

Altogether apart from architectural
considerations, in this process of redeem-
ing the oversight of a former generation,
must be reckoned the marked advance in
real estate values invariably consequent
upon the improvement of a neighborhood.
In one small Philadelphia street of the
sort previously mentioned there has been
a notable and characteristic example of
healthy and stable appreciation in the
value of property.

For obvious reasons it is not expedient
to name the street or indicate the individ-
ual houses that have been factors in this
desirable change, but if anyone is suf-
ficiently interested to inquire of reputable
real estate brokers, the facts in each spe-
cific instance, backed up by exact figures,
may readily be learned. Six years ago
the property values in this particular
street were moderately low, a normal
condition for streets of this character. At
that time began the process of reclamation
through remodelling and the work has

THE ARCHITECTURAL RECORD.

OFFICE ON A STABLE SITE— OWN OFFICE, JUNIPER AND CHANCELLOR STREETS,

PHILADELPHIA.

Mellor & Meigs, Architects.

continued since then with more or less
regularity. During this period real estate
values have slightly more than doubled,
and, in the case of one property, the value
has almost trebled. No more convincing
proof of the commercial utility of archi-
tectural reclamation could be asked and
the argument ought to appeal to those
who are in the narrow habit of cavilling at
anything as impracticable and visionary .
that cannot afford a demonstration in dol-
lars and cents. Experience has proved
time and time again, that it is well worth
while, both architecturally and financial-
ly, to reclaim the small street and the
tangible proofs are at hand in an endur-
ing form.

Whether the process of reclamation
consists of remodelling or of building
altogether anew, it is a work worthy
the serious effort of architects, as may

be judged by the instances cited in
Philadelphia and Boston, if it be one of
the functions of architecture to render
our every-day surroundings comely and
our cities consistently and universally
attractive without blotches and eyesores
to detract from the beauty of the finer
products of architectural endeavor.

The only obstacle to venturing upon
the reclamation of small streets is the
uncertainty regarding one's neighbors.
In the cut showing the small dwelling
houses on Smedley street may be seen an
example of this. This objection, how-
ever, can be readily overcome by co-
operation or by getting a trust company
or some reliable corporation to under-
take the project of redeeming a whole
neighborhood, and the results so far ac-
complished indicate plainly that the
game is worth the candle.

DETAIL OF DOME IN LOGGIA-
VILLA MADAMA. ROME.

THE VILLA MADAMA

TEXT ANDMEASVRED DRAW-
INGS BY HOWARD WCERMANN

ARTICLE II.

THE loggia, or large vestibule, is the
principal part of the villa and is
the only part that was complet-
ed.* In fact, when speaking of the villa
Madama today one usually has in mind
the loggia and its decorations. That the
works of Giulio Romano and Giovanni
da Udine might be preserved the three
large openings facing the terrace have
been closed, and the light now enters
through glazed sash above the spring of
the arches.

Among the details introduced in the
elegant decorations of the walls and ceil-
ing of the loggia are animals, both in
their natural and blended form, crea-
tures part beast, part human, such as
fauns, satyrs, centaurs, tritons and mer-
maids. There are genii and female fig-
ures that uncoil themselves from the
Drolls of acanthus foliage — griffins, birds,
lyres, flowers, clusters of fruit and an
intermixture of variously shaped panels
containing a profusion of joyous mytho-
logical deities, allegorical attributes or
inscriptions. Frequently, too, appear the
six balls of the Medici and the hat of the
cardinal, the diamond ring to which
Leo X had added two hawks as support-
ers, and which Lorenzo de' Medici had
adorned with three feathers, one white,
one red and one blue, symbolizing faith,
hope and charity, adding sometimes the
word "Semper," signifying, according to
Paolo Giovia, Lorenzo's constancy in his
love of God. We find also the yoke used
by Leo X as cardinal in 1512 and various
symbolical objects forming parts of the

*A restoration of the Villa Madama was made by
M. Bernard, a French architect, in 1871, and is now
in the Ecole des Beaux Arts in Paris.

insignia of Giulio de' Medici, such as the
blazing sun, the crystal ball and flames of
fire.

Hittorff says: "In such works we are
justified in saying that taste and richness
of resource have reached their climax,
for since, by the reintroduction of stucco,
it was possible to blend the two effects of
painting and sculpture the most distin-
guished artists carried the execution of
the combined decorations to the highest
perfection."

The appearance of grandeur given here
to the smallest details, the grace and
lightness of form and the charming har-
mony and brilliancy of color, whets our
curiosity to know what this villa must
have been like in the heyday of joyous
reveling, when these openings were free
and the light permitted to enter in its
full transparency.

The loggia offers, not less than that of
the Vatican, a choice example of the dec-
orative painting of the sixteenth century,
but the less extended loggia of the Villa
Madama and the less frequent repetitions
of the arched divisions create a less con-
fusing effect, and the magnificent ceiling
a more gratifying and charming influ-
ence, than does the loggia of the Vati-
can.

The ceiling of the loggia in the Villa
Madama consists of a small dome on
pendentives and two groined vaults, one
on either side of the dome. Below the
groined vaults, opposite the openings
onto the terrace, and also in the west
wall, are semicircular exedras or large
niches containing smaller niches above
which are rectangular panels with vari-
ous Medici emblems. At one time in

THE ARCHITECTURAL RECORD.

the small niches were ancient statues
which were probably selected by Raphael
while he was in charge of the excava-
tions at Rome. The bust of Jupiter of
Versailles, now in the Louvre at Paris,
at one time belonged to the Villa Ma-,
dama, but this with many other statues
was sent by the Farnese family to the
King of France.

From the center of the loggia a passage
leads to a semi-circular court which was
once the principal entrance to the villa,
but is now in such a damaged state that
it is impossible to form a good idea of
its original appearance. The living
apartments are entered from the passage
mentioned above and from the east end
of the loggia.

Examining the photographs we see in
the center of the dome the armorial bear-
ings of the Medici and at the four ends
of a cross formed by small panels a
series of beautiful little pictures in which
the elements are represented by figures
of Jupiter, Juno, Neptune and Pluto.
Jupiter is shown with the eagle, emblem
of strength, and bearer of his thunder-
bolts, and with Ganymede his cup bearer ;
Juno is shown on a chariot drawn by pea-
cocks and accompanied by Eros; Nep-
tune is seen driving his chariot over the
sea ; and Pluto with Proserpina is shown
among the Eumenides, daughters of
Night.

Between these paintings upon a ground
of imitated gold mosaics are white stucco
figures in circular panels representing
the seasons. The most graceful is
Spring, to whom two cupids are offering
flowers ; Summer is represented by a fe-
male figure with a cornucopia supported
by cupids ; Bacchus, as Autumn, is seated
on a wine cask, while cupids assist him
with the vintage, and Winter is repre-
sented by Vulcan warming his hands
. at the flame from a tripod as Venus
is preparing his nectar.

This rich center is bordered by a frieze
subdivided into eight square panels, and
in each of the subdivisions are two genii
with bodies ending in acanthus leaves.
They are engaged with panthers, grif-
fins and similar animals and between the
genii is the diamond ring of the Medici.
Below this frieze a second circle encom-

passes the whole dome and is studded
with small and elegant cameos in relief.
In eight large oval cameos are the prin-
cipal heathen deities, while in the smaller
ovals are muses and other symbolical
and mythological female figures, and in
the small circular cameos, ori either side
of these, are similar but very small fig-
ures done in white stucco.

A delicate band with small brackets
and diamond shaped panels divides this
last circle ffom the pendentives which
are filled with rich flowery arabesques.
On two of these pendentives diagonally
opposite each other we see the ring of
the Medici and the three plumes added
by Lorenzo; also the six balls of the
Medici escutcheon, each occupying the
center of a flower, and the hat of the
cardinal surmounting the composition.
The other two pendentives have ara-
besques interwoven with human figures.

Designs equally ingenious may be seen
on the soffits of the two arches dividing
the dome from the groined vaults. In
the center of each soffit a mythological
subject has been introduced. They are
done in stucco on a light green back-
ground ; in one is Apollo and in the other
are Jupiter and Europa.

The two groined vaults have a sym-
metrical distribution of the decorations,
the detail of one differing somewhat from
that of the other. In the center of the
west vault is Neptune upon a shell drawn
by two sea-horses. This is done in
white stucco upon a background of blue
with golden rays. On the white field
of the four divisions formed by the groin-
ing is a variety of colored arabesques
similar in appearance to the Pompeian
decorations, while the center of each of
these divisions contains an oval panel
with a painting and these four paintings
make another interesting series. One
picture, showing Daedalus constructing
the wooden cow for Pasiphae, is delight-
fully executed and is the best of the
four. Another shows the Garden of
Venus as described by Philostratus. The
study for this picture is preserved in
the Academy of Dusseldorf and is as-
cribed to Raphael. The other two show
cupids at play and astride the backs of
swans. The arbors around the base of

CEILING OF THE LOGGIA-
VILLA MADAMA, ROME.

DOME IN THE CENTER OF THE
LOGGIA— VILLA MADAMA, ROME.

C-o

A PENDENTIVE IN THE LOGGIA
—VILLA MADAMA, ROME.

DETAIL OF VAULT OVER
LEFT EXEDRA IN LOGGIA-
VILLA MADAMA, ROME.

VIEW OF RIGHT EXEDRA IN
LOGGIA— VILLA MADAMA, ROME.

THE ARCHITECTURAL RECORD.

che vault contain sea-horses and children
in a variety of attitudes.

Amphitrite occupies the center of the
east vault, and the four paintings here
are: "A Group of Stayrs;" "Achilles
Among the Daughters of Lycomedes;"
'The Parting of Penelope and Icarus,"
and "The Amorous Meeting of Her-
maphroditus and Salmacis." The border
around the base of this vault is divided
by shields, bearing the emblems of
Clement VII, genii, animals and graceful
arabesques. Of exceptional beauty are
the meanders of white stucco on both
these vaults.

The large arch, between the loggia and
the passage opposite the entrance, is also
richly ornamented, and the skill with
which Giulio Romano and Giovanni da
Udine decorated the different parts of the
villa is particularly noticeable here in
small architectural compositions, such as
niches feigning perspective, busts and
graceful meanders. Two octagonal pan-
els in this arch contain figures in relief ;
on the right Pan holding Hermaphroditus
on his knees, and on the left, directly
opposite, three fauns seated about a table.
The arabesques on the pilasters are done
in a slight stucco raised only here and
there from the background.

The side walls of the passage have a
series of niches similar to the exedras
and here below a mask of Medusa is the
signature of Giovanni da Udine.

The vault over the left exedra is ex-
tremely interesting. At the top upon a
shell is Victoria holding in her hands
corn-ears and poppies, the attributes of
Ceres, and grapes, the attributes of
Bacchus. Polyphemus' love for Galatea
is the theme here for the decorations in
ten nearly square panels bordered by rich
arabesques (shown on the accompanying
photographs). On either end of the up-
per row nymphs are shown, being carried
over the sea by centaurs ; the one at the
left represents Calm — the lyre in the hand
of the centaur suggests this, while the
one on the right represents Tempest —
the hair of the centaur and the drapery
of the nymph are being blown by the
storm. In the second picture on the left
in the top row Venus is sending Cupid
to Polyphemus to stimulate the Cyclops'
love for Galatea, while the central picture

in both the upper and lowei rows shows
the love-stricken Polyphemus striving to
disguise his rough exterior. In the upper
one he is clipping his beard with a sickle,
and in the lower he is harrowing his
coarse locks with a comb. In these pic-
tures we notice that the artists have
shown Polyphemus with two eyes and
did not slavishly hold themselves to the
classical description of him as a monster
with one eye in the center of his fore-
head.

At the left end of the lower row the
Cyclops is seen sitting on a rock train-
ing a young bear that he is to present
to his beloved as a plaything. This mo-
tive we find first spoken of by Theocritus,
from whom the later poets and authors
took it. The next panel shows the
Cyclops looking at his coarse features in
a pool, and on the opposite side of the
centre he is singing of his love for Gala-
tea. In the panel above this we learn
that the efforts of Polyphemus are all in
vain, for here the object of his love is
sitting on the knee of his rival, Acis.
Polyphemus' revenge is shown in the
lower right-hand panel; he is hurling a
rock upon the unfortunate Acis, and
Galatea is seen hurrying away. This
whole cycle reminds one of the "Myth
of Psyche" in the Villa Farnesina at
Rome, particularly the panel in which
Venus is sending Cupid to Polyphemus,
although in the Farnesina it is woven
into a different mythcycle following the
accounts of Apuleius, a Latin author of
the second century much read during the
Renaissance. This motive was well
known to the ancients in song and pic-
ture, and it is found on numerous vases
and paintings in the lower part of Italy.
• The Renaissance became acquainted with
it from the Roman poet Ovid, who intro-
duced the rape of Proserpina by Pluto in
this manner.

The vault over the right exedra is
crowned by an elaborately decorated shell
from which hangs a curtain and garlands
supported by heads of strange animals,
while animals still stranger are shown in
low relief between the festoons. Below
this is a series of panels of four, six and
eight sides. Rosettes occupy the centres
of the square ones and the others have
figures in relief. In each of the four

or- .
OVEPL LEFT

WL Or-AFLCH

LQQQIA.

o I

v m m

7 & *#'

******
r K^

•J <
<u

H o

w o

Q 5

THE ARCHITECTURAL RECORD

hexagonal panels is a river god in a re-
clining position, but only two of these
are recognized, the Nile represented by
a Sphynx, and the Tiber by the she-wolf
and the twins, Romulus and Remus. Of
the octagonal panels the central one con-
tains genii and the four remaining panels
of this row are devoted to Venus. On
the right of the centre she is dancing
around a tripod and in the picture next
to this she is shown blowing a trumpet
as she frolics with Cupid. On the left
of the centre, Venus is standing with one
foot on a helmet, while in the last panel
she is shown holding a wreath in one
hand while the other grasps a lance, the
shaft of which is also held by Cupid.
This last figure, according to Amelung,
is the same as an antique figure on a
relief which was at one time in the villa
Borghese and which is now in the Louvre.
This motive was also used by Lorenzetto
on the bronze relief in the Chapella
Chiga in the church of Sta. Maria del
Popolo. The panels of the lower row,
partly cut off by the cornice of the exe-
dra, contain reclining figures, but it is
difficult to determine what these repre-
sent.

There is hardly anything left of the
decorations on the vault of the exedra
at the west end of the loggia. A large
shell covered the upper part, and on this
shell were the cardinal's hat and ara-

besques, where again the centre of six
large flowers contained the six balls of
the Medici escutcheon. Besides parts of
the shell, two panels are still left, one
round and the other square. In the
square panel we again find the word
"Semper." The lower part of the exedra
has suffered severely from dampness, for
it is built into the side of the hill and
water has seeped through and caused
much of the stucco to fall off the walls.

In one of the rooms of the living apart-
ments a frieze of slight interest is pre-
served, while in another room is a dec-
orated ceiling, by Giulio Romano, with
the Medici arms in the centre. The
pupils of Raphael executed compositions
similar to those of the Villa Madama in
Rome, Mantua, Venice and Genoa, and
in these reached the full development of
their master's style; but with the revolt
against the finer rules of the Renaissance
which followed shortly after the Sack of
Rome in 1527 and marked the beginning
of the Baroque period, came more massive
compositions. Patrons, stimulated by
the examples of the popes, desired vast
and showy decorative works with a
sumptuous parade of superficial orna-
ment ; this the artists attempted to sup-
ply. The delicate kind of decoration full
of seriousness was no longer followed ;
the love of false magnificence had re-
placed the feeling of real grandeur.

FRONT DOOR AND PORCH-OWN
HOUSE, NEW CANAAN, CONN.
ELECTUS LITCHFIELD, ARCHITECT.

SOUTH FRONT-OWN HOUSE, NEW CANAAN, CONN.
Electus D. Litchfield, Architect.

AN ARCHITECT'S
COVNTRY HOVSE

I? Residence gf Electus Litchfield,
New Canaan, Connecticut ®

By Harriet T Bottomley

1HAVE before me the very delightful
task of writing about -the country
home of Electus D. Litchfield, Esq.
"The House with the Blue Blinds," it is
called, and it possesses all the sympa-
thetic charm that one would expect of a
house with such a name. Situated about
one mile from the New Canaan station on
a small plateau that seems to have been
made for just this house, it lodges secure-
ly among the rolling, wooded hills about
it and stretches its long, low, white arms
above the valley that slopes away from
its front drive, to the shore of Long
Island Sound seven miles away. It is a
pleasure to see, on approaching it from
the highway, how perfectly it is in har-
mony with its New England surround-
ings.

Something over a hundred and fifty
years ago the settlers in this part of the
New World evolved a style of architec-
ture adapted to this very country. It
was the outgrowth of memories, more or
less definite, of Georgian architecture at
home in England, modified by totally new
conditions of climate and materials. The
Georgian details which were originally
designed for execution, in stone, had to be
adapted and redesigned before they could
be made effective in wood, which, from
the days of the early colonies to the pres-
ent time, has always been the cheapest
and most abundant building material to
be had in New England. A style of
architecture resulted that is peculiarly
American and very satisfying; classic in
its inspiration, it is true, but exceedingly

THE ARCHITECTURAL RECORD.

LIVING ROOM PORCH AND FLOOR PLANS
—OWN HOUSE, NEW CANAAN, CONN.
ELECTUS D. LITCHFIELD, ARCHITECT.

THE ARCHITECTURAL RECORD.

VIEW FROM THE SOUTHEAST— OWN HOUSE, NEW CANAAN, CONN.
Electus D. Litchfield, Architect.

free in its readjustment of classic details,
and unique in its development. Nothing
has ever been designed that suited better,
or as well, the New England landscape,
and the life imposed by climatic condi-
tions upon its inhabitants. Those de-
signers of today are wise who follow the
well-grounded traditions of the country
and build upon the hillsides of Connecti-
cut, long, low, white houses, inspired by
the long, low, white houses of long ago.
"The House of the Blue Blinds" is such
a building.

It is unusually interesting also in that
it is an architect's own home, planned
and built for himself and his family to
live in. Here we are looking at a build-
ing into which no interfering client ob-
truded his ideas. There was in this case,
however, one consideration that stayed
the imagination of the designer — the con-
sideration of expense. For this house
was built upon the firm foundation of
common sense. Its prospective owner
and its architect decided that, come what
might, he would invest in his house and
land only the capital represented by the

rent he had been paying for other people's
houses. He had, to start with, a knowl-
edge of what houses cost, and he modified
his ideas and designed such a house as
he thought could be built for his fixed
sum of money, making certain compro-
mises in order to bring down the cost.
In time, as he chooses, he can add to and
change his original to exactly meet his
ideals. When reducing his estimates he
wisely decided to cut nothing from his
finished details. How many houses have
been spoiled by cheap, coarse trim and
bad mouldings. It is no easy matter to
repair such damage, whereas it is always
possible to add to what is simple but
good. Therefore, cornices, doorways and
leadings were carried out with the finest
execution. But the cost was very mate-
rially reduced by certain omissions.
Hardwood floors, for instance, were not
laid, but the wide boards of the under
flooring were left exposed and painted a
yellow that recalls vividly old New Eng-
land farm houses. The present mantels,
though they undoubtedly have a certain
quaint effect, are only temporary and are

ifd

gfe

2«
s o

a o
H u

THE ARCHITECTURAL RECORD.

to be replaced some day by handsomer
ones. They were bought from a nouse
wrecking company in New York, four
of them for the sum of $16. The building
contractor's estimates were further re-
duced by replacing the proposed dressed
stone coping of the brick porches by
bricks stood on end in cement, by sub-
stituting cattle hair felt quilting over the
studs and under the shingles for the pro-
posed brick filling between the studs, and
by using ordinary shingles doubled in-
stead of the extra long, hand-split ones
of the Colonial houses.

The first thing one feels on approach-
ing this house is its absolute appropriate-
ness to its site. The building is enclosed
on its own plot of ground by a white
fence of Colonial pattern. Its rear and
side are toward the highway, and a pri-
vate road leads around to the main en-
trance of the house, which faces the
lovely view to the south. Informal visit-
ors may enter from the side through a
gate in the fence, from which a foot-
path of irregular flat stones leads to the
side door. This gate is an excellent
point from which to study some of the
charming details of the house. The
cornice, so delicate in effect, is partially
at least, a product of New Canaan. The
frieze was seen by Mr. Litchfield on an
old building in the neighborhood which
was being torn down by its unappreciative
owner, and copied by him on his own
house. It is very simple in design, but
exquisite in effect. It consists simply of
groups of alternate reeds and grooves, the
reeds being about two inches longer than
their concave neighbors. This grouping
was evidently derived from the Greek
triglyphs. The perforated board brack-
ets, taking the place of the classic mu-
tules, in the cornice above the reeding
in the frieze, add an interesting contrast
of dark and light to the overhanging
eaves. The fan-lights in the gable-end,
and the lattice around the porch are
worthy of notice here.

The main front of the house is de-
lightful. Its porch, with the elliptical
arch, slender columns and side lights, and
the Palladian motive directly above, make
a charming center to the composition of
the simple facade with the double row of

large plain windows. The porches at
either end are, of course, modern addi-
tions to this style of architecture, but
they have been made so fine and light that
they seem an appropriate and integral
part of the design. They suit the style
as perfectly as do other portions of the
house that have been carefully studied
from historic models.

The leadings around the front door
are specially interesting from the point of
view of their execution. They are not.
by the way, made after the manner of
European or later American leadings.
They are true examples of early Colonial ;
that is, the glass is cut only by the main,
structural wooden muntins in the design,
and the merely decorative pattern in lead
and wood is an entirely separate affair,
set in front of the glass. By this method
a very pretty effect is gained from the re-
flections of the pattern in the glass be-
hind it.

The front door opens directly into a
hall with dining-room and living-room on
either side of it, as is usual in this type
of house, but there is a very clever modi-
fication here of the typical Colonial plan
which was developed from a wish of Mrs.
Litchfield's when the house was still only
a dream. She said she Had always
wanted a room with windows on three
sides of it. This wish was the inspiration
of the present plan, in which there are not
merely one, but six rooms with windows
on three sides of them. A glance at the
plan will show that the main house is
narrow, only one room deep in fact, each
end room having three external walls
pierced by windows. One difficulty pre-
sented itself. The hall, being only the
depth of the main house, was shallow —
too shallow comfortably to accommodate
a generous flight of stairs as well as the
doors into the rooms to the right and
left. After some puzzling over this prob-
lem, the kitchen wing was placed directly
opposite the front door, but slightly
off axis, and the hallway was run back
into it, the flight of stairs starting at the
intersection of this wing with the main
house. Instead of the usual back door
opposite the front door, a side entrance
was made opening on the stone walk al-
ready referred to. There are obviously

THE ARCHITECTURAL RECORD.

SIDE ENTRANCE-OWN HOUSE, NEW CANAAN, CONN.
Electus D. Litchfield, Architect.

great advantages in this over the typical
New England plan, and for the site of
the "House with the Blue Blinds," it
could not be improved upon. By this ar-
rangement the master's bedrooms, as well
as the drawing-room and dining-room,
get lovely views in three directions, and
excellent crossdrafts. The house has the
best possible exposure. It faces south,
where the finest view is to be seen, and
where the summer breezes .come from ;
the windows to the north give free cir-
culation, and the house is flooded with
sunshine in winter.

Imagine the wide hall with generous
doors of exquisite designs and workman-
ship opening to the right and the left.
Old painted chairs, black with gold deco-
rations, a quaint old sofa and mirror and
a "tall clock looking like a mummy set on
end," give the keynote of the furnishings
of the "House with the Blue Blinds,"
which is style. Every piece of furniture
Is suitable. There is something clumsy
about much of the early American cabi-
net work, something not quite arrived
about the detail. In the handsome ma-

hogany sofa in the living-room, for in-
stance, the legs, flat pieces of wood sawed
in a rather awkward outline, are what
give it its undeniable cachet. The old
prints on the wall, stiff and technically
rather crude in some instances, suit the
house to perfection. The silhouettes on
the stairway and the quaint old bric-a-
brac and blue china, all handed down
from our American forefathers, have a
delightful effect.

In the entrance hall is the same picture
wall paper that covered the parlor walls
in the childhood home of Thomas Baily
Alclrich in Portsmouth. In his "Story
of a Bad Boy" be gives the following
graphic description of it : "In the parlor
this enlivening figure is repeated all over
the room. A group of English peasants,
wearing Italian hats, are dancing on a
lawn that abruptly resolves itself into a
sea-beach, upon which stands a flabby
fisherman (nationality unknown) quietly
hauling in what appears to be a small
whale, and totally regardless of the
dreadful naval combat going on just be-
yond the end of his fishing-rod. On the

< w

3 SB
U u

THE ARCHITECTURAL RECORD.

LIVING ROOM-OWN HOUSE, NEW CANAAN. CONN.
Electus D. Litchfield, Architect.

other side of the ships is the mainland
again, with the same peasants dancing.
Our ancestors were worthy people, but
their wall papers were abominable. I can-
not, however, agree with Mr. Aldrich that
this paper is "abominable." Certainly the
effect in this particular place is perfect.
From the ceiling in this hall hangs a
black iron lantern with engraved glass
panels. The stairway leads to a second
story, much like the first in arrangement,
and above that is a garret, capable of
developing into a real, old-fashioned gar-
ret, "a museum of curiosities," such as
we who have had New England grand-
parents remember so well. The slender
banisters and handrail of the main
staircase are of cherry stained almost
black and rubbed down to a soft gloss.
With this exception, and that of the trim
the service wing, the woodwork

throughout the house is painted white.

The door frames leading to the right
and left from the hall into the dining-
room and living-room were copies of old
Salem doorways, unusually well executed

in every detail. The cornice, the fes-
tooned napkins, the baskets of fruit, and
the reeding are beautifully modelled.
Drawings of these same Salem doorways
are reproduced in the "Georgian Period,"
but any architect or decorator wishing to
copy them would do well to use the
photographs accompanying this article in-
stead of the older drawings, which are not
accurate in detail.

The living-room is large and homelike,
with six windows, two of them opening
on the comfortably furnished porch be-
yond. Opposite the door is a generous
fire-place "with room enough for the
corpulent back-log to turn over com-
fortably on the polished andirons." A
group of inviting chairs is gathered about
it. The foliage wall paper, soft gray in
tone, makes an excellent background for
the old furniture and mirrors. The
modern electric light fixtures are simple,
shaded with engraved glass chimneys, and
on the mantle are two unique glass lamps
and a pair of quaint painted vases. The
effect of gray and black and gold in this

THE ARCHITECTURAL RECORD.

LIVING ROOM— OWN HOUSE, NEW CANAAN, CONN.
Electus D. Litchfield, Architect.

room is exceedingly good. There are
always quantities of bright flowers from
the garden everywhere.

The dining-room across the hall is no
less charming in effect. The blue china
and mahogany seem to require the buff
wall/ which is given full value by the
long, blue curtains at the French win-
dows, and the fresh white ones at the
others. The banister back dining-room
chairs are rare examples o-f American
furniture. Luke Vincent Lockwood, in
his invaluable book on "Colonial Furni-
ture," places this type of chair between
the years 1710 and 1750. They are
painted black, with rush bottom seats.
The center table of mahogany is old too,
as are the prim side tables of inlaid wal-
nut.

It is interesting to note the cement
facing in the fire-place. Ninety-nine
times out of a hundred the Colonial build-
ers covered their brick facings in this
Way.

The photograph of the bedroom on the
second floor gives a very clear idea of
how good the furnishings upstairs are.

The slender four-poster with its delight-
ful spread of tufted cotton, the high-
boy, the painted chair and the ornaments
on and about the mantelpiece are all very
stylish,

There are almost as many outdoor as
indoor rooms in this house. The brick
paved porches on the ground floor open-
ing at each end are delightful places to
sit. On the second floor over these are
two more porches open to the sky. One
of them is provided with an awning in
summer and makes an admirable sleeping
porch, though really it is scarcely more
airy than the bedroom off which it opens.
The service wing is amply provided with
porches also, which are skillfully placed
away from the master's part of the house.

It is unusual to see a house in which
the conveniences, all the little things
which the housekeeper prizes so highly,
have been carefully thought out and em-
bodied in the building. Just to mention
one little device that adds greatly to the
convenience at certain times, the service
stairs are straight and open into a nar-
row hall, which runs parallel to them.

DOORWAY-OWN, HOUSE, NEW CANAAN
CONN. ELECTUS D. LITCHFIELD, ARCHITECT.

THE ARCHITECTURAL RECORD.

They are wide enough to admit of the
passage of a large trunk, but it would be
impossible to turn the trunk in the narrow
hall above, were it not for a simple and
clever arrangement. The railing at the
head of the stairs is made entirely sepa-
rate from the built-in woodwork, and is
clamped in place by iron fasteners. These
can be opened and the whole railing lifted
out of the way, making room for the
most uncompromising trunk. Many a
house would be much improved by an in-
vention of this kind.

Another detail which simplifies the
service is the placing of the wood and
coal bins, which are just outside the
kitchen door on a level with it, so there
is no carrying up and down stairs. These
simple conveniences so little appreciated
by the casual visitors are highly prized by
the inmates of the house, masters and
servants alike.

The kitchen wing is screened from the
front of the house by high vine-covered
lattices, and on the west is cut off from
the side entrance and the road by its
vvindowless lower story.

Before closing this article I must not
forget the garden. It is on the south
slope of the hill, some SO yards from the
front door in the hollow, between the
apple orchard on one side and a grove
of maples on the other. This is an ideal lo-
cation. From the house, it leads away into
the view, and a sunnier, more protected
situation could not be found. This garden
is planted between two rugged old stone
walls, about 15 feet apart, that are a legacy
from the original farm which included
Mr. Litchfield's land. They were built to
form a lane for the cows leading from the
barn, which has long since disappeared,

to the pasture. Fortunately this lane is
much wider than most, tracks of the sort,
and the gray lichen covered stone walls
form a lovely background for flowers and
growing things. A little brook running
down the hill to the right crosses the
further end of this lane. Mr. Litchfield
has built a rectangular pool just beyond
the garden in whose clear sheet of water
the house above and the nearby flowers
are reflected. Some day the hollow be-
low is to be transformed into a small
lake.

Looking straight up the garden be-
tween the stone walls and the tall cedars,
one gets a lovely glimpse of the house at
all- seasons ; when .the peonies are in
bloom in the garden, reaching up their
brilliant flowers in front of the white
house; when the larkspur and madonna
lilies rise in straight dignity from the long
borders, challenging the white house on
the hill to be as dignified as they ; or again
in the autum when only the cosmos and
the red leaves are left in a last glorious
array of color. The house itself is an-
other center for flowers. Climbing roses,
clematis and honeysuckle grow about it
on all sides. They climb over the front
porch and reach toward the arch above
the beautifully proportioned slender col-
umns, and hang over the quaint porch
seats.

At first one does not realize, in looking
at the house, that its very finished and
harmonious effect is largely due to just
such beautifully studied details as are
seen in this entrance porch and which are
to be found all through it. The real
interest and affection of its designer have
been lavished on each line and curve and
the result is a home of rare charm.

ENTRANCE TO UNIVERSITY HALI^- WASH-
INGTON UNIVERSITY, ST. LOUIS. MO.
COPE & STEWARDSON, ARCHITECTS.

UNIVERSITY HALL— WASHINGTON UNIVERSITY, ST. LOUIS, MO.
Cope & Stewardson, Architects.

WASHINGTON VNIVERSITYI

ST. LOVIS. MISSOVRI

Cope (&L Stewardson
Architects

IN 1834, more than a century after
many of the colleges had been found-
ed in the States along the Atlantic
Coast, William Greenleaf Eliot, a Har-
vard theological student, came to St.
Louis to become the first minister of the
Unitarian Church of the Messiah. The
role this young man played in the subse-
quent history of the city and the State
was so distinguished that in 1853, by an
| act of the State Legislature, a charter was
granted to Eliot Seminary, in his honor.
Four years later, in order to meet the
broadest requirements of a great educa-
tional institution, Eliot Seminary became
Washington University. Loyally sup-
ported by generous friends, Dr. Eliot be-
came its directing force, and finally
served as chancellor during the last eigh-
Iteen years of his life. Even the gift of
John Harvard of £400 and his library of
two hundred volumes, to the institution
that bears his name, is incomparable to
what William Greenleaf Eliot did for
[Washington University in his repeated

8-0

gifts and faithful service during the per-
iod of a generation ; and its enviable dis-
tinction as a seat of the highest learning
is the enduring imprint of its founder.

The first buildings that housed the
university were substantial but plain.
They were located in what was then the
outskirts of the city. But after thirty
years the business section of St. Louis
had expanded, and began to encroach
dangerously upon the university. At a
period when its buildings were only be-
coming venerable Washington University,
contracted by want of space, and ham-
pered by the uncongenial atmosphere of
commerce, was forced to seek a new
location.

Facing the necessity of moving bodily,
the trustees conceived of a greater uni-
versity, a university that should mean to
the Central West what Harvard does to
New England ; endowed with ample
funds, and housed in buildings worthy of
its splendid record. As in the past, public-
spirited citizens appeared, and the mag-

SS s
.IS I

" gg

O ££,
CS rt

I Is

rt C'E

fc rt D

;1 "88

,3 -S-&

I I

£3'2'o*k-£i:£ fi

^5 I I^ ^

p-js^;o OH <?tf w

•o ^

.C o
,«S Q

>>. OT

h c

|3 .cc°S§
Q n^ssab

oW ^i

W^ Q..o«2c"5'E

^^^fc,a?0= g Offl O

S&CS-S»3P53 S

||3|p?^|^|

&H) h5 ^ P^ ^

"Co

Sg
•gl

S-i

•05

5°

>>bo

•o c

3 £

PQCU

< 71 »

| o^ Ji-c I

^S C) O O

j, .^bo ^=S '|>.

tQ .52 W3 H CO

fc .^e^.s,sw-^

THE ARCHITECTURAL RECORD.

BUSCH HALL— WASHINGTON UNIVERSITY, ST. LOUIS, MO.
Cope & Stewardson, Architects.

nificent sum of several millions of dollars
was raised — a sum sufficient to assure for
all time the existence of the university.
The crystallization of this undertaking
reflects the character of the men who con-
ceived it and whose untiring labors have
forwarded it to its partial completion.
The location chosen for the new buildings
was a thinly wooded plateau overlooking
Forest Park and the city of St. Louis.
The trustees of Washington University
wisely decided upon a competition to
choose their architect. This competition
was held in 1900. The successful com-
petitors were Cope and Stewardson. Ad-
mirable as were all the competing draw-
ings, yet one cannot but feel that the
English Tudor style, interpreting the re-
markable plan of Cope and Stewardson,
was most fortunate. The plan, while
somewhat void of the "brilliant axis" and
"focal point" arrangements essential to
the splendor of a cold, monumental pro-
ject, was a plan full of subtleness and of
unexpected charm, of picturesque ar-
rangements of courts and compositions
of facades, features not strikingly evident
on paper, yet all convincing in reality.

Without delay, eight of the principal
buildings were begun. A rich reddish-
brown Missouri granite, laid in rambling
rubble, with Bedford limestone for all
cut stone work, was the material uni-
formly employed. Honesty of construc-
tion and truthfulness of material make
the buildings of the university group not
only models of workmanship but rare
examples of architecture in an age of
cheap and commercial structures. By
1904, the year of the Louisiana Purchase
Exposition, the eight buildings, some
bearing the names of the persons who
gave them, were completed : University
Hall, Busch Hall, Cupples Hall No. 1 and
No. 2, Ridgley Library, Eads Hall, Tow-
er Dormitory, Liggett Hall and the Gym-
nasium. In 1907, McMillan Hall and the
Graham Memorial Chapel were added.
Early in the spring of 1905, the under-
graduate departments were transferred to
the new campus. At last, permanently
housed and safely fortified by the mag-
nificent park of 3,000 acres, Washington
University now only' awaits the loving
hand of time again to render venerable
her walls already covered with ivy.

THE ARCHITECTURAL RECORD.

CUPPLES HALL NO. 2-WASHINGTON UNIVERSITY, ST. LOUIS, MO.
Cope & Stewardson, Architects.

TOWER DORMITORY— WASHINGTON UNIVERSITY, ST. LOUIS, MO.
Cope & Stewardson, Architects.

THE ARCHITECTURAL RECORD.

RIDGLEY LIBRARY-WASHINGTON UNIVERSITY, ST. LOUIS, MO.

Cope & Stewardson, Architects.

EADS HALL— WASHINGTON UNIVERSITY, ST. LOUIS, MO.
Cope & Stewardson, Architects.

THE ARCHITECTURAL RECORD.

While Washington must wait centuries
fa* her elms to grow, for her stones to
mellow with age, her harmonious group,
in one of the most charming of styles,
gives the institution a start that few uni-
versities in America have had.

The rule of Emerson, to allow ten
years to test the value of a book, may be
applied as well to architecture. Scarcely
any of the forced styles have remained
in use this long. The ethnic relationship
of English Gothic is right, and to-day,
after more than ten years, Washington's
group continues to hold one by its inim-
itable charm ; and to appreciate fully and
realize its charm one must live within its
walls. Praise, then, is the natural criti-
cism of so important a group of buildings,
designed by a strong man to whom fell
the good fortune of planning their struc-
ture and to whom, after he had met all
requirements, was allowed a free hand.

The principal building of this remark-
able group is University Hall, the gift of
Robert S. Brookings. Its commanding
position, approached by a great flight of
steps and a broad terrace, is inspiring.
The composition of the main facade is
masterly. The end facades of Busch and
Cupples Halls are really parts of this su-
perb composition. The transition from
one Hall to the other formed by the arch-
ways is most pleasing, while the pictur-
esque silhouette untiringly leads the eye
up to the crowning motive of the central
towers. The first building of this group is
very appropriately in the style of the
earliest of the English periods employed.
It falls under the style of the period of
King Henry VII, when the oriel window
was at its best, when the windows and
doors were Gothic rather than Renais-
sance, and only Gothic motives appeared
in the mouldings and decorations. The
central archway and towers, while sug-
gested by several archways at Cambridge
or Oxford, are far from being copies of
any of them.

Passing through the Tudor arch and
groined passage, one comes into the First
Quadrangle. Directly in front stands the
Ridgley Library; to the right, Cupples
Hall No. 1, occupied by the School of
Architecture and Department of Civil
Engineering; to the left, Busch Hall, oc-

cupied by the Department of Chemistry.
L6ng and low is the main facade of Cup-
pies Hall, with two entrances developed
into pavilions. One finds here the intro-
duction of the Renaissance. The pedi-
ment over the door, the impost and base
of the door arch and the carved orna-
ment, while Renaissance, are cleverly han-
dled so as to give a strongly Gothic feel-
ing. The balustrade serving as a low
parapet wall and the sun-dial over the
central bay, on the other hand, are quite
Renaissance in treatment.

Directly across the Quadrangle in
Busch Hall, the general mass of which
recalls Cupples, one finds more sugges-
tions from the Elizabethan period. That
period of English architecture which has
withstood much severe criticism and
whose rightful claim to artistic worth re-
appears many times throughout this mod-
ern group of buildings. This style was
the result of the second wave of the Ren-
aissance that came from Germany, bring-
ing with it German and Flemish work-
men who introduced the strapwork mo-
tives and pattern book designs, executing
them in plaster, wood and even in stone.
The doorways of Busch Hall, with their
varied classic entablatures, keystones and
short, stubby pilasters, or the low en-
trance towers with the strapwork balus-
trade at the top, convince one that their
designer was able to handle a transitional
style with much of the adroitness of the
original craftsmen.

Ridgley Library, opposite University
Hall, shows a curious mingling of styles.
Its prototype, St. John's at Oxford,
shows Italian rather than German influ-
ence. The Oxford facade is entirely free
from all the heaviness of the undeveloped
period of German origin. The arcade on
the first story is far more Italian than
most of the work of that period, while
the small twin windows in the second
story and the crenelated parapet are pure-
ly Gothic. The central pavilion of super-
posed columns enclosing the niche on the
second floor are, again, very Italian.
While this modern adaptation of St.
John's is the same facade, it is further
studied and developed. The arcade has
been strengthened ; the second-story win-
dows are enlarged and "Renaissanced" ;

•71

FIREPLACE IN READING ROOM OF LIBRARY
—WASHINGTON UNIVERSITY, ST. LOUIS.
MO. COPE & STEWARDSON, ARCHITECTS

ENTRANCE TO CHAPEI^W ASHING-
TON UNIVERSITY, ST. LOUIS. MO.
COPE & STEWARDSON, ARCHITECTS.

THE CHAPEL— WASHINGTON UNI-
VERSITY, ST. LOUIS, MO. COPE
& STEWARDSON, ARCHITECTS.

THE ARCHITECTURAL RECORD.

the crenelations remain and the central
motive holds a large mullioned window
on the second floor, while slender towers
are added to the four corners of the
building, recalling Charlecotte Manor.
The small details, such as the band course
above the arcade, are late Elizabethan.
Daring is this facade wherein three per-
iods blend, a veritable tour de force, serv-
ing likewise to unite the different periods
employed. The beautiful reading room is
in the much later style of Sir Christopher
Wren, whose small London churches are
recalled by the exquisitely modeled plas-
ter ceiling.

This quadrangle is the center of all
student life and activities. Here the
students meet before going to their lec-
tures and here they congregate to discuss
the various incidents of college life. An
ideal retreat, this quadrangle, where every
sound from the outer world is shut out by
the ivy-clad walls or lost in the depths of
the arcade. Christ College Quadrangle
at Oxford, hallowed as it is by centuries,
and by the names of many of the dis-
tinguished men of England, separated
from the noisy street only by Tom Tower,
cannot compare with this Quad at Wash-
ington; nor can King's Quad at Cam-
bridge compare with it. We must seek
the lovely backs of Cambridge, those vel-
vet swards, those silent elms, those end-
less walks —

"Whenever free to choose
Did I by night frequent the college groves
and tributary walks."

Such is the atmosphere of this quad-
rangle, an atmosphere that comes with
perfect repose, produced by architecture
based on aesthetic truths. We experience
this same feeling before a Madonna by
Raphael or a landscape by Constable ; in
the ruined abbeys of England, or Nor-
mandy ; or in the monasteries of North-
ern Italy. In the early morning, before
the student activities begin, or at evening
by twilight when we hear the Tower clock
strike out the hour, but little imagination
is needed to carry us back to the old
world.

Quitting this first quadrangle, we pass
along the wing of the Library and Eads
Hall, buildings which form part of the

enclosure of two future courts. Eads
Hall, occupied by the Physical Labora-
tory, and Cupples Hall No. 2, occupied
by the Mechanical Engineering Depart-
ment, are both splendidly adapted to their
uses. They recall here and there, in the
doorways and gables, the Elizabethan
manor houses, but beyond these details,
they are nothing more than utilitarian
buildings, serving well their purposes.

From Eads Hall one passes down an
avenue of maples to the chapel and the
men's dormitories. The bijou of this
group is the Graham Memorial Chapel, of
which the general form and main motives
are taken from King's College Chapel at
Cambridge. The Graham Memorial
Chapel, scarcely one-third the size of
King's Chapel, and with every proportion
greatly changed, on closer examination
exhibits very little in common with its
prototype. Loftiness is the striking char-
acteristic of King's College Chapel, of
which the end facades, very slender in
proportion, have almost an effect of being
stilted. The end facades of the chapel at
Washington are open, perhaps, to the
criticism of being slightly squatty. The
corner towers, nearly identical with their
English examples, while less slender, are
indeed graceful and elegant, forming a
most delicate silhouette. The side bays,
given over almost entirely to glass, add
the desired effect of height. The glory
of the Cambridge Chapel is its interior,
whose lofty fan-vaulted ceiling has no
equal in all England. The interior of the
Graham Memorial Chapel bears no com-
parison to the English chapel; but it is.
nevertheless, most successful and we may
truly say that it is "a thing of beauty and
a joy forever." Serving as a chapel in an
undenominational institution, this one
must forever want the one central motive,
the heart, the spark to give it life, the
centralizing and glorifying motive of the
altar, without which a Gothic Church at
times seems incongruous. Of this chapel,
Mr. Cram would probably say, as he does
of Trinity in Boston, -'a church without a
soul." But for all this, here is a work
of art, whose every detail is worthy of the
closest study, and whose wonderfully
carved organ and choir stalls, roof trusses

THE ARCHITECTURAL RECORD.

and stained glass, are rarely met with in
the modern work of either America or
Europe.

As we leave the chapel, a broad walk
overhung by maples leads through two
groups of dormitories. Only separate
buildings have thus far been erected, but
eventually they will form sides of differ-
ent courts. Tower Hall, while medieval
in character, in its window treatment,
bays and oriels, is given a marked domes-
ticity. The massive central tower over
the archway with the smaller secondary
tower mounting higher, forms a composi-
tion quite pleasing. The dignified and
quiet facade of Liggett Hall has much of
the feeling of the Elizabethan manor.
The varied bays, gables, massive chim-
neys and quaint doorways give interest to
a whole composed with restraint and sim-
plicity. Indeed, quite different are these
dormitories compared to those by Cope
and Stewardson at the University of

Pennsylvania. The entire group at
Washington shows scarcely as many dif-
ferent motives or decorative details as
any one building at Philadelphia. Yet
upon the whole the balance of favor will
fall to the lot of Washington.

A very considerable start has been
made in the dormitories for women. Mc-
Millan Hall encloses the three sides of a
quadrangle. While less quiet than either
Tower or Liggett, McMillan Hall com-
poses into more varied and picturesque
silhouettes.

If we seek here for every structural
and logical principle that dominated
either Roman or Gothic art, we shall
be forced to call these buildings of a de-
based style. But if we seek honesty and
truthfulness of construction we shall find
it here. This work of Cope and Stew-
ardson, marked by a strong personality,
has the stamp of the artist and crafts-
man.

CUPPLES HALL NO. 1.

KITCHEN PORCH-HOUSE OF WILLIAM
T. HARRIS, ESQ., VILLA NOVA. PA.
DUHRING, OKIE & ZIEGLER, ARCHITECTS

HOUSE OF WILLIAM T. HARRIS, ESQ., VILLA NOVA, PA.
Duhring, Okie & Ziegler, Architects.

THE EARLY PENNSYLVAI
NLA COVNTRY HOVSE

RESIDENCE of WILLIAM T. HARRIS!5?!

'Villa Nova. Duhring, Okie C& Ziegler, Architects
BY C. MATLACK PB.ICE <^~

HOSE critics who are wont to de-
plore the absence of an architec-
ture essentially American would,
perhaps, come nearer to hitting their
mark if they were to deplore more vigor-
ously the over-supply of imported archi-
tecture which not only retards the
ultimate development of American
architecture but also quite drowns out
such American architecture as really does
exist.

Not only is there an American archi-
tecture, but several types of American
architecture quite distinct in their several
characteristics and in the traits
resultant from and peculiar to their
locale. We can even afford to omit from
the catalogue that style which is called
"Mission" or "Californian," for by the
time there have been taken from them

all traces of derivation either Spanish or
Japanese, there remains little but the
floor plan.

Distinctly, however, there are the dig-
nified Classic Revival of the Southern
States, the severe type of Colonial of the
New England States, and the quaint
Dutch Colonial of certain parts of New
Jersey and New York, as well as that
type of Colonial home essentially pecu-
liar to Pennsylvania.

These different architectural expres-
sions are certainly to be regarded as
logical national property, because they
are fairly accurate reflections of contem-
porary and local characteristics, ideas,
and ideals.

The Southern mansion, for example,
was a reflection of the general dignity
and lordliness concomitant with the idea

THE ARCHITECTURAL RECORD.

of a large slave-holding estate,
owned, for the most part, by
direct descendants of English
nobility, or by noble colonists
of actual title. And these fine
gentlemen, in building, very
naturally found architectural
expression in terms of the clas-
sical tastes in contemporary
culture.

The severity of the New
England type was a reflection
of the austere creed de-
veloped from Puritanism ; the

SECOND FLOOR-HOUSE OF WILLIAM T. HARRIS, ESQ.

sturdy simplicity of the early Dutch
farmhouses was a reflection of the rug-
ged characteristics of no less rugged
pioneers ; and the Pennsylvania type was
a reflection no less true of salient local
characteristics. These houses of the
early Pennsylvanians- were of two
kinds, or a blending of both. There were
the sturdy farmhouses of the simple
pioneers, the more stately homes of the
more aristocratic, and the substantial
dwellings of a well-bred "middle class."
Here would appear to be a wealth of

material for our present day architect
which should afford him a considerable
and sufficient range of architectural ex-
pression. But this American architec-
ture, taken collectively, has been put into
competition with French, Italian, English,
Swiss and a score of styles and sub-styles
of Europe, so that, in comparison, it has
appeared to the superficial observer a
sorry enough affair, simply because most
of us are not sufficiently well acquainted
with it.

There is one quality of inestimable

HOUSE OF WILLIAM T. HARRIS, ESQ., VILLA NOVA. PA.
Duhring, Okie & Ziegler, Architects.

THE ARCHITECTURAL RECORD.

MAIN ENTRANCE AND ENTRANCE TO "DESK ROOM"— HOUSE OF WILLIAM T. HARRIS, ESQ.,

VILLA NOVA, PA.
Duhring. Okie & Ziegler, Architects.

value which may be said to be common to
all the types of American architecture
mentioned above, and that is the quality
of domesticity, which many more pre-
tentious renderings of imported styles
have often failed to express. By all
means domesticity should be reckoned
the most important quality which a home
should possess, yet it is a quality surpris-
ingly rarely met with in this country. It
is not entirely remarkable that early
American architecture should have de-
veloped the quality, and very consistently
expressed it, because early American
architecture came before the day of the
"show place," the artificial social index
of the nouveau riche, and because the old
days were days of simplicity and honesty
in such matters, when a home was a
home, and not an architectural advertise-
ment.

And in the matter of the ultimate "ar-
rival" of an American architecture, this
is an important circumstance to take into
consideration, because no expression in
the arts, whether painting, sculpture, or
architecture, can ever attain significance
if it be either an imitation or a bid for

attention. It must be a sincere expression
of conviction, not only on the part of the
architect, but of the public, which brings
us to the subject of this article — a re-
cently designed house at Villa Nova, in
Pennsylvania, by a Philadelphia firm
of architects.

The firm, Messrs. Duhring, Okie and
Ziegler, are peculiarly successful in that
they have consistently effected a latter-
day translation of an early local type of
house, without loss therein of any of the
charm or significance of the original, but
rather with an added touch of advanced
architectural taste and ability. This has
been evidenced in much of the previous
work of the firm, wherein a fine sym-
pathy with the style as it was in early
times has been combined with an unusual
ability to improve upon it in many modern
details and in a certain kind of well-bred
good taste which tells its own story to
laymen no less directly than to architect.

In developing the early Pennsylvania
country house into a modern dwelling,
Duhring, Okie and Ziegler have made it
both a home, livable and intimate, and
a more polished architectural expression,

THE ARCHITECTURAL RECORD.

OBLIQUE REAR VIEW-HOUSE OF WILLIAM T. HARRIS, ESQ., VILLA NOVA, PA.
Duhring, Okie & Zieglcr, Architects.

OBLIQUE FRONT VIEW— HOUSE OF WILLIAM T. HARRIS, ESQ., VILLA NOVA, PA.
Duhring, Okie & Ziegler, Architects.

THE ARCHITECTURAL RECORD.

SIDE VIEW— HOUSE OF WILLIAM T. HARRIS, ESQ., VILLA NOVA, PA.
Duhring, Okie & Ziegler, Architects.

I which, logically, is exactly what should
Blake place in the rendering of any
I adaptation.

This house at Villa Nova is especially
I happy in its setting, an old-fashioned
I garden — or if one were to take it the
I other way, the charming garden is f or-
I tunate in that it lies about so picturesque
land pleasing a house — and here we find
I the complementary relationship which
I should (but does not always) exist be-
| tween architecture and gardening, where-
in each gracefully bows to the other, as in
the measure of an old minuet.

The plan is an interesting one, simple
yet diverse, and giving evidence of pleas-
ant rooms quaintly disposed about a liv-
ing porch, which recesses the "garden
front" of the house, and affords a spa-
cious sleeping porch above. Although the
plan is not that of a really large house,
there is provided, between the music-room
and the living room, a little "desk-
room," or "office," which is a very sen-
sible feature of many English country
n-o

house plans, in that it affords a place
apart from the house, yet convenient,
where gardeners, coachmen and other
employes about an estate may be inter-
viewed or paid off without encroachment
upon privacy.

Six bed-rooms, three baths, a large
sleeping porch and numerous closets make
an adequate arrangement for the second
floor, and complete a well-studied plan.

The reserve with which the detail of
the house has been handled is at once
characteristic of this firm of architects
and explanatory of its success in render-
ing modern versions of the early Penn-
sylvania type of country house. There
are few factors, but these must be han-
dled the more skilfully for that reason —
well-laid fieldstone, studied (yet appar-
ently simple) mouldings, very reserved,
panelled wooden shutters, quaint hard-
ware of the period — these are the ele-
ments, governed generally by a consistent
simplicity and sincerity of feeling
throughout.

A HUMOROUS FOUNTAIN IN Ml MC'Ii
FOR COMMENT. SEE PAGE ft

PORTFOLIO OF
R.R.ENT AR.CHIT E CTVR.E

DETAIL OF VESTIBULE-ASSEMBLY TEA ROOMS.
BOSTON. CHARLES M. BAKER, ARCHITECT.

THE ARCHITECTURAL RECORD.

THE ENTRANCE— ASSEMBLY TEA ROOMS, BOSTON.
Charles M. Baker, Architect.

VIEW SHOWING PART OF LARGE DINING ROOM, TEA ROOM
AND FOUNTAIN-ASSEMBLY TEA ROOMS, BOSTON.

PLAN OF THE FRANCIS W. 1'ARKl
SCHOOL OF SAN DIEGO, CAL. W
TEMPLETON JOHNSON, ARCHITEC

THE ARCHITECTURAL RECORD.

FRONT ELEVATION-FRANCIS W. PARKER SCHOOL OF SAN DIEGO.
Wm. Templeton Johnson, Architect.

SOUTH AND WEST WINGS— FRANCIS W. PARKER SCHOOL OF SAN DIEGO.
Wm. Templeton Johnson, Architect.

THE ARCHITECTURAL RECORD.

• '

AND OPEN CLASSROOMS-FRANCIS W. PARKER SCHOOL OF SAN DIEGO.
Wm. Templeton Johnson, Architect.

OPEN AIR CLASSROOMS— FRANCIS W. PARKER SCHOOL OF SAN DIEGO.
Wm. Templeton Johnson, Architect.

THE ARCHITECTURAL RECORD.

HOUSE OF W. E. MARBLE, ESQ., GREENWICH, CONN.

Rowe & Smith, Architects

J>E.CO/1D FLOOR PL/V1

THIHD FLODJ2, PLAAf

THE FLOOR PLANS-HOUSE OF W. E. MARBLE, ESQ., GREENWICH, CONN.
Rowe & Smith, Architects

S33

* cfl

w ci^

u S1*

H W >
Z J O

W CQ «

T'S EIBRARX

TWO BOOKS BY PRACTICAL THEORISTS

By RICHARD FRANZ BACH

Curator, School of Architecture, Columbia University

PART I.

A PRACTICAL theorist is a useful
person, a helpful adjunct to his
profession and a mentor for
the tyro. He is in fact a necessity ; with-
out his species any profession may read-
ily fall subject to disorganization, for
his method is the method of much
teaching, combining practice with the
setting up of resultant principles. His
efficiency consists in his ability to fash-
ion realities of thought out of a multi-
tude of examples, facts and experiences,
a process the logicians call induction.
His real value lies in the actuality of his
theories, in their present and modern
applicability. Theoretics alone are but
mental gymnastics, resulting in general-
ities that glitter but are not proof against
the stern truth of practice. But the
practical theorist possesses the salutary
quality of moderation, of restraint; he
does not rush in where the sedate prac-
titioner fears to tread, but holds his fire
until experience has been tried by time
and repetition. Out of this attitude
wholesome theory may readily be
evolved, and such a body of theory may
then rightly demand the attention of

those who practice only and never
preach. For, contrary to the time-worn
maxim, practice may be relied upon to
make perfect only if constantly revised
and corrected. Eminent among the prac-
tical theorists are Mr. Edwin Howland
Blashfield and Mr. Ralph Adams Cram.

In Mural Painting in America (Scrib-
ner's; 8vo; $2.) Mr. Blashfield has pub-
lished, with many additions, the Scam-
mon Lectures of two years ago, read be-
fore the Art Institute of Chicago. We
have latterly grown accustomed to look
up to Mr. Blashfield and to Mr. Kenyon
Cox, both painter-writers, gifted with
a lucid and fluent manner of writ-
ing and 'an inexhaustible fund of knowl-
edge and experience, as arbiters of stylis-
tic truth of the present in their impor-
tant profession and sympathetic inter-
preters of the stylistic truths of the past.
Only recently Mr. Cox published the
Scammon Lectures for 1911 under the
title The Classic Point of View; and we
had been expecting the sequel to this
volume from Mr. Blashfield, whose atti-
tude is much the same, though his angle
of vision mav be somewhat different. We

THE ARCHITECTURAL RECORD.

are glad to find him now expanding his
original series of papers into a sizable
volume, containing about twice the quan-
tity of the material primarily prepared,
and fully illustrated with carefully
chosen subjects representing all phases
of mural painting in this country.

Mr. Blashfield's book gives us a mass
of theory and of practice, a concise his-
torical treatment, a discussion of meth-
ods and results, a number of anecdotes
of men and times, and a wealth of coun-
sel between the lines, all bound together
in one of the most readable volumes that
has ever undertaken an exposition of this
little appreciated field. In his foreword
the author says: "Mural painting may
safely be called the most exacting, as it
certainly is the most complicated form of
painting in the whole range of art ; its
scope includes figure, landscape and por-
trait ; its practice demands the widest
education, the most varied forms of
knowledge, the most assured experience.
Save by the initiated it is apt to be mis-
apprehended as a form of art at best
demanding little but arrangement, fancy,
lightness of hand, at worst as a commer-
cial product calculable as to its worth by
the hour and the square foot." Let us
hope the case for mural painting in
America is not quite so bad as that.

The scope of the work is adequately
indicated by its analyzed table of con-
tents, and its ultimate value might be as-
sured by any one of the individual chap-
ters included. So we have, for instance,
"The Importance of Decoration," subdi-
vided into separate disquisitions upon
"the decorated building as a teacher" ;
"the main factors in our decorative tra-
dition" ; "the focal importance of the
public building," and "national art as a
national asset." In similar manner each
chapter contains a series of essays on
associated subjects, grouped under a uni-
fying major title.

Both Mr. Blashfield and Mr. Cox un-
dertook to plough the same furrow, but
they began at opposite ends. Thus the
latter treated the classic spirit in art and
its influence upon the art of to-day, both
"positive and potential." He devoted
chapters to extended considerations of
subject, drawing, color, etc. Mr. Blash-

field declares his purpose under the title :
"The Modern Tendency in Art as Influ-
enced by the Spirit of the Past."

The author first brings together a
number of substantiating reasons why
the art of mural painting should be con-
sidered an art of lasting significance and
national importance. He refers in the
first place to the past and the influence
of painting and mosaic at a time when
books were not available as a spur to the
intellectual life of the people. The
mural painting commemorated the na-
tional hero or the protecting saint, the
local patron, in short, the allegory, the
history, the legend of a given time and
place. He who had business in a p*ublic
building, be it church or hospital, weigh-
house or city hall, found there the record
of deeds of a great past, or the beauty
of a folk story, or yet again the counsel
of a high ideal. The eye and the ear are
both handmaidens of the mind, but the
mind reads more rapidly than the eye,
although the best of rhythm and move-
ment is conveyed by the ear. Thus every
decorated structure teaches, and, by
way of corollary, every decorated struc-
ture should teach ; especially is this true
of the public building, for it is a repre-
sentative structure ; it is in a sense a con-
crete statement of the ambitions of a
number of minds actuated by questions
of mutual benefit. It is but little recog-
nized as yet in this country that national
art is a national asset.

Mr. Blashfield's pen flies from well-
moulded phrase to sharp command ; he
advises, he relates, he depicts. What-
ever his momentary mood, through the
whole of his fabric runs the golden
thread of love for his art ; out of the
fullness of his heart he gives his best
and surely his earnestness is not with-
out avail. We quote the conclusion of
his chapter on the importance of decora-
tion: ". . and if I had to raise a statue
to the typical promoter, whether of mat-
ters spiritual or material, I would make
him a god Thor, and gird him, with his
weapon to hammer, hammer, hammer,
again and again in the same place. And
he would be no serene god, . . but a
striker of discords. First, and longest,
and hardest, he would smite in beating

THE ARCHITECTURAL RECORD.

out from the amorphousness of our in-
difference a conviction — the conviction
of the importance of public art — that it
should be at least as good as the very
best, because placed the most conspicu-
ously, and therefore of all art that most
likely to impress and teach the people.
Next he would have to strike long and
hard in emphasis of the importance of
harmony, the mutuality of architect,
sculptor and painter in any decorative
undertaking, to strike until he had weld-
ed the three into one ingot and fashion
from it a weapon ten times as tempered
to its purpose as it ever could have been
in the personality of any one of these
artists divided from their trinity. . .
The next thing to be placed on the anvil
should be fashioned into a symbol of the
importance of experience in the decora-
tive artist. . . . Experience, reiter-
ated and hard-bought experience, is ab-
solutely necessary to him, and in no wise
is the lengthening repetition of hammer
strokes more typical than it is of this
continuity of effort, this long succession,
now of essay, now of blunder, now of
half-success, fusing at last into a har-
monious result. . . "

Sage counsel may be gathered from
the succeeding chapters on harmony be-
tween building commissioner and archi-
tect, between building commissioner and
mural painter, and among mural painters
themselves, not to speak of mutuality
between mural painter and architect. On
the whole we like the authoritative char-
acter of Mr. Blashfield's writing. If his
pen prods the American appreciation and
understanding of mural painting and its
importance into activity and life, it will
have done a monumental service. His
own standard of excellence is high, but
it is the measure of himself ; he is there-
fore justified in proclaiming it as a dic-
tum, with somewhat of a tone of finality
that demands attention. Indeed, we
might cull a number of pointed para-
graphs from the present volume and
bind them into a useful manual for arch-
itects and decorators — and assuredly for
the public.

The poor building commissioner is
shorn of every shred. Artistic sense he

has none. "The building commissioner
thoroughly understands the man who
puts in the wires for the lighting, but the
artist and he speak different languages."
We would like to go on at greater length
to indicate the chief points of Mr. Blash-
field's other sub-headings in this second
chapter, e. g., the selection of the artist,
competition vs. appointment, and finally
the control of the architect. The apoth-
eosis of the architect follows: "Histori-
ans of art have celebrated the many-
sidedness of the Renaissance architect,
who could build domes and paint minia-
tures, play the lute and write sonnets,
carve intagli and colossi ; but even of
them we may believe were hardly ex-
acted more kinds of knowledge than of
the modern architect." And again under
the topic "mutuality between architect
and mural painter" we come upon these
significant words : "In the effort toward
mutuality, vital to the success of any
great enterprise in decoration, the archi-
tect is then essentially the head and com-
mander-in-chief. He designs the build-
ing and assigns to each sculptor and
painter his place in it. But if this is his
unquestionable right, it is also his privi-
lege to expect and to receive authorita-
tive assistance from both sculptor and
painter, not only as their work pro-
gresses, but even before it begins. In a
general way he, the architect, knows be-
forehand what manner of man is suited
to some special work, but in a particular
way that man, once selected, knows in
turn how to fit his own temperament to
that work and how he may best suggest
amplification of elaboration of it."

Later on the mural painters them-
selves are taught to be good yoke-fel-
'lows, working harmoniously and with
self-sacrifice at the exacting task of col-
laboration. But we have not space to
discuss all the excellent features of this
fine volume. It will prove a Poor Rich-
ard's Almanack for painter and archi-
tect, if not indirectly for the sculptor.
The public at large should have it by
heart, for it contains the whole theory
and correct practice of mural painting,
the most important educational factor of
modern building.

NOTES

AND
COMMENTS

One of the most
charming pieces of con-
A Humorous temporary sculpture that
Fountain in has ucome ,to . our notice
Munich. !s. the, llttle fountain in
Munich given by the
sculptor, Gasteiger, to
the city, and erected in
the Karlsplatz, on the site of a portion of
the old city wall. (See page 82.) This amus-
ing conception, placed in a secluded part of
the square, and surrounded by planting, is
altogether free from the heaviness that char-
acterizes the greater part of recent German
sculpture. The figures are skilfully mod-
eled, and the spirit of the whole composi-
tion is full of the gayety that permeates
the gargoyles of the Gothic cathedrals and
the pastorals of the eighteenth century,
and that is so rarely found in the monu-
mental sculpture of the present time, either
in Europe or America. It is, in fact, typical
of the city of Munich, the one place in Ger-
many which, despite the archaeological
monstrosities imposed on it by some of its
rulers during the past hundred years, has
preserved a great measure of the spirit
of the middle ages, that spirit of sim-
plicity and good-fellowship that is now so
rare.

The Francis W. Par-
ker School of San Di-
A New Type ego, designed by Wm.
of Open-Air Templeton Johnson and
School. illustrated elsewhere in

this number, is believed
to be the first school in
the United States for
which folding sliding-doors have been used
in making the building an "open-air"
school. By arranging the rooms in the way
adopted and planning the school as a quad-
rangle, the students are protected from
wind currents, and yet at the same time
have as fresh air in the classrooms as there
is out of doors. It was found last winter
that only on two days during the whole

winter the doors had to be closed, and even
then the ventilation in the rooms was as
good as that in the ordinary school build-
ing, as there are transoms above the out-
side windows and above the folding doors
as well. A little more than two wings of
the finished plan have already been com-
pleted, and a beginning has been made in
the work of planting the interior court with
California wild flowers and shrubs.

In a letter, from which we take the lib-
erty of quoting, Mr. Johnson writes :

"Climatic conditions in Southern California
are exceptionally good for the use of open-
air school buildings. Before coming to Cal-
ifornia two years ago, I had offices with my
cousin, Mr. Warrington G. Lawrence, in the
Brunswick Building, and when I told him
that the climate of San Diego is so mild that
most people have no artificial heat in their
houses, yet so cool that the majority of them
do not use any ice, and that there is so much
sunshine that people use what are known as
solar heaters, which automatically employ
the sun's rays to manufacture the household
hot water supply, he naturally thought I was
lying; but such are the facts."

The Francis W. Parker School of San Di-
ego is modeled, as to educational principles,
after the school of the same name in Chi-
cago, founded in honor of Col. Francis W
Parker, noted for his work in connection
with the schools of Cook County, 111.; and is
financed by people interested in progressive
educational methods. The building is being
erected on the multiple unit plan. When
entirely completed it will form a hollow
square with an open court about a hundred
feet square in the center, surrounded on all
sides by a covered portico. All the class
rooms open on this portico, and their inner
walls are arranged with folding sliding-
doors, by means of whicH the rooms may
be thrown completely open on the portico.
Both the folding doors and the wide
French windows which glaze the outer walls
have transoms above them. The classrooms
Have small wood stoves, which are used on
wet days.

ARCHITECTVRAL

f'i

35' a Copy ~ Published in JYew York~$3°-?aYear

QUALITY PIPE

Architects when writing their specifications
mention only that material which will meet
their every demand.

In "YOUNGSTOWN" STEEL PIPE and
"YOUXGSTOWN STAR BRAND" GENU-
IXE WROUGHT IRON PIPE you will find
those qualities which only can he produced
by proper selection of raw materials, expe-
rience and facilities for manufacture.

"YOUNGSTOWN" pipe, both steel and
wrought iron, are quality products in every
respect.

THE YOUNGSTOWN SHEET AND TUBE Co

YOUNGSTOWN. OHIO

fti

VOL. XXXVIL No. 2

FEBRUARY, 1915

SERIAL NO. 197

THE

ARCHITECTVRAl^l
RECORD

**>

CONTENTS

COVER— The Klingentor, Rothenberg.

Water Color Drawing by Walter S. Schneider.

SOME REGENT BANK PLANS: The Work of Thomas Bruce Boyd
By John J. Klaber

THE JOHN C. PROCTOR RECREATION CENTER, Peoria, III. Hewitt &

Emerson, Architects "•*.*-

THE MONTREAL ART GALLERY. E. & W. S. Maxwell, Architects

By Thomas W. Ludlow, Associate Professor of Architecture, McGill University

THE ARCHITECT'S PART IN THE WORLD'S WORK *

By Frederick L. Ackerman

.THREE TYPES OF GEORGIAN. Part II

By Harold Donaldson Eberlein

Measured Drawings by Donald Millar and others

; SOME REGENT INTERIORS BY THORNTON CHARD .-

THE ARCHITECT'S LIBRARY: Books by Practical Theorists. Part II -
By Richard F. Bach

NOTES AND COMMENTS - •-

Page

116
132

149
159

177
187

191

Editor-. MICHAEL A. MIKKELSEN.

Yearly Subscription— United States $3.00
— Foreign $4.00 — Single Copies 35 cents

Contributing Editor : HERBERT D. CROLY

Advertising Manager: AUSTIN L. BLACK

Entered May 22. 1902. as Second
Class Matter, at New York. N. Y.

PUBLISHED MONTHLY BY

THE ARCHITECTURAL RECORD COMPANY

115-119 WEST FORTIETH STREET. NEW YORK

F. W. DODGE, President

F. T. MILLER, Secretary and Treasurer

DOORWAY IN BANKING ROOM-BANKING .HOUSE
OF T P MORGAN & CO., NEW YORK <
?ROWBRIDGE & LIVINGSTON, ARCHITECTS.

THE

ARCHITECTVRAL
RECORD

FEBRVARY, 1915

VOLVME XXXVII

NVMBER II

SOME RECENT BANK PLANS
** WORK °f THOMAS Bk.VCE'BOYD

THE planning of a large banking
institution is a task for which nei-
ther the average banker nor the
average architect is particularly well fit-
ted. The banker lacks knowledge of
building, has difficulty in reading plans,
and is usually too busy to enter into the
mass of detail necessary to an efficient
plan. The architect, on the other hand,
is not sufficiently familiar with bank ad-
ministration, and cannot give the prob-
lem the time necessary for an adequate
study of all the factors involved. In the
smaller installations, and with a small
architectural practice, it is true, the prob-
lems are sufficiently simple so that the
architect has time to solve them himself,
but as the difficulties multiply, and the
architect's time is more and more occu-
pied by the complexity of the organiza-
tion under his command, the need of a
new method of attacking problems of
this nature becomes increasingly appar-
ent. It is this state of affairs, existing

particularly in New York City, that has
given rise to the new profession of the
bank specialist.

The specialist does not, and in fact
cannot, replace the architect, for in so
doing he would become an architect him-
self. His function is, either as a consult-
ing expert or as an outside adviser, to
collaborate with the banker and the archi-
tect in forming an efficient layout, de-
termined by the special requirements of
the institution, and co-ordinated with the
constructive necessities of the building.

Mr. Thomas Bruce Boyd has chosen to
devote himself to this particular phase
of the great efficiency movement of the
present generation, and has collaborated
in the planning of many of the largest
banks of recent date, as well as in some
commercial institutions of other kinds.
It has been his aim to secure the greatest
efficiency with the space available and
for the purposes required, to save for the
banker both in initial cost of equipment

THE ARCHITECTURAL RECORD.

First Floor Plan.

Basement Floor Plan.

THE CHASE NATIONAL BANK, NEW YORK
CITY. KIMBALL & ROOSA, ARCHITECTS.

THE ARCHITECTURAL RECORD.

and in time and expense of future opera-
tion; in short, to raise the standard of
bank planning to a point of scientific per-
fection not previously attained. The de-
gree of his success can best be shown by
a description of a few of the installations
for which he is responsible.

One of the newest and most important
of. the bank plans in which Mr. Boyd has
collaborated is the Chase National Bank,
in the new Adams Building, of which
Messrs. Kimball and Roosa were the
architects. This vast interior, two hun-
dred feet long and seventy feet wide, has
been laid out with a view to the maxi-
mum efficiency. Entering from Broad-
way, one finds, directly on the left, a
large platform with the desks of the
bank's officers, the more important of
whom have additional private offices ad-
joining, along Exchange Alley on the
side of the building. The grouping of
the officers' desks in an accessible loca-
tion near the entrance is a feature on
which Mr. Boyd lays much stress, as he
considers it of great importance in
maintainng and establishing a friendly
relation between the bank and its cus-
tomers.

Beyond the officers' space we find the
loan department, sheltered by the cus-
tomary screen, and in a corner near the
officers the telephone switchboard, along-
side which a corridor runs from the offi-
cers' desks to a conference room for
their use, lighted also from Exchange
Alley. From the loan department a lift,
centrally located, descends to the base-
ment, which is also reached by stairs con-
venient to the private offices. Beyond
the loan department are the credit and
foreign exchange departments, the tell-
ers, auditors, and other employees who
handle currency, and in the extreme rear,'
on Trinity Place, the stenographers and
book-keepers. A second lift, near the
tellers, leads also to the basement, as does
an additional stairway near the chief
clerk's office.

The public space, narrow as it appears
on the plan, is in reality not less than
fourteen feet wide, and its apparent nar-
rowness is due to its great length, nearly
one hundred and sixty feet. Along one

side runs the screen with its many win-
dows, while on the other check desks are
arranged in the intervals between the
structural columns. While the propor-
tions of the space are not particularly
fortunate, it is scarcely possible to im-
agine a way in which any real improve-
ment could have been effected, in view
of the shape of the ground and the neces-
sity of an entrance from Broadway, the
narrowness of Exchange Alley making it
almost vabeless as a thoroughfare, and
certainly quite impossible for the main
entrance of a great banking institution.

The basement of the Chase National
Bank is used mainly for storage pur-
poses. In the center is the vault, divided
by a light screen into two independent
parts. The larger part, used for securi-
ties, is reached by the lift from the loan
department, through an examination
space, while the other portion, used for
currency, is similarly reached by the sec-
ond lift. The vault is closed by two
heavy doors at each end, and a narrow
observation gallery protects it at the
side.

Near the vault are lockers, and storage
for stationery and filing. The locker
room gives access to the clerks' dining-
room, next to which is a pantry, into
which the food, cooked by an outside
caterer, is brought by a separate entrance.
The same pantry is used to supply the
officers' dining-room, as well as a smaller
private dining-room used occasionally by
the president of the bank. The directors'
room, adjoining the officers' dining-room,
is entirely separated from it, and is
reached directly by the stairs from the
officers' space on the main floor.

Back of the vault, on the same floor
level, are the mail and check clerks, and
the messengers. Here also is the book
vault, to "which the second lift and the
stairs give convenient access, and a ca-
pacious toilet room. The level of Trin-
ity Place is about ten feet below that of
Broadway, so that the basement win-
dows at this end are above grade, and
the lighting is far superior to that of an
ordinary basement.

Without attempting, in this brief out-
line, to describe in detail the planning of

100

THE ARCHITECTURAL RECORD.

BANKING ROOM-CHASE NATIONAL BANK, NEW YORK CITY.
Kimball & Roosa, Architects.

BANKING ROOM— CHASE NATIONAL BANK, NEW YORK CITY.
Kimball & Roosa, Architects.

BANKING ROOM— CHASE NATIONAL
BANK, NEW YORK CITY— KIM-
BALL & ROOSA, ARCHITECTS.

102

THE ARCHITECTURAL RECORD.

the various departments and their rela-
tion to each other, a few salient points
may be noted. One of these is the ar-
rangement of the working spaces so as
to gain the greatest possible use of the
natural lighting facilities, while the
vault, the public space, and other parts
requiring only artificial light were
grouped in the center of the plan. An-
other interesting feature is the arrange-
ment of the lifts, by which all the depart-
ments on both floors are placed in easy
communication, and which greatly in-
crease the working efficiency of the bank.
In this building, as in Mr. Boyd's other
plans, the idea of unit construction has
been used wherever practicable. The fix-
tures have been made of standard sizes,
with interchangeable bases, allowing de-
partments to expand or to be shifted in
location with the minimum of inconveni-
ence and expense. This is a feature fre-
quently lost sight of in business installa-
tions, where inferior fittings are often
used because of a slightly reduced orig-
inal outlay, which may later be expended
several times over because of necessary
changes that could not be foreseen when
the original arrangement was planned.

The architectural treatment of the
banking room is comparatively simple, as
the bank occupies part of an office build-
ing, rather than one designed specially
for its use. A richly coffered plaster ceil-
ing is the principal feature of interest.
Apart from this there is little architec-
tural elaboration, except for the marble
casing of the walls and columns, and the
carved counter screen.

A far more finished interior is that
of the Guaranty Trust Comoany, of
which Messrs. York and Sawyer were
the architects, with the assistance of Mr.
Boyd for the planning and equipment.
This institution occupies a building of
its own, at the southeast corner of Lib-
erty Street and Broadway, the main en-
trance being, of course, on the latter
thoroughfare. The banking room is in-
dicated on the exterior by a large order
of columns, on both fronts, those on the
Broadway front forming a shallow por-
tico, while on the Libertv Street side the
columns are engaged. Above this order
a pilaster treatment is used for the por-

tion of the building containing offices, but
this is subordinated to the banking room,
which is clearly indicated as the main
feature of the building.

The exterior is of a light gray granite,
and the restrained treatment of the dec-
oration results naturally from the refrac-
tory nature of this material. The Ionic
order used is simply handled, and the
manner in which it is inserted in the
wall, showing clearly that it is to be con-
sidered as a decorative feature without
structural significance, is decidedly sug-
gestive. The pilaster order above is also
of interest, for while it is Ionic by its
proportions and general treatment, the
capitals, in some respects, suggest rather
the Corinthian.

In the interior of the main banking
room the treatment is lighter, due to the
employment of marble in the place of
granite. The floor is of light gray Knox-
ville, with mosaic inlays whose design
suggests a Pompeian influence, which is
to be detected also in the Corinthian col-
umns, whose capitals are of a type fre-
quent in Pompeii, although the best-
known example is that of the Temple of
Vesta at Tivoli. The treatment of the
acanthus leaves, however, is decidedly
different from that of the ancient ex-
amples. These columns are of Haute-
ville marble, with an entablature imi-
tating the same material. The 'walls and
counters are also of Hauteville, and the
warm buff color of this material gives a
more friendly character to the monu-
mental treatment of the architecture.
The ceiling is in plaster of a lighter tone,
with touches of brighter color, and the
grilles of gold bronze. «

All the interior treatment is most
sumptuous in character, and the casual
visitor canot fail to be impressed with
the wealth of the institution that it
houses. The architects have inspired
themselves from many sources. Besides
the Pompeian suggestion, we find Roman
motives in the frieze above the columns,
Italian Renaissance details in the metal
grilles, while Greek coins have furnished
the subjects for the carved medallions on
the main counter. All these elements
have been handled by the architects with
the ability that has so long characterized

BANKING HOUSE OF THE GUARANTY
TRUST COMPANY, NEW YORK CITY.
YORK & SAWYER, ARCHITECTS.

104

THE ARCHITECTURAL RECORD.

105

BANKING ROOM— GUARANTY TRUST COMPANY, NEW YORK CITY.
York & Sawyer, Architects.

them, the whole forming a remarkably
rich and harmonious ensemble.

The firm of York and Sawyer have been
known for years as bank architects,
though this is but one phase of their
work. They have probably produced
more banks than any other architects,
either American or foreign, and one
would have expected them long since to
have exhausted all the possible types of
bank plans. One is therefore agreeably
surprised to find in the Guaranty Trust
Company a type that is altogether new
in its arrangement.

The most striking characteristic of the
plan is its openness. While the total
width of the interior is over eighty feet,
and its length about one hundred and
twenty, with a ceiling height of not less
than fifty feet, the space enclosed by the
bronze grille is only thirty feet bv fifty.
This unusual proportion is due to the
great development of the officers' space,
and the relegation to other floors of a
great part of the bank's functions. The
officers occupy the front part of the cen-

tral island, as well as the two platforms
at the sides, behind the columns, and
these spaces are quite open, being sur-
rounded only by a low marble balustrade,
the only exception being the conference
room at the rear end of the platform on
the right, which is enclosed by a grille
similar to that of the central working
space. The pylon on the left contains
the president's private office, as well as
an elevator and some minor conveni-
ences ; that on the right contains similar
accommodation for the vice-president,
though his office is reduced in size by the
introduction of a staircase, thus preserv-
ing due hierarchic proportion.

The rear portion of the central island,
enclosed by a bronze screen, contains the
working space for the money-handling
departments that come in most direct
contact with the public. Here are the
paying and receiving tellers, as well as
the collection and loan departments.
The coin lift, situated near the center of
the island, communicates with the vaults
in the underground stories, rendering

106

THE ARCHITECTURAL RECORD.

FIRST FLOOR PLAN-GUARANTY
TRUST COMPANY, NEW YORK CITY.
YORK & SAWYER, ARCHITECTS.

THE ARCHITECTURAL RECORD.

107

COUPON DEPARTMENT

noooo

EtqiSTltATION AND STOCK. CQQK.K.tgfrEK.5

SECOND FLOOR PLAN-GUARANTY
TRUST COMPANY, NEW YORK CITY.
YORK & SAWYER, ARCHITECTS.

108

THE ARCHITECTURAL RECORD.

BASEMENT FLOOR PLAN— GUARANTY
TRUST COMPANY, NEW YORK CITY.
YORK & SAWYER, ARCHITECTS.

THE ARCHITECTURAL RECORD.

109

SUB-BASEMENT FLOOR PLAN— GUAR-
ANTY TRUST COMPANY, NEW YORK
CITY. YORK & SAWYER, ARCHITECTS.

110

THE ARCHITECTURAL RECORD.

DETAIL OF BRONZE SCREEN-BANKING ROOM. GUARANTY TRUST CO., NEW YORK CITY.

York & Sawyer, Architects.

them easily accessible to all the services
here grouped together. In the extreme
rear of the foor, separated only by a bal-
ustrade from the public space, we find
the bond department, portions of which,
however, are enclosed for greater privacy
by a light screen which scarcely counts
in the general effect of the room.

In the height of the main banking
room, though not visible from it, three
mezzanine floors have been arranged.
The lower two are unimportant, being
contained entirely in the corner pylons,
but the third is far more extensive, being
continued around three sides of the main
room. It contains space for files and
archives, as well as a large office for
stenographers, and is reached by two
stairs and three elevators. This mezza-
nine is contained in the height of the
entablature, the central part of the bank-
ing room having a full entablature, while
the aisles are ceiled at a lower level, the
difference being sufficient for a working
story.

Below the main floor is a basement ex-

tending under the entire building, only a
small part of which is accessible to the
public. Here we find the securities de-
partment, in the extreme rear, and near
it the purchasing agent, the messengers,
and the Lamson tube and mailing de-
partment. The tube system is of great
importance, as it joins widely separated
portions of the building, and greatly fa-
cilitates intercommunication between the
different departments.

The basement contains also locker
rooms, machinery rooms, and the like, as
well as the vault, whose principal means
of access is the coin lift from the center
of the main banking room. This vault
has walls two feet thick, and is sur-
rounded by an observation passaee, from
which all sides of the exterior are visible.
Near its entrance is an examination room.
The interior of the vault is divided into
separate compartments for the different
parts of the bank. The sub-basement
contains a similar vault, also divided into
compartments, each of which forms a
smaller vault independent of the others.

THE ARCHITECTURAL RECORD.

Ill

BANKING HOUSE OF J. P, MORGAN & CO., NEW YORK CITY.
Trowbridge & Livingston, Architects.

In the upper stories the functions of
the bank are continued. The second
story contains board and conference
rooms, arranged as a separate unit, and
reached by the elevator next to the presi-
dent's office. This floor also contains the
coupon department, foreign department,
and bookkeeping department, as well as
some others of less importance, com-
municating with the public space, reached
by the Liberty Street elevator. Adjacent
to these is the auditing department, in a
more secluded location, and served frr the
elevator on the vice-president's side.

The third story contains the title de-
partment, and the remaining floors are
partly occupied by the bank, and partly
destined for its future expansion, but
meanwhile leased as offices. Among the
services housed here are the bond de-

partment, telegraphs and telephones,
kitchens and dining-rooms for the use of
the staff, machinery, and a special print-
ing office.

Throughout the equipment of the
Guaranty Trust Company the same spirit
of thoroughness is to be noticed. Noth-
ing seems to be overlooked. The fixtures
are planned with the greatest care, every
department having such special fixtures
as are necessary to its highest efficiency.
That the basements are artificially ven-
tilated goes without saying, but the use
of this system in the main banking room
is less evident, the openings to the ven-
tilating ducts being hidden by the mould-
ings of the architrave above the columns.
It is regrettable that the reduction neces-
sary in making the plans available for
magazine reproduction precludes the

112

THE ARCHITECTURAL RECORD.

BANKING ROOM-J. P. MORGAN & CO., NEW YORK CITY.
Trowbridge & Livingston, Architects.

showing of the details of the equipment,
as these are scarcely less interesting than
the general disposition of the layout.

Another recent work of unquestioned
interest, in which Mr. Boyd collaborated,
is the banking house of J. P. Morgan &
Co., at the corner of Broad and Wall
Streets. The problem here presented
was very different, and, in some respects,
simpler than those discussed above, be-
cause of the lesser number of banking
functions to be taken into account. On
the other hand, the architects, Messrs.
Trowbridge and Livingston, found them-
selves confronted with a problem of some
difficulty in view of the peculiar form of
the plot, and of the desire to make the
banking room as large as possible, with-
out any intermediate supports. In fact,
as executed, this room includes the entire
area of the plot, except a small space at
the rear, in which stairs, elevators, and
the correspondence department are in-
cluded, and a still smaller space at the
front, with the entrance lobby. The ir-
regular form of this large room has been

disguised by a very ingenious treatment,
all the more interesting because of the
comparative rarity of such problems in
our American work, and the small num-
ber of precedents to be found for them.
The entrance to the building is placed
at the truncated angle of the two streets,
a location all the more commendable be-
cause this corner, if not cut off, would
have been unpleasantly acute. The bi-
sector of the angle has been taken as the
main axis of the decorative treatment.
The location of a series of rooms along
the sides of the lot, and the consideration
of symmetry with reference to this axis,
have produced a central space, hexagonal
in plan, and capable of a symmetrical
handling. This space is enclosed by a
screen of pink Knoxville marble, with
panels of openwork bronze grilles backed
by glass, and columns of Skyros marble.
Upon the screen is concentrated the rich-
est ornament of the entire composition.
It is enriched with elaborate carving, in
the style of the Italian Renaissance, with
a frieze, representing Greek and Amen-

THE ARCHITECTURAL RECORD.

113

BANKING ROOM-J. P. MORGAN & CO., NEW YORK CITY.

Trowbridge & Livingston, Architects.

can Indian mythological subjects, by Mr.
Charles Keck, one of the best known of
the younger American sculptors.

The concentration of interest in .this
center is further emphasized by the great
•circular skylight almost directly above
it. The rest of the ceiling is a repeating
design of hexagonal coffers and circular
roses, broken only by the large circular
skylight and a smaller rectangular one in
the rear. A further device to disguise
the irregular outline of the walls is the
omission of an order, its place being
taken by a system of alternate wide and
narrow mosaic panels, the latter dec-
orated with trophies.

The space within the screen is partly
occupied by an enclosure for the officers ;
the remainder is public space, with a mo-
saic pavement inspired from Florentine
designs. Four large doors interrupt the
screen, one of them being the main en-
trance to the building, and four smaller
doors give access to the rooms on the
street fronts.

The space on the right, as we enter, is
devoted to offices for the partners, with
a small ante-room and several confer-
ence rooms. On the left, beyond two
small waiting-rooms and the foreign ex-
change department, one of t>e large
uoors gives access to the banking space.
Around this are grouped the compara-
tively simple facilities for the handling
of money, connected by stairs and an
elevator with the basements containing
the vaults and store-rooms, as well as the
transfer department, which has a separ-
ate entrance from Broad Street, whose
slope makes possible this access at two
different levels. The space beLw ground
contains also the usual heating and ven-
tilating apparatus. The main vault is of
the highest type of burglar-proof con-
struction, the principles of its design be-
ing similar to those already discussed.

Above the main banking room, the sec-
ond story contains the private offices of
the partners and their secretaries, Mr.
Morgan's office being directly above the

114

THE ARCHITECTURAL RECORD.

First Floor Plan.

BANKING HOUSE OF J. P. MORGAN.
& CO., NEW YORK CITY. TROW-
BR1DGE & LIVINGSTON, ARCHITECTS..

THE ARCHITECTURAL RECORD.

\\5

MR. MORGAN'S PRIVATE OFFICE-BANKING HOUSE OF J. P. MORGAN & CO.
Trowbridge & Livingston, Architects.

main entrance to the building-. This con-
struction, with no interior columns to
support it from below, gave rise to a
most complicated engineering problem,
capable of solution only by the use of
modern methods of steel construction.
The third and fourth floors, not visible
from the street, contain dining-rooms,
janitor's quarters, and other minor divi-
sions, as well as a roof-garden at the
fourth floor level, facing the Stock Ex-
change. The private offices are panelled in
oak, the designs being varied according to
the taste of their occupants. They are
accessible by an elevator from the ante-
room to the right of the entrance, that of
Mr. Morgan having also a private stair-
case from the waiting-room on the left.

The stairs and elevator in the rear give
additional access to these offices, as well
as to those of the different secretaries.

The exterior of the building is simple
in the extreme. There are no columns,,
and scarcely any carving, excepting on?
the mouldings of the cornices and the
mullions between the second-story win-
dows. The elaborate bronze screen at
the entrance is the only suggestion of the
rich interior that appears on the rather
unassuming fagade, whose whole char-
acter seems intended to produce an at-
mosphere of serene reticence, contrast-
ing vividly with its florid and pretentious
environment, even as the modest altitude
of the building differentiates it from the
surrounding skyscrapers.

LOGGIA, WOMEN'S GYMNASIUM-JOHN C.
PROCTOR RECREATION CENTER, PEORIA.
ILL. HEWITT & EMERSON, ARCHITECTS.

VIEW OF SWIMMING POOL COURT AND PLAYGROUNDS— JOHN C. PROCTOR RECREATION

CENTER, PEORIA, ILL.
Hewitt & Emerson, Architects.

"UOHN C PROCTOR RECREATION
CENTER. PEORIA. ILLINOIS

HEWITT &> EMERSON
ARCHITECTS

THE will of the late John C. Proc-
tor, a life-long resident of Peoria,
devoted his entire estate, exclud-
ing a few personal bequests, as a public
charity to be known as the John C. Proc-
tor Endowment. A board of seven trus-
tees was named whose duty it is to care
for the funds and property, to adminis-
ter the charities established during his
life, and to provide, so far as the income
of the endowment permits, such other
aids to the welfare of the people of the
city of Peoria as may suggest them-
selves.

Acting on the provisions of the will,
the trustees projected and established
the John C. Proctor Recreation Center,
located in the midst of a great residential
district occupied largely by people of the
laboring class.

The aim of the trustees was to pro-
vide an institution with every facility for
furthering the physical, social and moral

welfare of the community. Men, wom-
en, boys and girls are provided for, prop-
erly segregated.

The ground, 258 feet by 700,bounded by
city streets on four sides, was purchased
before the scope of the Center had been
fully determined. As the problem de-
veloped, it was found that the ground,
originally thought ample, was too small.
This necessitated some restrictions in
planning and some arrangements which
might otherwise have been avoided, such
as the placing of the tennis courts on the
street front of the field house.

The problem required the planning of
an institution, the best examples of which
were probably to be found in the later
Centers built by the South Park Com-
mission in Chicago. Either the commit-
tee or the architects visited most of the
more complete and recent institutions of
the kind in this country; but the general
scheme adopted was not modelled on any

118

THE ARCHITECTURAL RECORD.

precedent, owing to differing conditions.
The difference in scale, the fact that the
scope was to be wider than that of any
example found, and the shape and size
of the ground, required original treat-
ment. The Peoria institution is consid-
erably smaller than the Chicago institu-
tions, but covers a wider scope than any
of them, in that it includes bowling and
billiards.

As finally developed, the problem in-
cluded the fulfilling of the following re-
quirements :

Grounds — Provision for separate play-
grounds for (1) small children, (2) girls
and women, (3) boys and men; to be
sufficiently separated from one another
to prevent interference and allow proper
supervision. The outdoor playgrounds
were to be as complete and spacious as
the ground permitted, and equipped with
provision for the games, play and gym-
nastic apparatus adapted to each group.
The grounds were to be provided with
toilets for both sexes and convenient
drinking fountains. Shelters, in the
form of loggias connected with the field

house and also in the form of separate
structures, were to be included.

Building — Provision for individual
baths for both sexes ; gymnasiums, lock-
er rooms, toilets and showers for both
sexes ; a large swimming-pool, with its
dressing rooms and appurtenances. This
feature was originally intended to be
housed for use the year round. On in-
vestigation, it was found that experience
in similar Centers elsewhere showed that
a pool was not used enough in cold
weather to justify the considerable extra
cost for housing, heating and mainte-
nance. An auditorium, with stage large
enough for amateur theatricals, dressing
rooms, coat rooms, and the like, was to
be used both for audiences and for so-
cial affairs and dances. A library and
reading room, and club rooms, with
kitchen, bowling alleys, billiard and pool
rooms were additional features.

In addition, the building must contain
a rotunda and office, private offices for
the director and his assistant ; a laundry,
a boiler room, space for ventilating ap-
paratus, store rooms, custodian's room

ALLEN STREET ENTRANCE— JOHN C. PROCTOR RECREATION CENTER, PEORIA, ILL.
Hewitt & Emerson, Architects.

THE ARCHITECTURAL RECORD.

119

ALLEN STREET FRONT— JOHN C. PROCTOR RECREATION CENTER.
Hewitt & Emerson, Architects.

and offices for the physical directors,
male and female, and apparatus rooms
in connection with the gymnasiums.

The problem of planning the building
was, briefly, to separate the departments
used exclusively by either sex; to place
the principal departments used by both
sexes so as to be available from both the
male and female sides of the building;
to segregate the boys from the men and
the girls from the women as regards
toilets and locker rooms ; to provide am-
ple circulation and co-ordinate the vari-
ous parts ; to so mask the boiler room as
to make it inconspicuous ; and, finally, to
provide the maximum of supervision
with the minimum number of attendants.

All departments, whether for man,
woman, boy or girl, are reached directly
from the rotunda and office. The boys'
and girls' locker and toilet rooms are in
the basement and are reached by special
stairway on either side respectively.
The gymnasium floors are directly on the
ground, about midway between the base-
ment and first-floor levels. This places
the gymnasiums and exits to the swim-
ming-pool and playgrounds in proper re-
lation thereto, and facilitates th • relation

of the boys' and girls' locker rooms with
the circulation corridors and gym-
nasiums.

The swimming-pool approaches are so
arranged that entrance to the enclosure
is at one end only, directly in front of
the shower baths, use of which is re-
quired before entering the pool. The
ends of the circulation corridors act as
waiting places when the crowds in hot
weather exceed the capacity of the pool.
The windows allow those waiting to wit-
ness the sport they are soon to enjoy.

Among the minor problems were the
construction of the pool, containing
about 150,000 gallons of water, the
plumbing, heating, lighting, ventilating
and, sanitary arrangements; all of which
were successfully handled by the archi-
tects. The water in the pool is heated
throughout the season to take off the
chill. The pool can be emptied, cleaned,
refilled and heated in twelve hours.

The building is of fireproof construc-
tion, except the roof. The exterior is
faced with a gray mat brick in two
shades, laid in double Flemish bond, a
light shade double stretcher and a single
stretcher of the darker shade alternating.

U hj i

O U N D

BA5E BALL DIAMOND

WADING Pod

SMALL CHILDREN^'

PLAYC ROUND

c i R L 5'
PLAY G R.OUN D •

SWIMMING POOL LOGGIA— JOHN C.
PROCTOR RECREATION CENTER, PEORIA,
ILL. HEWITT & EMERSON, ARCHITECTS.

126

THE ARCHITECTURAL RECORD.

BASEMENT AND SECOND FLOOR-JOHN C.
PROCTOR RECREATION CENTER, PEORIA.
ILL. HEWITT & EMERSON, ARCHITECTS.

THE ARCHITECTURAL RECORD.

127

GENERAL VIEW FROM PLAYGROUNDS
AND PLAN OF FIRST FLOOR-JOHN C.
PROCTOR RECREATION CENTER, PEORIA,
ILL. HEWITT & EMERSON, ARCHITECTS.

130

THE ARCHITECTURAL RECORD.

LOGGIA, WOMEN'S GYMNASIUM— JOHN C. PROCTOR RECREATION CENTER, PEORIA, ILL.

Hewitt & Emerson, Architects.

SWIMMING POOL COURT-JOHN C. PROCTOR RECREATION CENTER, PEORIA, ILL.
Hewitt & Emerson, Architects.

THE ARCHITECTURAL RECORD.

131

The joints are five-eighths inch flush
joints of natural color cement mortar,
left with rough texture. Certain trim-
mings, such as arches, pilasters, and the
like are entirely of the darker shade
brick with horizontal joints deeply raked
out. The stone is buff Indiana limestone.
The roof covering is of red interlocking
shingle tile.

On the interior the architects were
given practically carte blanch? to use
materials best fitted for the various pur-
poses. Terrazzo and marble are used for
floors, except rooms requiring finished
oak or maple floors. All bath, toilet and
locker rooms are of gray Tennessee mar-
ble and white enamelled brick with cove
angles. The swimming-pool is lined with
white tile, with sanitary overflow rim in
white glazed terra cotta. All exposed
metal in bath and toilet rooms has been
reduced to a minimum and is of white
rnetal.

The two things kept uppermost in the

minds :,pf the architects in designing in-
terior details of the building were to use
the most fitting and durable materials in
the simplest and most cleanable forms
and to make everything, so far as possi-
ble, "boy-proof." All pipes, tanks and
valves in toilets and bathrooms are con-
cealed in pipe corridors. All fastenings
and removable parts are so far as possi-
ble concealed, and all construction is of
the staunchest.

Hot, cold and circulation water sup-
plies for building and grounds are con-
trolled from the valve pit, convenient of
access by the engineer by means of a
tunnel from the boiler room. This tun-
nel also contains heating mains, water
service and other pipes.

The entire grounds are lighted, for
night use, by means of tungsten clusters
and outlets on the semi-circular wall
around the swimming-pool enclosure and
on the brick posts of the iron fence en-
closing the grounds.

DETAIL OF COLONNADE-MON-
TREAL ART GALLERY E. AND
W. S. MAXWELL, ARCHITECTS.

TYPICAL GALLERY SEAT— MONTREAL ART GALLERY.
E. and W. S. Maxwell, Architects.

^MONTREAL ART GALLERY

E. tf W. S . MAXWELL, ARCHITECTS
BY THOMAS W.LVDLOW

THE present building for the Art
Association of Montreal had its
inception about four years ago,
when the Council for the Association
decided to hold a limited competition for
the selection of plans for a new gal-
lery. Three of the leading local archi-
tectural firms were asked to submit
schemes on conditions drawn up by the
late Mr. Edmund M. Wheelwright, who
was selected as assessor on account of his
experience with the Boston Museum of
Fine Arts, and the valuable data col-
lected by him in this connection was
placed at the disposal of the competitors.
Messrs. E. and W. S. Maxwell were ad-
judged the winners in the competition
and the erection of the gallery was in-
trusted to them.

The site of the new structure on
Sherbrooke Street, flanked for half a
mile or more on either side with great

houses in large terrace gardens, was an
ideal one for the style selected — Neo-
Classic — although there was some criti-
cism at the time the competition was
awarded that the severely classical de-
sign chosen reflected the modern French
school rather than the purely British
spirit of the other designs.

The building is composed on its main
front of a central colonnade of the Ionic
order, forming a portico flanked by two
slightly projecting wings which frankly
express the internal disposition of the
exhibition halls — a lateral one over the
entrance, having on either hand smaller
galleries at right angles to it. The side
elevation on Ontario Avenue, incomplete
at the moment, will consist of a composi-
tion in three parts — a central feature and
two side pavilions joined to the central
mass by connecting links. The complet-
ed portions of the main and side facades

134

THE ARCHITECTURAL RECORD.

MAIN FACADE ON SHERBROOKE STREET-MONTREAL ART GALLERY.
E. and W. S. Maxwell, Architects.

FLOOR PLANS OF THE MONTREAL ART GALLERY.
E. and W. S. Maxwell, Architects.

THE ARCHITECTURAL RECORD.

135

are built of blue-white marble from Ver-
mont; and the base course, entrance
steps, and coping enclosing the low grass
terrace surrounding the building are of
gray granite, which almost matches in

frieze placed directly under the ceiling
of the pteroma, to emphasize the top-
lighted galleries on the main floor. The
ceiling of the pteroma is deeply coffered
in the rich traditional manner. The col-

DETAIL OF MAIN FRONT— MONTREAL ART GALLERY.
E. and W. S. Maxwell, Architects.

color and completely harmonizes with
the marble above.

The main entrance is approached by
a broad flight of steps enclosed between
pedestals leading up to the colonnade,
behind which are three arched entrance
doors. Above these the wall is left plain,
except for a delicately carved Greek fret

umns themselves are beautifully cut
monoliths, considering they are over
thirty-one feet in height.

The doorways are treated in the
straightforward Italian manner with a
continuous undecorated architrave and
have no elaboration, excepting the richly
carved key-blocks that project too far

136

THE ARCHITECTURAL RECORD.

DETAIL OF PAVILION WINDOW-MONTREAL
ART GALLERY.

and in consequence have the appearance
of applied rather than structural orna-
ment.

The flanking pavilions are treated in
the same direct manner as the centra!
portion, only here the windows lighting
the lower galleries are framed in by a
nicely proportioned slightly recessed
panel. The windows are of the simple
console or bracket type without cham-
branles. Above the openings are placed
sculptured plaques, approximately three
and one-half feet high by ten feet long,
rilling out the panels. These plaques are
carved in white marble in low relief and
represent the spirit and traditions of
Classic art.

The side elevation presents a very in-
teresting and practical adaptation of
U-Bar greenhouse construction over the
studios of the Art School. In employing
this method of lighting, the architects
have successfully overcome one of the
greatest difficulties of using skylights in
this northern climate — the joint on the
inclined surface that will keep tight un-
der the varying and trying conditions of
snow and ice which have to be reckoned
with for at least five months each year.

Below the Art School are a series of

side-lighted exhibition rooms, which are
adequately expressed on the exterior by
a row of square-headed windows over
the side entrance. Although these look
amply large from the outside, the na-
tural illumination within these rooms is
not as good as one would suppose from
the size of the openings.

The only decorative feature on the
lateral front is the well proportioned and
delicately treated doorv/ay, that is nicely
combined with the flanking windows into
a distinctive feature by means of a
cornice and pilasters.

The chief features on the ground floor
are the almost extravagantly commodious
entrance and stairhalls on both the Sher-
brooke Street and Ontario Avenue

MAIN ENTRANCE DOOR— MONTREAL ART
GALLERY.

THE ARCHITECTURAL RECORD.

137

DETAIL OF BRONZE GRILLE OVER ENTRANCE DOORS— MONTREAL ART GALLERY.

E. and W. S. Maxwell, Architects.

fronts, an exhibition hall for casts, a
, lecture hall and three rooms for show-
ing case objects, two of which, those on
the right of the main entrance, are being
used until the completion of the build-
ing as a library and council room, and
secretary's office, respectively. -

The main entrance hall, which is sixty-
two feet long by twenty-four and one-
half feet wide, is reached through three
small vestibules. It is a well propor-
tioned room, covered with an elliptical
plaster barrel vault with penetrations.
The walls and piers of this hall are of
Botticino marble. This great hall de-
pends entirely for effect upon its propor-
tions and upon the color of the marble,
and the only decoration used, a molded
band of flowers and fruit forming a
panel in the plaster vault, seems a trifle
heavy for the architecture below, and is
decidedly out of scale with the delicately
designed and beautifully carved marble
and alabaster lamp standards which at
the same time illuminate and are the only

furnishings in this part of the building.
The main stairs are reached by ascend-
ing a few steps from the entrance hall
and crossing a narrow circulation pas-
sage. These stairs, as well as all of the
architecture surrounding them, are of
Botticino marble treated in the most
severe manner, without moldings. Here,
as in the entrance hall, the ceilings of
the passages surrounding the stair well
are vaulted in plaster, only in this case
they are divided into square bays cov-
ered with groined vaults, excepting the
compartment immediately in front of the
stairs, which on account of its greater
width is covered with a' flat panel. This
latter treatment, that is, the increased
width of the central bay, seems to have
caused the architects trouble on both
sides of the archway, as on the hall side
the flatter penetration gives unequal
warped surfaces. On the stair side a
very flat oblong groined vault would
certainly have been more pleasing than
the flat ceiling and might have sug-

138

THE ARCHITECTURAL RECORD.

ONTARIO AVENUE FRONT-MONTREAL ART
GALLERY.

gested another method of artificial light-
ing than the rather awkward appear-
ance of the bowl, like those used in side
passages, but hung in this case without
the chains.

To the right and left of the entrance
hall are two lateral galleries treated in
a direct and sensible manner without or-
namentation. The lighting in these
rooms, both natural and artificial, is ex-
ceedingly well disposed, and the walls
are covered with a neutral gray burlap,
which at the same time affords an ex-
cellent background and is exceedingly
restful to the eyes. The gallery to the
right, temporarily used as the library,
is shown on page 147.

The council room, reached from the
library by going up a few steps, is treat-
ed and decorated in a similar manner
to the adjoining room, only here the elec-
tric fixtures are hung from the under-
side of the beams instead of from the

panels, a wrong use aesthetically for
structural forms even though one knows
that in present-day construction there is
ample room for the conduits inside of
the false beam shell.

The Ontario Avenue entrance is in-
tended for the use of the art students
and the administration. It opens into an
ample vestibule which gives direct com-
munication to the offices, stairs to the
studios, and the transverse sculpture
gallery.

Besides the various rooms mentioned
or described, ample provision is made on
the ground floor for coat rooms, ticket
offices, shafts for both passenger and
freight elevators and other accessories,
skillfully arranged in inconspicuous
places, but accessible from the point of
administration.

The main stairs from the ground to
the chief exhibition floor lead from the
entrance hall in straight easy runs with
ample landings into a spacious top-light-
ed gallery. Generous as this space is,
sixty-six feet long by twenty-nine and
one-half feet wide, the proportions and
handling of the stairs are so fine that
one is met on ascending with a sense of
disappointment to find them blocked, so
to speak, by a wall instead of a vista
of galleries or, at least, some striking
architectural feature on the axis.

The stairwell is flanked on either side
by exhibition passages twelve feet wide,
which give access to the main gallery.
On the well side of these passages there
are Doric colonnades of Botticino mar-
ble that support the superstructure of
the roof. The capitals and bases of these
columns are of bronze, as is also the
handrail between them. The walls on
the opposite side of the passages are un-
broken for exhibition purposes, the
colonnade being recalled at the corners
only by pilasters.

The main gallery over the entrance
hall and vestibule and the flanking side
galleries are rooms of considerable size,
being sixty-three feet long by thirty-
three feet wide and sixty and one-half
feet long by thirty-one feet wide, re-
spectively. These rooms are top-light-
ed, the skylights filling the whole of the
ceiling, except for a deep coved cornice.

DETAIL OF ENTRANCE ON ONTARIO
AVENUE-MONTREAL ART GALLERY.
E. AND VV. S. MAXWELL, ARCHITECTS.

MARBLE AND ALABASTER LAMP STAND-
ARDS—MONTREAL ART GALLERY. K.
AND W. S. MAXWELL. ARCHITECT!

THE ARCHITECTURAL RECORD.

141

DOORWAY TO EXHIBITION GALLER-
IES-MONTREAL ART GALLERY. E.
AND W. S. MAXWELL, ARCHITECTS.

PASSAGE AND COLONNADE FLANKING MAIN
STAIR WELL— MONTREAL ART GALLERY.
E. AND W. S. MAXWELL, ARCHITECTS.

144

THE ARCHITECTURAL RECORD.

MAIN EXHIBITION GALLERY- MONTREAL ART GALLERY.

E. and \V. S. Maxwell, Architects.

TYPICAL EXHIBITION GALLERY-MONTREAL ART GALLERY
E. and W. S. Maxwell, Architects

< 5

e>G

< J
W <-)

« w

146

THE ARCHITECTURAL RECORD.

This arrangement has two advantages;
first, the glass area is sufficient to give
excellent lighting to the pictures and,
secondly, it leaves large uninterrupted
wall spaces, which are so important in a
structure of this kind.

There is no pretense of any architec-
tural treatment in the galleries them-
selves ; the only decorative notes are the
brocades, old rose or light green, which
are hung on the walls, and the door
trim, which is treated like a great picture
frame. The colored brocade wall cov-
erings above mentioned were put on at
the instigation of ^^^^^^
the building commit-
tee with the idea of
imparting a home-
like appearance to
the galleries and has
always proven a dis-
appointment, because
the pattern and the
color of the material
detract from the pic-
tures, and in a gal-
lery where the pic-
tures are constantly
changed, the perma-
nent collection being
taken down several
times a year to make
room for special ex-
hibitions, the walls
have become patchy
from uneven fad-
ing. This, however,
is soon to be ob-
viated, as a neutral
tinted burlap is to
replace the brocade
as a wall covering.

Continuing the circuit, there are three
side-lighted galleries on the Ontario Ave-
nue front of the building. These rooms,
on account of the Art School above them,
are considerably lower than the main
galleries. They are also less satisfac-
tory from a point of view of illumina-
tion, the ceilings not being high enough
to admit sufficient natural light for the
depth of the rooms, and the artificial
light, besides being insufficient as to
volume, is poorly placed, the alabaster
bowl being hung from the underside of

the beams; and the light supposed to
be reflected by the ceiling, from the de-
sign of the fixtures, is broken up and
lost almost entirely by the sides of the
beams.

The Art School on the top floor is
splendidly arranged, both as to light and
convenience, and consists of three large
top-lighted studios, two for cast draw-
ing and one for life work, with the neces-
sary toilet accommodations for men and
women students, storage space, and the
like. The walls in this portion of the
building are all covered with neutral
tinted burlap, which
affords the best
possible background
for all objects of
art.

The major part of
the basement is
devoted to the ap-
paratus for heating,
ventilating, and vac-
uum cleaning ; the
rest of the space is
devoted to a large
modeling room in
connection with the
Art School, a lunch
room for the stud-
ents, ample janitor's
quarters, public lava-
tories and storage.

Particular atten-
tion should be paid
to the finely designed
and beautifully exe-
cuted bronze work
used where occa-
sion demands in the
different parts of

the building. The grilles over the entrance
doors typify the arts by means of a small
figure supported by acanthus scrolls;
the grilles themselves are of an open
design, in order that light may penetrate
the vestibules and entrance hall when the
doors below them are closed. The
newels and hand-rail of the main stairs
are a splendid combination of wrought
and cast forms in bronze ; the designs
have a distinctly metal character and are
well proportioned to the space which
thev have to fill.

BRONZE NEWEL AND HANDRAIL-
MONTREAL ART GALLERY.

THE ARCHITECTURAL RECORD.

147

COUNCIL ROOM— MONTREAL ART GALLERY
E. and W. S. Maxwell, Architects.

LIBRARY ON GROUND FLOOR— MONTREAL ART GALLERY.
E. and W. S. Maxwell, Architects.

THE ARCHITECTURAL RECORD.

The furniture, also designed by the
architects, shows a simplicity and dig-
nity that make it harmonize with the
architecture about it. The table in the
gallery at the head of the main stairs is a
rich and pleasing 'Renaissance design;
the gallery seat shown on page 133
"is severe in its straight classical lines
that are relieved from monotony by
charming bits of decorations on the
supporting standards and back. The

furniture throughout is of oak with a
natural flat oil" finish to match the archi-
traves, doors and the little other wood-
work found in the building.

In conclusion, the Montreal Art Gal-
lery is a carefully designed, well thought
out, and finely executed piece of work,
which, notwithstanding the criticisms in
the preceding paragraphs, is a worthy
monument and one that should serve as
an inspiration to those who study it.

DETAIL OF BRONZE HANDRAIL— MONTREAL ART GALLERY
E. and W. S. Maxwell, Architects.

THE ARCHITECTS PART
IN THE WORLD'S WORK

AN ADDRESS BY
FREDERICK- L ACKERMAN

IN giving this talk before
the students and the fac-
ulty of the College of Ar-
chitecture of Cornell Univer-
sity, I had in mind to awaken
in the students an interest in a phase of
our work which is given but scant con-
sideration in our schools — to open for
discussion the need of a material revision
of school curricula in harmony with the
efforts of the American Institute of Ar-
chitects, the Beaux-Arts Society, and
similar bodies, for the furtherance of
educational facilities both within our
schools and during the years immediately
following graduation. The question is
this : Are we devoting any serious effort
in the' direction of showing students
clearly the need of a greater degree of
co-ordinated effort with civic, State and
national bodies whose aims are directed
toward developing a better physical con-
dition within our communities? What
are we doing to instill in their minds the
idea that it is through voluntary and un-
remunerative service on the part of the
architect that we can approach, within a
reasonable degree of attainment, our
ideals, both aesthetic and utilitarian ? Do
we in any way prepare them for this
service which is of right demanded of
them by the communities when they en-
ter upon their life work and accept the
responsibilities of citizenship? Do we
open their eyes to the fact that it is alone
through this voluntary service, the giving
of time and energy to community prob-
lems, that we can provide the conditions
through which there may be developed a
vital, indigenous architecture, expressive
of democracy?

These questions are not the
result of speculation but, in-
stead, have been suggested by
talks with students and recent
graduates of our schools,

which it was made clear that
they did not understand or
even hold the vaguest con-
ception concerning the re-
lation of their work to the
problems of the community at large.

AFTER GRADUATION.

After leaving the school the draughts-
man passes through an apprenticeship
of some years of office practice. Dur-
ing this period his horizon is limited
in most cases by the office in whicb
he works ; he rarely comes into close
personal contact with the clients ; he
is not interested personally in the
community problems, because we have
developed in him an attitude of self-com-
placency. He is not made aware of the
efforts of our own professional bodies to-
ward developing and maintaining higher
ethical standards in the profession and
toward the improvement of community
conditions related to our work. He is
left unconscious of this through lack of
effort on our part to better acquaint him
with the nature of the problems and the
methods of solving them. We do little
to stimulate in him a desire to aid in the
solution of these problems, and still less
to awaken in him a greater appreciation
of his responsibility toward the com-
munity in which he lives.

We do little, indeed, to instruct him in
the complicated processes by which we
translate, through the efforts of our so-
cieties, our ideals into actual conditions.
We do still less toward showing him the
methods through which our ideals and the
vague aspirations of our people can be
translated into laws and ordinances pro-
viding the conditions which
will permit us to express,
in terms of steel and stone,
a vital, living architecture
in of our own time and country.

150

THE ARCHITECTURAL RECORD.

I have not been
so long away
from the school
that it is at all
difficult for me
to recall distinctly the ideas and the ambi-
tions which I possessed when I was a
student like yourselves. The times have
changed somewhat during the intervening
period of years, but the change has not
been so great as to warrant me in as-
suming that you now possess a different
set of ideas or entertain other ambitions.

THE DIFFERENCE BETWEEN PRESENT AND
PAST CONDITIONS.

The scope of your work has broad-
ened ; the efficiency of those directing
your work has greatly increased ; and
your powers, therefore, I assume are
greater. My case is somewhat different.
A number of years ago I left this school
with its traditions and went out into the
world of practice, and with me I took a
certain definite idealism, such as you pos-
sess today. I have seen that change
from year to year in contact with the
world as opportunities for service were
opened to me ; I have seen that idealism
grow, and I now bring the result to you.

Today I shall not talk at any length
about the past, and I shall use the pres-
ent only as an example. The future with
its infinite possibilities, your opportuni-
ties, and the part you should play in the
world's work, is the subject of my talk.

WHAT DOES ARCHITECTURE MEAN?

I shall throughout use the term "archi-
tecture" in a broad sense and I want you
to conceive that term as embracing and
including all that is generally associated
with the term "art" as applied to painting
and sculpture. In truth, the two latter
elements are but parts when we conceive
architecture as the physical expression of
a civilization.

I shall not attempt to
define the term "archi-
tecture" nor the term
"art." Definitions are
but relative. I want you
to think of architecture

in a much broader sense than is our cus-
tom. Consider the term, eliminating en-
tirely from your mind the ideas so gen-
erally associated with the words "art and
beauty." Think of architecture as an
expression of conditions, the resultant of
complex forces. Architecture may be a
beautiful or it may be an ugly expression.
Whether or not the term "art" presup-
poses an element of beauty contained,
matters little. We surely all recognize
the fact that "architecture" is sometimes
inexpressibly ugly.

I am not going to consider with you or
discuss the relative beauty of different
architectural expressions of the day; that
enters into your day's work. I shall not
consider with you the adaptability of cer-
tain styles of architecture to present con-
ditions ; that is an academic question. I
shall not attempt to compare what we are
doing today with the effort of the past;
that again concerns the work of the
school. As I have said, my topic con-
cerns the future, and it shall be my en-
deavor to awaken in you a broader con-
ception of the great problems before you
than 1 possessed when I left the school.

HOW SHALL WE ATTAIN OUR IDEALS?

My purpose is not to change the nature
of your idealism; my object is to point
out to you the absolute necessity for your
performing certain acts and sharing indi-
vidually certain responsibilities which I
shall discuss with you, for it is through
such acts alone that you will be able to
turn your idealism, a shadow form itself,
into definite realities.

We have not lacked, nor do we now
lack, idealism. That we have been ut-
terly impotent to create beautiful or even
utilitarian cities does not prove that our
idealism is at fault. I suggest, however,
that we do not individually, or as a body,
understand the nature of the processes
necessary to a fruition of our ideals. We
must, stoop to conquer.

What is the relation of
the architect to his ideals,
to his own work, and to
the age in which he
lives? Wrhat are the

THE ARCHITECTURAL RECORD.

151

methods whereby he may be able to in-
terpret the age in which he lives and to
mould it, and, in turn, express not only
what is best in himself but the best that
is in his age as well? .Upon this latter
phase of his work I wish to lay particular
emphasis, for it will become in later
years, if you are serious in your en-
deavor, the subject of your greater inter-
est. It is my wish to make it the sub-
ject of your most serious consideration
now.

We are all too apt to think only of the
problem at hand. We look forward to
that time when we shall be given impor-
tant commissions to execute and our as-
sumption is that we shall then proceed
to execute them, depending upon our own
individual ability and our imagination to
find the proper solution. We have not
fully awakened to the reality, to the fact
that in many phases of our work the sur-
rounding conditions are such that a good
solution of the problem is utterly im-
possible.

There are certain structures, such as
isolated buildings, country houses and
the like, in which this thought does not
apply; but in the vast majority of cases
there are conditions which prohibit the
working out of our ideals. In the prob-
lem of the country house, if the needs be
well defined, if the program of require-
ments be reasonable, it becomes a matter
of individual effort on our part ; and the
result is a measure of our ability to de-
sign, to influence the client in the right
direction, and to exercise that all-impor-
tant quality — executive ability. If, how-
ever, the problem be of another class, viz.,
any of the structures found in our cities
or the plan and arrangement of the cities
themselves, we find that we are confront-
ed with quite a different question. There
are on every hand unnatural conditions
which hamper and restrict us. We are
brought face to face with
that accumulation of
conditions which is but
the product of badly-
governed municipali-
ties.

These accumu-
lated conditions
of the past,
wrought into
precedent, hab-
its, laws and ordinances, are just as much
a part of your program when you have to
design a structure within our cities as are
the physical and aesthetic requirements
imposed by the owner. If these attend-
ing conditions are unfortunate, if the laws
and ordinances governing building be not
logical and reasonable, if all of these be
the result of makeshift and temporary
methods, we remain impotent to create
the ideals toward which we have directed
our study for many years.

THE TANGLE LEFT US BY THE PAST.

What is our relation to these attend-
ing conditions, to our practice and to
the conditions themselves? I shall con-
fine myself almost entirely to the mu-
nicipal problem, for it is in the cities that
most of us must live and labor because of
the nature of our calling.

Let me quote a paragraph from Walter
Weyl's "The New Democracy." In the
chapter wherein he traces the growth of
the many interests which have brought
about the present political, social, econo-
mic and moral conditions he says : "Like
the continent, the city has been scarred by
the same waste and pre-emption, and the
same insensate optimism, the same utter
lack of prevision. Cities destined to be
the homes of multitudes have grown up
with the abandon of petty villages.
Streets have been made narrow; parks
have been forgotten; houses had been
built upon the theory of packing-boxes;
drainage, water supply, fire protection—
everything had been left to chance and
the play of the instinct for gain. The
theory of the American city was that of
the pioneer's camp. People were there
for business. Their living conditions
must work out them-
selves." This is a fair
and a just statement of
the conditions surround-
ing our work in the
cities of America todav.

152

THE ARCHITECTURAL RECORD.

These are the
conditions which
will con front you
upon entering
the field of prac-
tice. They will stand as a Chinese wall
about your idealism and imagination.

Let us pause and take stock, as it
were, of these unfortunate conditions.
Out of su»Ji an analysis we may find th"
key to this exceedingly difficult problem.
It is our problem first to understand
clearly the aims and activities of the gen-
eral public of which we are a part ; we
must also understand the complex social,
political and economic structure of our
civilization, municipal, State and nation-
al, if we are to be a factor in finding the
remedy. Moreover, it is the duty of the
architect to know these things, for it is
his task to mould and unite these ex-
ceedingly diverse elements into a sim-
ple unit. He must lead through greater
knowledge than that of his fellow man ;
at the same time l>e must follow. He
must be able to analyze the individual :
must be able also to analyze the power-
ful undercurrents of his time before he
can either express the civilization in
which he lives or express even himself.

Till-: ONLY SOURCE OF ART.

Any art must be an unconscious ex-
pression of its cause ; a great art can only
be produced through strong, positive
forces demanding that art. To say that
an art is bad is saying that art does not
exist at a given time and place ; and it is
likewise true that a vast amount of artis-
tic activity, so-called, may go on, produc-
ing nothing, simply because there may be
no demand for that particular form of
expression at that particular time.
Genius is not individual, but it is an in-
dividual expression of what time has ac-
cumulated in the minds of men ; and there
has never existed a genius both out of
time and place. Beware
of those who would walk
only in the paths of the
past as well as of those
who would work ages
ahead of their time.

Returning to the statement quoted, this
is the sort of expression that comes with
an awakening, and we already see in
every branch of governmental activity
the acceptance of a broader policy. As
yet, however, we have achieved compara-
tively little, and particularly is this true
in all of those conditions with which we
are brought into close contact in our
work. The public as well as ourselves are
vainly groping for better physical condi-
tions within our cities, but as yet the
effort amounts to but little, owing to the
nature of the endeavor rather than the
amount of work done.

THE LACK OF CO-ORDINATION.

There are many groups of citizens
working for the same end, but their ef-
forts lack co-ordination and are therefore
void of any great effect. Our architect-
ural societies throughout the country
have been very active. The members of
our societies have striven hard and have
worked with enthusiasm, but their effort
has lacked one fundamental qualitv that
must needs be found in such an endeavor
if we are to be reasonably sure of suc-
cess— we have not taken the people into
our confidence in regard to the nature of
the work which we have been doing. If we
have desired more progressive legislation
in questions involving Federal competi-
tions or a better plan for our capital city
of Washington, or if we have desired
better tenement house laws or better fac-
tory regulations or a more reasonable
building code, we have simply gone to the
committees of Congress, or to our State
Legislatures, or to the Board of Alder-
men in our cities.

We have not shown through our past
efforts that we understand the nature of
our own problem, for it does not appear
that we have yet grasped the fundamental
idea that it is alone from the people them-
selves that the initiative must come which
will, in its turn, produce
the conditions and cre-
ate the laws through
which our ideals may
in the end find expres-
sion.

THE ARCHITECTURAL RECORD.

1.53

We have not taken the issues to the
people with a plain statement of what we
desire so that they might bring pressure
to bear upon their representatives. We
have made the error of allowing the rank
and file of the people to see only our art-
istic side. We have talked too early about
the "City Beautiful" ; we have not put
due weight upon the fact that our aim is
first to create the "City of Common
Sense." We have not considered with
them the penalty which we are to pay for
our present slipshod methods.

THE REAL PROBLEM IN ALL ITS ASPECTS.

Our American cities are confronted
with a grave problem, a problem so seri-
ous, so generally acknowledged, that the
people would respond to our call if we
would but point the way in terms ex-
pressive of utility and economy as well
as of beauty. They know well enough
that the conditions are bad ; they have a
vague idea of why they are bad, but they
do not know the remedy to apply. In
some of our cities the time is approach-
ing when any effort on the part of its citi-
zens will be in the nature of locking the
barn door after the horse has been stolen.

As a result of the wonderful advance
made in the art of construction during
the last quarter century, we have a con-
dition in our cities today that absolutely
and utterly upsets all of the old traditions
and customs regarding not only the plan
of the city but the laws governing the
erection of buildings therein. No longer
do the old relations and harmony between
the width of street, the size of block, the
restricted area for light and air within
the block, the height of building upon
the street — no longer do these relations
of harmony hold. There was a certain
harmony between these relations which
came as a result of years of evolution.
This harmony was reasonable and in the
course of time became precedent and
later was acknowledged
in our statutes and laws.
In this old relation there
was a certain perma-
nence of value estab-
lished through the limi-

tations of the
strength of ma-
terials.

It is this idea
that has created
the present congested condition within our
cities. The complete change from masonry
to steel, when confined to a single building,
was a step in the evolution of building,
but when applied to a whole city it was
more in the nature of a revolution. With-
in the structure itself our laws acknowl-
edged this evolution, but within the city
as a whole they did not. Streets that were
wide became narrow in comparison. The
streets which cared for the daily crowds
with ease have now become packed to a
degree that is intolerable.

I have spoken of the "City Beautiful"
and the "City of Common Sense." In
passing let me say : Do not lose sight of
the fact that all the buildings erected
within our cities are built not because of
any desire on the part of the owner to
make something beautiful, but rather
from considerations purely commercial
and economic ; that as an architect you
are bound to satisfy his desire within the
limitations of your own ability, on the one
hand, and the laws and ordinances, on the
other; that you cannot work out in a
single problem any of your general ideals.
Keep in mind that the people today will
not listen to nor favor any attempt upon
your part to provide the aesthetic alone,
but they will accept it, and accept it glad-
ly, if you can show them that it will come
as the result of better economic condi-
tions. Your measure will be taken more
often by this standard than any other.

HOW THE PRESENT LAWS HINDER A
CONSISTENT EXPRESSION.

Beyond the questions of economic con-
struction, we have in our cities as a
framework for all of our problems cer-
tain definite building laws that are as
much a part of the pro-
gram as the physical re-
quirements. These laws
have come to us through
a very gradual and re-
tarded process of evolu-

154

THE ARCHITECTURAL RECORD.

tion of many
years, and they
are so inwrought
into the life and
structure of a
city that not only the public but we
ourselves accept them as a perfect-
ly natural condition, an established
precedent. The primary object of
these laws is one of safeguarding in-
dividual rights and providing general wel-
fare, but exactly like all instruments of
similar nature, these laws have not kept
pace with the remarkable advance of con-
struction or social welfare of the last
quarter-century. In these laws we have
not acknowledged the advance of the new
democracy, the awakening of this nation
to a sense of greater moral and social re-
sponsibility or the crying need of a policy
of conservation within our cities.

In our cities throughout the length
and breadth of our land these laws do
not insure the proper light and air for
our streets, for the restricted area within
the block, or for the rooms within the
buildings. \Ye have towering buildings
of fifty stories in height upon streets
sixty feet in width. We have lofts and
factories rising ten, fifteen and twenty
stories in height with so little light and
air at the bottom of the open courts pro-
vided at the side or the rear that we shall
soon be brought face to face with the old
conditions of the sweat shop if we con-
tinue to allow the erection of these build-
ings under the present conditions. \Ye
have apartment houses rising to an un-
limited height and covering so large a
percentage of the lot that, where the
block has been completely built up, there
remains little light and air for the rooms
facing upon the courts or open spaces
within. This can be characterized by no
other terms than plain stupidity on the
part either of the city or
of the individual own-
ers, for all that area
within the block has lit-
tle earning power com-
pared with what it might

earn were the laws and ordinances so
designed as to prohibit building over so
large an area. If the city permits this
condition to continue, it is only a matter
of time when we may again characterize
the period as the Dark Ages.

THE STUPIDITY OF OUR PRESENT METHOD
OF BUILDING CITIES.

I have said this was stupid on the part
of the city and also on the part of the
owner. The condition comes about
through the activities of promoters who
select a portion of the city wherein small
buildings only exist ; they erect there a
tall loft, office building or apartment
house, utilizing every inch of space al-
lowed within the law, fill it with tenants
— and sell. The purchaser, an individual
oft-times who does not look to the fu-
ture, sees only the excellent income from
the building and does not consider the
fact that when his neighbors build in like
manner they will take from him a large
proportion of his own property, which
means that in the end his property will
not only shrink in its earning capacity
but will also depreciate in value. This
is not all. It leaves his property for a
cheaper class of tenants employing a
cheaper class of labor, and we have as a
result an anxious landlord and a great
number of employees laboring in the
semi-darkness.

This method of building our cities is
foolish and stupid, for it results in an
endless shifting and changing of the
many groups of interest and a constant
condition of uncertainty as regards char-
acter of locality and land values. More-
over, when we consider that we are ad-
vancing in our ideas of industrial jus-
tice and social welfare, it is pertinent to
ask whether such a stupid policy will
not ultimately end in a serious deprecia-
tion of property, such as we already see
, in certain sections of our

cities . filled with old-
fashioned tenements, of-
fice buildings, lofts and
factories. This method
is not economical. By

THE ARCHITECTURAL RECORD

155

this method of building we have ren-
dered it practically impossible to get any
commensurate value from a great num-
ber of lots which are surrounded by
these buildings of great height, which
have shut off their neighbors from light
and air, elements to which they have
as fundamental a right as they have to
the land itself.

If the owners of these tall buildings
were made to pay their proper share of
the construction of transit facilities ne-
cessitated by their erection and necessary
to maintain the value of the property,
there would be less exploitation along
that line of -development.

THE ELEMENT OF FIRE DANGER.

Beyond providing • for the proper
amount of light and air for the workers
in factories and offices and for the dwell-
ers in tenements, we have the question of
protection from fire to consider. In this
same connection should be considered all
of the great class of other buildings, such
as department stores, theatres, and build-
ings of public assemblage. In our laws,
as now framed, a proper protection has
not been provided, because light and air
have not been conserved.

The violation against human rights in
this particular is flagrant in our lofts
and department stores. Up to the present
we have been allowed to build over vast
areas structures which not only pro-
vide insufficient means of exit in the
case of fire, but which allow the fire to
spread easily and with great rapidity over
the entire area of building, and from the
basement to the roof.

THE SUGGESTED REMEDY.

, I have made note of but a few impor-
tant points wherein our laws are at fault,
where they do not recognize the prin-
ciples of economy, utility or beauty in
building our cities. Before suggesting
definite remedial meas-
ures I wish to consider
the relation of the law
and ordinance to art.
They are closely relat-
ed, in fact, they are so

closely related
that you cannot
separate them ;
one is dependent
upon the other.
Through a knowledge of the state
of one you can easily tell what is
the state or condition of the other.
I hope you will consider well this
thought ; it is alone through its recogni-
tion that we can advance. Look at our
cities, the product of what we consider
a great civilization. What is there in
the scheme of things to inspire the ar-
chitect to create, to invent, just so long
as there exists as the framework of it
all our stupid ideas regarding the con-
servation of our resources, light and air,
or our even more stupid ideas concerning
the economic use of the city block, or
our utter misconception of the relation
between individual and community right ?
I tell you that, so far as our art is con-
cerned, we are working without a foun-
dation just so long as we accept these
relations without vigorous protest.

From my point of view it matters lit-
tle indeed how we adorn or drape our
steel frames, what masks we place upon
them, just so long as there exist in our
cities the conditions which we see at
present. The conditions of our program
are : A facade rising hundreds of feet,
forming the wall of a narrow canyon, be-
hind which we are to provide for thou-
sands of workers, and of these nearly
half spending their days behind windows
opening upon narrow light wells, hun-
dreds of feet deep, into which the sun
never shines and where the phrase "light
of day" would seem but a mockery. I
ask you, before I proceed, what power of
imagination could make of such condi-
tions the inspiration for a work of art?
Before going further with remedies
I wish to emphasize
that, while these sugges-
tions may appeal to you
as being the obvious
remedy, it is not so with
the majority of our peo-

1515

THE ARCHITECTURAL RECORD.

pie. In the way
of all reform
measures stands
indifference and
a gross miscon-
ception of the relation of individual and
community rights. In giving to the in-
dividual almost unlimited rights, we
have thought that he would thereby be
benefited. As this has worked out, it
has resulted in quite the opposite. The
rights of the community must be domi-
nant, else the individual will suffer.

/.ONES.

Now, of the schemes, one is that we
divide the city into sections, divisions,
or /ones, restricting each in such a way
that it will be advantageous to build only
one class of building therein, and of
course, in this limitation definitely de-
fining the maximum height upon the
street and the size of enclosed restricted
area within the block in such a way that
there will always be ample light and air
for all rooms.

Needless to say, such a limitation
should not only concern itself with the
nature of the occupancy, but it should
also be so constructed that the frightful
congestion of some of our streets, such
as obtains today in many parts of our
larger cities, would not be possible.

The suggestion of segregation appeals
to me more forcibly than any other, for
it seems to be of broader scope. It is in
the nature of a real city plan, which has
through years of development been over-
looked. It would tend toward more per-
manent land values, a steadying appre-
ciation of values, and toward the erection
of a better and more permanent class of
buildings. Lastly, it would tend also to-
ward a greater uniformity of architectur-
al treatment within certain well defined
zones.

This is exactly what we would do if
we were writing a pro-
gram for a new city, as
was done in the compe-
tition for a new capital
city in Australia ; it is
what is being done in

many of the cities of Europe, and par-
ticularly in Germany, where the people
seem to have awakened to the need of a
broader conception concerning the pos-
sibilities of our cities, both as commer-
cial centers and as places in which we
must live.

TENEMENT LAWS.

Our tenement laws are of the most
vital importance, for upon the proper
housing of our working classes depends
in a very large measure our future eco-
nomic success. Great strides have been
made during the last twenty years ; better
laws have been framed ; better conditions
have resulted. The solution of this prob-
lem is not as yet at hand. We must pro-
vide that there will be cheap land upon
which these may be built. We must pro-
vide a law that allows the most inexpen-
sive fireproof construction possible. AH
of the elements must be so arranged that
the occupant can live in a fireproof, sani-
tary structure which pays the owner a
good return. There are many groups of
citizens laboring upon the problem today,
but the difficulties are such that only
through the most conscientious effort
may we expect to find a solution.

These are but a few of the many sug-
gestions. Together their name is legion,
but I hope that I have pointed out enough
for you to see, in view of what I said
in the beginning, that there are attend-
ing conditions which dominate your abil-
ity to create and design.

Again I state, it is not pertinent for us
to argue too long or too earnestly over
the form and nature of structural ex-
pression where there are fundamental
questions, such as I have pointed out to
you, still to solve.

If our laws governing the erection of
tall buildings were such that we could
erect these tall buildings, never
encroaching upon our neighbors' light
and air, nor congesting
our streets, nor jeopard-
izing the light of those
who dwell or work
therein, then I would
say that we could right-

THE ARCHITECTURAL RECORD.

187

fully consider seriously all these ques-
tions of structural expression. As it
stands, such argument and discussion are
but a waste of time, for while we might
be able to make our new city interesting,
the very fact that it is not sound eco-
nomically or built with a proper consid-
eration of conservation makes the idea
that it may be beautiful an absurd as-
sumption.

THE DANGER OF CONSIDERING ONLY THE
SINGLE PROBLEM.

The major part of your time and the
greatest interest in your endeavor centers
around specific and definite problems hav-
ing both paper programs and paper lim-
itations. Through the constant exercise
of certain faculties in your endeavor to
solve your problems, and the repeated
application of certain principles which
you are taught in the school, you grow
gradually to feel that architecture is close-
ly related to an abstruse science and also
that the art which is therein can only
appear as. resultant of your own person-
ality. Always it is the single problem
which engages your attention, and there-
fore the building or the group of build-
ings becomes a measure, as it were, of its
designer.. Its plan appears to be the re-
sult of his ingenuity, its character and
expression the result of his cleverness.

Your whole training keeps your mind
well within certain limitations/ Your in-
spiration comes through a study of the
results of conditions and not from condi-
tions themselves ; you learn to make use
of elements which you find in books and
to vary these elements to meet and satisfy
certain fixed conditions imposed upon
you, with the result that you grow natur-
ally to look upon architecture as a per-
sonal achievement, simply the result of
individual effort applied to a particular
problem rather than, as I suggested be-
fore, an expression of
constantly changing
forces.

You try, and you use
our own terms, to define
an architecture expres-

sive of our day,

and you conclude

that we have

failed ; but when

you try to put

into words your vague ideas of what it

should be, or to create with your pencil

an image which will express the thing

after which you are groping, the result

on the one hand is simply words, and on

the other a graphic imitation of an old

form.

Coming fresh from school, with its as-
sociations, its traditions and the material
in the library, you realize, as do we all,
that there is a vast amount of ugliness
in the world today, and it is easy for you
to attribute this to an utten lack of taste
on the part of our people. You straight-
away divide our people into two divis-
ions : We, the architects, the artists, and
they, the great mass of people of all
classes who should be taught to under-
stand. You see before you the problem
and you say "we must educate them,"
and your method is this : You would
gradually educate them by example,
showing them beautiful designs and com-
positions of your own standard of art
and beauty, designs which you would
evolve from your minds in the studio.

THE DIRECTION IN WHICH WE MUST GO.

In conclusion let me suggest that if a
remedy is to be found for these condi-
tions much depends upon you. I take it
for granted that each of you desires the
better conditions suggested, and I say this
to you : Better conditions will obtain,
your ideals will be satisfied, and you will
be responsible for better conditions just
in proportion as you exercise the powers
and perform the duties of citizenship in
your community. You may indulge in
flights of fancy if you like, but do not
forget the fact that it is through the exer-
ciseofthe franchise alone
that there can be obtained
for your program the
conditions absolutely ne-
cessary for the working
out of your ideals.

158

THE ARCHITECTURAL RECORD.

In our cities to-
day there are many
societies, and groups
of individuals ambi-
tious for better so-
cial, economic, phy-
sical and political
conditions. When
you consider carefully the work they arc
doing you will be surprised to find that
they are in the main working for the bet-
terment of our architectural programs,
in other words, they are striving for our
ideals. In the work of the many societies
laboring for better housing, better fire
protection, better sanitary conditions in
stores, lofts and factories, greater safety
and the reduction of congestion in our
streets, the development of civic centers
and the general aesthetic development of
the city, we see but the furtherance of
our aims. In the work of the American
Institute of Architects and other archi-
tectural societies there is the same field
open to you for service. In our own
publications and in the daily press,
through which alone we may hope to con-
sider this matter with the people at large,
a great and as yet 'almost undeveloped

field is open to us,
provided we can
but come to real-
ize the importance
of considering ser-
iously subjects of
this sort with the
people.

I have but pointed the direction. I
know very well that I cannot bring these
great problems fully home to you ; but I
want you to remember when you feel the
conditions of practice choking your spirit,
that there is a field of labor outside your
offices and that there are problems which
go far beyond your powers to solve in
terms of steel and stone alone. In this
broader field of service you are building
into future ages, a spiritual structure last-
ing centuries beyond the life of material
forms. If you, through your endeavor,
after you have studied well and come to
understand the problems, can take this
message to the people and so state it that
they will understand, then you will have
achieved not only your right to your title
of Architect, but a right also to the full
significance of that far greater title —
Citizen.

SOUTH FRONT-CLIVEDEN, GERMANTOWN, PHILADELPHIA.

THREE TYPES OF

GEORGIAN ARCHITECTVRE

Evolutions of the ftyfe in Tbiladelphia
By Harold Donalclfon Eberlein

PART II.*

ANOTHER house of the second Geor-
gian type is Mt. Pleasant, or Clunie,
as it was at first called, in Fair-
mount Park, built in 1761 by Captain
John Macpherson, and in later years the'
home of Benedict Arnold. Mt. Pleasant
is a structure of almost baronial aspect,
with east and west fronts alike of impos-
ing mien.

A high foundation of carefully squared
stones is pierced by iron-barred base-
ment windows set in stone frames.
Above this massive, grisly base the thick
stone walls are coated with yellow-grey
ronehcast. Heavy quoins of brick at the

*NOTE. — The first part of this article was pub-
lished in July, 1913.

corners, and, at the north and south ends
of the building, great quadruple chimneys
joined into one at the top by arches, create
an air of more than usual solidity. A
broad flight of stone steps, their iron bal-
ustrades overgrown with a bushy mass of
honeysuckle, leads up to a doorway of
generous breadth. The pillars at each
side of the door and the superimposed
pediment, the ornate Palladian window
immediately above on the second floor
and, above that again, the corniced pedi-
ment springing from the eaves, all con-
tribute to set a stamp of courtly distinc-
tion upon the pile.

Above the second floor the hipped roof
springs, pierced east and west by two

160

THE ARCHITECTURAL RECORD.

161

graceful dormers and crowned by a well
turned balustrade that traverses nearly
the whole distance between the chimneys.
The fan-light over the door has remark-
ably heavy, fluted mullions and much
of the detail throughout the house,
though highlv wrought, is heavy. The
two flanking outbuildings, set thirty or
forty feet distant from the northeast and
southeast corners of the house, designed
for servants' quarters and domestic of-
fices, give Mt. Pleasant a peculiarly strik-
ing appearance. Without them it would
be only an unusually handsome Georgian
country house, with them it at once takes
on the manorial port 'df one of the old
Virginia mansions. The interior wood-,
work, both upstairs and down, is rich in
elaboration of detail and the door-frames,
with their heavily moulded pediments, are
exceptional.

Cliveden, the third member of the sec-
ond group, was built in 1761 by Chief
Justice Chew. Its solid and heavy mas-
onry is of carefully dressed Gennantown
stone, and at the peaks of the gables and
corners of the roof are great stone urns.
Back of the house are two wings, one
semi-detached and the other entirely so,
used for servants' quarters and domestic
offices. All the features and detail about
Cliveden are thoroughly in keeping with
the same characteristics of the other two
houses already described.

The windows are broad and fill a great
part of the wall space in the faqade and
the doorway is a central feature that has
been made the most of by the architect.
Both indoors and out the strongly clas-
sic feeling has been emphasized in pil-
lar and pediment, pilaster and entabla-
ture. Triglyphs, guttae and all other
details of classic embellishment have been
wrought with the nice precision due a
worthy subject.

Comparing Whitby, Mt. Pleasant and
Cliveden with the former houses of the
first Georgian type, certain differences
at once strike us. The whole aspect is
changed by the greater breadth of win-
dows and doors. The houses look
wider awake. This change in the size
of the windows means, of course, that the
rooms within in most cases were lighter
and more cheerful than before. Then,

too, the Palladian window has appeared.
Both Mt. Pleasant and Cliveden afford
good examples, Cliveden's being placed
at the side, while at Mt. Pleasant it forms
an important feature in both the east and
west fronts.

At Mt. Pleasant and Cliveden we
see that the door has become a sub-
ject for elaborate treatment, quite in con-
trast to the extremely simple and unas-
suming manner of dealing with the same
feature in the earlier houses. At Mt.
Pleasant the severity of the roof line is
tempered by a balustrade and the effec-
tive management of the chimneys, while
at Whitby and Cliveden urns embellish
the peaks and corners. Within we find
that acanthus leaves and thistles have be-
gun to grow, the rose has blossomed,
other conventional flowers and foliage
have budded and egg and dart mouldings
have appeared. In other words, carving
as a mode of embellishment has attained
an established vogue. The moulding pro-
files have lost some of their trenchant
boldness, and though the ornamental de-
tail, both indoors and out, is still vigor-
ous, and at times massive, there is gen-
erally visible an air of delicacy and re-
finement not present before.

The Woodlands, the Highlands and
Upsala exemplify for us the third type
of Georgian. William Hamilton built
the Woodlands about 1770, Anthony
Morris finished the Highlands in 1796,
and Norton Johnson began Upsala in
1798 and completed it three years later.
Across the north front of the Woodlands,
at regular intervals, are six Ionic pilasters
above whose tops runs an entablature
whose frieze is adorned with paterae and
fluting, the whole surmounted by a pedi-
ment. Before the house is a low and
broad paved terrace filling the space be-
tween the semi-circular bays that project
from the ends of the building. Between
the two middle pilasters a round-arched
doorway with a fan-light opens into the
hall. On the south or river front a flight
of steps ascends to a lofty white-pillared
portico, from which a door or>ens direct-
ly into the oval-shaped ballroom.

In another respect the whole exterior
aspect of the Woodlands is different from
that of houses of the second type. Win-

162

THE ARCHITECTURAL RECORD.

From "Colonial Homes of Philadelphia," by H. D. Eberlcin and H. M. Lippincott ; J B. Lippincott Co.
PARLOR OF WHITBY HALL, KINGSESSING, PHILADELPHIA. BUILT IN 1754.

dow treatment is always a most impor-
tant item in determining architectural
character, and it is just here that a sig-
nificant change is to be noted. The size
of the opening is, in some cases, the
same, in others it is larger but, more no-
ticeable still, the muntins are far smaller
and we lose the bold, trenchant barring
of white that emphasizes the aspect of
windows in the earlier buildings.

The interior is finished with all the
delicacy that one might expect, judging
from the evidences of Adam influence
without. One highly significant feature
of interior treatment in the houses of
the third type is the change made in the
arrangement of the mantels. We have
seen that in houses of the first type,
such as Graeme Park, and in houses of
the second type, such as Whitby Hall
or Mt. Pleasant, the overmantel panel-
ling and embellishment were accorded
much care and elaboration. The chim-
ney breast often extended a considera-
ble distance into the room and the orna-

mental superstructure above the fireplace
reached all the way to the ceiling.

Although these ornate overmantels
reaching to the ceiling had begun to fall
into disfavor in England a little after
the middle of the eighteenth century,
when houses of the second Georgian
type were being erected in the Philadel-
phia neighborhood, Colonial conserva-
tism disregarded the newer style and
clung to the mode approved by time-
honored precedent. The fireplace with
its setting has always held a position of
such exalted honor as the centre of
family life that the following extract
from Clouston's treatise on Chippendale
is particularly illuminating in this con-
nection. In speaking of the influence
exerted by Sir William Chambers on
architecture as well as furniture, he
says, "when he returned to England in
1755 [from the Continent] he was ac-
companied by Wilton and Cipriani, aft-
erwards so well known as an artist and
decorator. He also brought Italian

THE ARCHITECTURAL RECORD.

163

MANTEL DETAIL— WHITE Y HALL, K1NGSESSING,- PHILADELPHIA.
An Example of the "Second Type" of Georgian.

sculptors to carve the marble mantel-
pieces he introduced into English houses.

"These were made from his own de-
signs, and the ornament of figures,
scrolls and foliage was free in character.
Strange to say, these mantelpieces, de-
signed and made by an architect, were
yet the means of taking away this im-
portant part of interior decoration from
the hands of the architect altogether and
causing it to become quite a separate
production, made and sold along with
the grates.

"In former times it had been, an inte-
grant portion of the rooms, reaching
from floor to ceiling, balanced and made
part of the wall by having its main lines
carried round in panelling and enriched
friezes. It was the keynote of decora-
tion, and the master builder of the times
grew fanciful and exerted his utmost

skill upon its carving and quaint im-
agery, centralizing the whole ornament
of the room around this household
shrine.

''Mantelpieces had gradually come
down in height, though still retaining
much of their fine proportion and classic
design. Many causes had contributed to
this, the chief being the disuse of wood
panelling and the preference given to
hangings of damask, foreign leather and
wall paper. In the reigns of Queen
Anne and the Little Dutchman the cus-
tom of panelling was partially kept up,
but the lining was only white painted
deal, after the fashion in Holland. At
this time the upper part of the chimney-
piece was still retained, but only reached
about half-way up the wall. Gibbs,
Kent and Ware kept the superstructure
as much as they could, but Sir William

164

THE ARCHITECTURAL RECORD.

165

WEST FRONT— MOUNT PLEASANT, PHILA-
DELPHIA. BUILT 1761. AN EXAMPLE OF
THE "SECOND TYPE" OF . GEORGIAN.

168

THE ARCHITECTURAL RECORD.

~ - •
EAST FRONT— MOUNT PLEASANT, PHILADELPHIA

From "Colonial Homes of Philadelphia."

WEST FRONT— MOUNT PLEASANT, PHILADELPHIA.

DETAIL OF WOODWORK-
GREAT CHAMBER, MOUNT
PLEASANT, PHILADELPHIA.

S T A I R W A Y-M O U N T
PLEASANT. PHILADELPHIA

PARLOR — MOUNT
PLEASANT, PHILADELPHIA

172

THE ARCHITECTURAL RECORD.

DETAIL OF NORTH FRONT— THE WOOD-
LANDS, PHILADELPHIA.

Chambers dealt it the most crushing
blow it had yet received by copying the
later French and Italian styles and giv-
ing minute detail more consideration
than fine proportion. He discarded the

upper part altogether and helped to
make 'continued chimney pieces' things
of the past."

The jmich used Adam oval found ex-
pression even in the shapes of rooms
and, besides the oval ball-room at the
Woodlands, we frequently find in houses
of the third type rounded or elliptical
hallways and chambers.

At the Highlands, in the Whitemarsh
Valley, we see the front of the house
adorned with tall Ionic pilasters rising
from base course to cornice, which is it-
self elaborately wrought. The wood-
work inside is excellent, but unfortunate-
ly the Adam mantels with their compo
decoration, have been removed and now
grace another house some miles distant.
At Upsala, in Germantown, however, we
are in better luck, for there the Adam
mantels have remained untouched. The
illustrations show the rest of the house
sufficiently to make further specific com-
ment unnecessary, save to remark, re-
garding the windows, that here, as in
other houses of this latest type, larger
panes of glass than in the two earlier
types are met with in not a few instances.

Before proceeding further in the
course of comparison, a word ought to
be said about the color of the paint used
for the interior woodwork of the Geor-
gian houses of all three types. For some
reason there seems to be an impression
abroad that white was employed to the
exclusion of everything else. There
was, it is true, a preponderance of white,
but its use was by no means universal.
A close examination of successive lay-
ers of paint on some old woodwork re-
veals various shades of greys, blues,
drabs, brownish yellows and other hues
beneath one or more coats of white.
Grey seems to have been one of the
earliest variants from white and, in some
places, nothing else was ever used. At
Graeme Park, for instance, the first coat
of paint was grey and no other color
ever adorned its panelling and door and
window trims. At Stenton, on the other
hand, the taste of the occupants dictated
a change of color from time to time,
and we find a good deal of variety in the
successive coats. During the prevalence
of the second Georgian type white seems

NORTH DOOR-THE WOODLANDS, PHILA-
DELPHIA. BUILT ABOUT 1770. AN EXAMPLE
OF THE "THIRD TYPE" OF GEORGIAN.

174

THE ARCHITECTURAL RECORD.

to have found more general favor. With
our last type delicate colors again be-
gan to be used.

Contrasting the Woodlands, the High-
lands and Upsala with the houses illus-
trating the second Georgian type, we find
still further evidences of architectural
evolution. During the prevalence of the
second type individual features were sin-
gled out for decorative emphasis, but in
the days of the third type the entire front
of a house or sometimes the whole ex-
terior was regarded from a decorative
point of view. At Cliveden the treat-
ment of the doorway and the urns on
the roof are the features relied upon
for the embellishment of the fagade. At
Mt. Pleasant the doorways of the east
and west fronts, the Palladian windows
above them, the balustrade on the roof
and tlie treatment of the chimneys sup-
ply a fuller and more ornate decorative
effect. But when we reach the third
period we see that the architect has con-
sidered carefully the decorative element
in both the proportions and detail of the
whole building. Tt would be hard to be-
lieve that the designer of the Woodlands,
in drawing his plans, had not carefully
aimed at the pleasing ensemble of his
masses. The effect of the rounded ends
is agreeable, and a marked departure
from the straightforward rectangularity
of most of the houses of preceding types.
The lofty portico of the Woodlands'
south or river front had no precedent in
Philadelphia. Vaux Hill or Fatland,
erected about the same time, and Lou-
doun, a few years later, had the same
motif, and even John Bartram, in his
last addition to his house, adopted the
same treatment. Neither was there a
precedent for the method of dealing with
the north front, so we see that the Wood-
lands struck two new notes in local ar-
chitecture.

At the Woodlands and the Highlands
we find pilasters carried the full height
of the walls — a new feature. The fenes-
tration is arranged with more regard to
outward appearance and not solely from
a utilitarian point of view. We find that
the high panelled overmantels which con-
stituted an important architectural fea-
ture had given place to the low and elab-

orately adorned mantel that ought to be
regarded rather as a piece of furniture
than an architectural entity. Fireplaces
had grown smaller. Fan-lights above
doors had become common and were en-
riched with beautiful and sometimes in-
tricate metal tracery. The comparison be-
tween these later fan-lights, with their
airy grace, and the earlier fan-lights of
Mt. Pleasant, with their ponderous mul-
lions, is instructive. In the detail of all
ornament heaviness has vanished and the
polished elegance of Adam influence has
taken its place. Everywhere we find
paterae, drops and swags, fluting and
quilling, oval fans and dainty urns and
vases with delicate leaf and flower treat-
ment.

Regarding the texture of stone walls,
we ought also to note that in the second
and third types we find neatly squared
and dressed stones used to a considerable
extent. At Cliveden,, the Highlands and
Upsala the fronts alone are of cut stone,
while at Whitby Hall the walls on all
sides are treated with the same formal
precision.

Briefly summing up, then, it is clear
that- three distinct types exist. The first
has Queen Anne affinities, but is Geor-
gian in time and much of its feeling.
Ornamental detail is simple and bold and
at times a trifle heavy. The profiles of
mouldings are strong and in high relief.
Simplicity and strength, combined with
grace, give the prevailing note in every
instance. The second type is lighter
and more ornate, but, with characteris-
tic conservatism and abhorrence of the
new-fangled whims of Sir William
Chambers and the Brothers Adam, Phila-
delphia adhered to the modes in vogue in
England from twenty-five to fifty years
before and kept Ware in countenance,
who, in 1750, was still crowning his build-
ings with heavy Queen Anne urns.

Notwithstanding this staunch adher-
ence to conservative architectural prin-
ciples, however, a new feeling is every-
where perceptible. Though the over-
mantel decorations still extended all the
way to the ceiling, the character of the
ornamentation employed was vastly more
elaborate and graceful than anything to
be found in buildings of the first type.

THE ARCHITECTURAL RECORD.

i *»

175

SOUTH OR RIVER FRONT-THE WOODLANDS, PHILADELPHIA.

If the profiles of mouldings were not so
bold and insistent they were, neverthe-
less, quite as graceful. With the ad-
vent of floriated and foliated motifs in
the carving we naturally find a closer
care to detail of all kinds. At the same
time there is to be seen a more punctil-
ious heed to all the little niceties and
characteristic distinctions between the
classic orders.

By the time our third Georgian type
appears Adam influence has become
paramount and put to flight all mid-
Georgian ponderosity. Even in the cases
of manifestly "carpenter-built" houses of
the period where, quite unlike the three
excellent examples which were chosen to
represent their particular classes, no es-
pecial architectural merit is to be looked
for, we find no heaviness of line and the
character of ornamentation employed is
distinctly either a copy or an echo of
Adam motifs and in not a few cases has
caught much of their spirit.

It must be understood that the houses
used for illustration have been chosen
because they represent their many con-
temporaries in the same neighborhood,
all of which display the same character-

istics according to the dates at which they
were built. The foregoing analysis does
not pretend to be complete — it would
take far more space to trace all the sub-
tleties of the subject — but aims only to
direct attention to certain facts that may
conduce to clearer understanding of
American Georgian and its resources in
supplying our present needs.

In considering the variations between
the Georgian types of the Philadelphia
neighborhood, it must be, borne in mind
that they ought not to be judged too
strictly by contemporary work in Eng-
land. Such comparison would only be
misleading and unfair for several rea-
sons. In the first place, at the beginning
of the Georgian period, local conditions
forbade the lavish display of carved or-
namentation that marked so many houses
of the same date in England. At that
time there were few craftsmen in the
Colonies capable of executing the elabo-
rate carving in vogue on the other side
of the Atlantic. The builders of man-
sions, therefore, must perforce content
themselves by a close adherence to lines
and proportion and do without the highly
wrought carved embellishment. Then,

176

THE ARCHITECTURAL RECORD.

too, besides this difficulty, many of the
builders of these early houses belonged
to the Society of Friends and from
their religious principles they were averse
to a wealth of ornament.

In the second place, judgment by con-
temporary English standards would be
misleading, because at the time the sec-
ond Philadelphia Georgian type began to
flourish, and the means and inclination
for elaborate ornament were both pres-.
ent, Colonial conservatism had become
an important factor in the dictation of
styles and, however closely Philadel-
phians might copy the current modes of
London in matters of dress, in their

manners and architecture they chose to
cling to well established precedent and
always remained thenceforward from
twenty to thirty-five years back of their
British cousins in the method of their
architectural expression. Hence, for in-
stance, overmantels reaching to the ceil-
ing were built as late as 1765. In all its
phases, however, Philadelphia Georgian,
whatever minor differences there might
have been, was true to the traditions
of the great English architects and be-
cause of its purity of style is worthy
of close study to-day for the vital in-
spiration it can supply to our own gene-
ration.

EAST FRONT-UPSALA, GERMANTOWN, PHILADELPHIA.
An Example of the "Third Type" of Georgian.

Some Recent Interiors

Thornton Chard

Library, Residence qf
Dave H.Morris,Es£ NewYork

182

THE ARCHITECTURAL RECORD.

DINING ROOM-RESIDENCE OF DAVE H. MORRIS, ESQ., NEW YORK CITY.
Thornton Chard, Architect.

DINING ROOM— RESIDENCE OF DAVE H. MORRIS, ESQ., NEW YORK CITY.
Thornton Chard, Architect.

/fa

— . __ .. , . ... -.-••'

ACHITECT'S LIBRARY

TWO BOOKS BY PRACTICAL THEORISTS

By RICHARD FRANZ BACH

Curator, School of Architecture, Columbia University

PART II.

THE utterances of Professor Cram
of the Massachusetts Institute of
Technology are not to be taken
lightly. He is a thinker of discernment
and brings to his work a varied experi-
ence, making contact with the world of
art at many points. His mind is an ad-
mirable crucible in which this experience
tempers theory and produces wisdom. In
The Ministry of Art (Houghton, Mifflin ;
8vo, $1.50) Mr. Cram has brought to-
gether a number of papers upon a series
of topics ranging from the purely theo-
retic essay "Art the Revealer" to the
historical and critical "American Uni-
versity Architecture." But though there
may be diversity of title there is in all
of these discussions a unity of purpose —
a purpose common to all artists and
shunned by many of their number —
namely that of teaching, a mission which
a person of sterling worth in the fine
arts cannot well avoid. But few of us
play our "full part in God's cosmogony"
and it is to assure us that we have yet
much to attain before satisfying that full
part that Mr. Cram sets out to clothe art,
and inferentially artists, with the proper

ministerial dignity. Early in his book he
quotes Protagoras : "Man is the meas-
ure of all things" and cannot resist the
epigram : "Art is the measure of man."
But let us first examine the avowed
purpose of this volume ; we find it defi-
nitely stated in the first few pages. For
instance : ". . . by the words 'The
Ministry of Art' I mean that function
which I think art has performed, and al-
ways can perform, as an agency working
toward the redemption of human char-
acter; and in this aspect . . it takes
on something of that quality which
characterizes ministers of the Christian
Church. . . And this I conceive
to be the highest function of the artist
and the art that is his agency of opera-
tion. Not that I would for a moment
make this an exclusive property; art has
sufficient reason for existence in its qual-
ity as a creator of simple, sensuous joy
and refreshment, as a beneficent force
expressing itself through . . pure
beauty. . . Art may do more than
make life beautiful, in that it can act
symbolically, tropically, sacramentally,
and so become the supreme means of

188

THE ARCHITECTURAL RECORD.

expressing and of inciting and exalting,
those emotions which transcend experi-
ence and may not in any degree find
voice through those channels of expres-
sion which are entirely adequate for the
purposes of the intellect."

We may sum up in a few words the
burden of the first paper, entitled "Art
the Revealer," delivered at the inaugu-
ration of Rice Institute, Houston, Texas.
Mr. Cram considers art "an indispensa-
ble means toward the building of char-
acter." The older educational systems
failed to recognize this fundamental
truth and they taught art as they did
engineering, from the purely vocational
standpoint. In great measure we are yet
guilty of such methods. But art has a
greater scope, "for in all its manifesta-
tions . . it is the only visible and
concrete expression of the mystical
power in man which is greater than
physical force, greater than physical
mind, whether . . we call it intui-
tion or . . immortal soul." Art func-
tions .as the "symbolic expression of
otherwise inexpressible ideas," it is the
splendid realization of the striving that
tortures the artist. We see it well illus-
trated in the greatest of artists, Michel-
angelo himself, whose conceptions were
snatched from the peaks of heaven, only
to leave him discontented in the paucity
of their tangible form. In this connec-
tion we recall Browning's words: "A
man's reach must exceed his grasp, or
what is heaven for?" We may take our
lesson from the latter part of this lec-
ture; it is of value for him who paints
and for him who writes, for him who
carves and for him who builds. "I find
in many places laboratories of art indus-
try where, after one fashion or another
— and not always well advised — is shown
how to spread paint on canvas; how to
pat mud into some quaint resemblance
to human or zoological forms; how to
produce the voice in singing ; how to ma-
nipulate the fingers in uneven contest
with ingenious musical instruments ; how
to assemble lines and washes on What-
man paper so that an alien mason may
translate them, with as little violence as
possible, into terms of brick and stone —
or plaster and papier mache. And I find

names and dates and sequences of ar-
tists taught from text-books, and sources
and influences taught from fertile imagi-
nations, together with erudite schemes
and plots of authorship and attribution;
but where shall we find the philosophy,
the rationale of art, inculcated as an
elemental portion of the history of man
and of his civilization? . . We
build our little categorical box-stalls and
herd history in one, art in another, re-
ligion in a third, philosophy in a fourth,
and so on, until we have built a labyrinth
of little cells, hermetically sealed and se-
curely insulated, and then we wonder
that our own civilization is of the same
sort, and that over us hangs the threat
of an ultimate bursting forth of impris-
oned and antagonistic forces, with chaos
and anarchy as the predicted end."

Mr. Cram is on his own chosen ground
in "The Philosophy of the Gothic Res-
toration." We have often been charmed
by his Romanticism, and his gauntlet al-
ways bears the challenge when Gothic
art is mentioned. As a1 faithful cham-
pion, then, he plunges into his theme of
the Gothic Restoration with a fervor that
recalls his earlier work The Gothic
Quest. In the course of this paper
two-edged tribute is paid to Richardson :
"The first great genius in American
architecture, he rolled like an aesthetic
Juggernaut over the prostrate bodies of
his peers and the public." We are not a
little surprised that the author found
some of the Richardsonian influence at
work in Japan. "Richardson will be re-
membered, not as the discoverer of a
new style, but as the man who made
architecture a living art once more."

Then follows a warning cry to avert
the ultimate horror of steel. "The steel
frame is the enfant terrible of architect-
ure, but like so many of the same genus,
it may grow up to be a serious minded
citizen and a good father. It isn't that
now; it is a menace, not only to archi-
tecture, but to society, but it is young
and it is having its fling. . . Like
all good servants it makes the worst pos-
sible master; and when it enables us to
reproduce the Baths of Caracalla, vaults
and all, at half the price, or build a sec-
ond Chartres Cathedral with no danger

THE ARCHITECTURAL RECORD.

189

from thrusting arches, and with flying
buttresses that may be content beauti-
fully to exist, since they will have no
other work to do, then it is time to call a
halt. The foundation of architecture is
structural integrity ; and it does not mat-
ter if a building is as beautiful as the
Pennsylvania Station in New York, if
its columns merely hide the working
steel within, if its vast vaults are plaster
on steel frame and expanded metal, then
it is not architecture, it is scene-painting,
and it takes its place with that other
scene-painting of the late Renaissance to
which we mistakenly apply the name
architecture." This and many other
poignant paragraphs we find in this pa-
per, full of truth, and with a depth of
significance that assumes now the tone
of admonition and now that of prophecy,
and the prophecy is that most readily to
be expected of the author of St. Thomas'
Church and the Graduate College at
Princeton; it is that "now is the time
. . to gather up once more the price-
less heritage of medievalism." But why
of mediaevalism, why not of something
else? If we are working out our ar-
tistic destiny, at the moment expressing
ourselves in a number of styles, how can
we in justice to ourselves go back to yet
other forms and warp them to our
needs? To be sure there is no lack of
beauty in such resuscitated forms, wit-
ness the Pugins of last century, and wit-
ness Bryn Mawr and the University of
Pennsylvania and West Point ; but there
is on the other hand no reason -to sup-
pose -that the beauty of the spirit of
Gothic can be revived in any greater
degree than the beauty of the spirit of
any other style that finds ephemeral fa-
vor in the year 1914. It must be a beauty
of the letter only, of the hard and tangi-
ble form, which breathes an atmosphere
of a dead past only because of its earlier
association with that past. There is lack-
ing what some philosophers would call
the reality of the spirit. But then, when
men of Mr. Cram's dignity and authority
have formulated their theses, we have
not to cavil, but simply to await the real-
ization, be it a glorification or a fall. To
Mr. Cram, at least, Gothic is the ori-
flamme, or the fiery sign adopted by

Constantine after the battle of the Mil-
vian Bridge, and its legend is: "in hoc
signo vinces."

Other good papers in the volume are
entitled "The Artist and the World" and
"The Craftsman and the Architect,"
again prompted by the assured mediaeval-
ism of the author; but we hasten on to
a fine paper on "American University
Architecture" read before the Royal In-
stitute of British Architects. The sub-
ject matter is treated historically,
through old Harvard, the "Jeffersonian"
of the University of Virginia, Upjohn
and the American reflection of Pugin,
and the more modern congeries of styles,
McKim and the buildings at Columbia,
the "Boulevardesque" of Yale and of
Annapolis, and the modern Gothic — fore-
runner of the great restoration to come,
if you choose — at West Point, Prince-
ton, Chicago, Bryn Mawr, not to men-
tion the projected designs for the Vir-
ginia Military Institute.

Next we have a suggestive and interest-
ing discussion of the differences between
American and English planning with
reference to purpose in the universities.
Much space is given to Princeton, of
which the author is the supervising arch-
itect.

Finally comes the excellent article
which provides the title for the volume.
It is a parting shot; a sort of aesthetic
moral to take with you to your study
and to make part of your reflection.
Michelet said that "history is only a se-
ries of resurrections." After we are
through with The Ministry of Art we
readily consider architecture one of the
greatest of history-makers. In the course
of the last paper we find this lucid pas-
sage: "..art.. is neither a commodity,
nor a form of amusement, nor an amen-
ity of life, but a wonderful attribute of
man who is made in God's image, a sub-
tle language, and a mystery that, in its
nature, we may with reverence call sac-
ramental."

We shall keep the book near us, for it
affords a wealth of inspiration for the
Gothicist and for his enemy, nor can we
faithfully say, after reading the last
page, with which camp we desire to
throw our fortunes.

BOOKS RECEIVED FROM PUBLISHERS

DEALING WITH ARCHITECTURE AND ALLIED ARTS

Design in Landscape Gardening. By Ralph
Rodney Root, assistant professor of land-
scape gardening, University of Illinois,
and Charles Fabiens Kelley, assistant
professor of art, Ohio State University.
111., 8vo, 265 p., index. New York: The
Century Co. $2.

Early American Churches. By Aymar
Embury II. 111., large 8vo, 184 p. Gar-
den City, N. Y.: Doubleday, Page & Co.
$2.80.

Country Houses. By Aymar Embury II.
Selected and edited by Henry H. Saylor.
A collection of photographs of exteriors
and interiors, with floor plans. 4to,
135 p. Garden City, N. Y.: Doubleday,
Page & Co. $3.

Power, Heating and Ventilation, Part II:
Heating and Ventilating Plants. A trea-
tise for designing and constructing engi-
neers, architects and students. By Charles
L. Hubbard, consulting engineer. 2d cd
111., 8vo, 302 p., index. New York: Mc-
Graw-Hill Book Co. $2.50.

The Commercial Problem in Buildings. A
discussion of the economic and structural
essentials of profitable buildings, and the
basis for valuation of improved real
estate. By Cecil C. Evers. vice-president
of the Lawyers Mortgage Co. 111., 8vo,
271 p., index. New York: The Record
and Guide Co. $1.50.

Nineteenth Annual Report, 1914, of the
American Scenic and Historic Preserva-
tion Society to the Legislature of the
State of New York. Submitted by
George Frederick Kunz, president; Ed-
ward Hagaman Hall, secretary. 8vo,
716 p., and 76 plates, index. Assembly
Doc. No. 57, Albany, N. Y.

Old Philadelphia Colonial Details. Meas-
ured and Drawn by Joseph Patterson
Sims and Charles Willing. Large folio.
55 plates. New York: The Architectural
Book Publishing Co. $10 unbound, $12
bound.

A Monograph of the Work of McKim,
Mead & White, 1879-1915. To be pub-
lished in about twelve parts. Large folio.
Parts I, II and III, each with 20 plates.
New York: The Architectural Book Pub-
lishing Co. $5 a part.

The Preservation of Structural Timbers.
By Howard F. Weiss, director, Forest
Products Laboratory, U. S. Forest Ser-
vice. 111.. 8vo, 303 p., index. New York:
McGraw-Hill Book Co. $3.

The English Parish Church. An account
of the chief building types and of their
materials during nine centuries. By
Charles Cox," LL.D., F.S.A., author of
"English Church Furniture," etc. 111.,
8vo, 318 p., index. London: B. T. Bats-
ford. New York: Charles Scribner's
Sons, $3.

A Book of Architectural and Decorative
Drawings by Bertram Grosvenor Good-
hue. Text includes "An Explanation and
Acknowledgment" by E. Donald Robb,
"An Architect's Renderings and Some of
His Works" by Frank Chouteau Brown,

. and "As to Types and the Decoration of
Books" by H. Ingalls Kimball. Large
folio, 134 p., with many full page plates.
New York: The Architectural Book Pub-
lishing Co. $9.

Universal Safety Standards. A reference
book of rules, drawings, tables, formulae,
data and suggestions for the use of archi-
tects, engineers, superintendents, foremen,
inspectors, mechanics and students. By
Carl M. Hansen, M.E., consulting safety
engineer, member American Society Me-
chanical Engineers. Compiled under the
direction of and approved by the Work-
men's Compensation Service Bureau of
New York. 2d ed. New York: Universal
Safety Standards Publishing Co. $3.

American Art Annual. Vol. XI, 1914.
Florence N. Levy, editor. New York:
American Federation of Arts. $5.

NOTES

AND
COMMENTS

Quite recently a well-
known architect ex-
Sculpture and Pla'ined> Presumably by
Architectural wav °J aPol°gy f°r ccr-
Design. tain large SrouPs of

sculpture he. had includ-
ed in the design for an
important public build-
ing, that Americans had "gone sculpture
mad." And when one takes into considera-
tion some of the latest results obtained with
buildings upon which sculpture has been
employed, it will be acknowledged that this
architect was justified in his use of the
word "mad." Two recent examples in New
York have been most unsuccessful, and the
reason for the failure is not hard to find.
That American sculptors can work with
architects to their mutual advantage and
with still greater advantage to the sub-
ject of their collaboration has often enough
been demonstrated. As a single example,
because it was the earliest, the buildings
at the World's Columbian Exposition at
Chicago may be recalled. Never before
that time had American architects been
given so splendid an opportunity to do
their best. Not even had the competi-
tion for the Federal Capitol at Washington
in any sense, actually or comparatively,
put so many possibilities before the archi-
tects of the last years of the eighteenth
century.

And never before the Columbian Expo-
sition, or since then, have American archi-
tects so splendidly taken advantage of the
opportunities offered in large public or pri-
vate work, excepting, possibly, that not a
few of our architectural forefathers who
submitted designs in the Washington com-
petition, had, as shown by the original
drawings preserved in the library of the
Maryland Historical Society, included most
ambitious but rather top-heavy, not entirely
structural or constructable, but altogether
amazing groups of statuary in their de-
signs. Not that we have not had sculpture

and mural decorations enough in our work,
but much that we have shows that it was
produced in an unfortunate and ill-advised
manner.

The buildings at Chicago, designed, as
Henry Van Brunt said, "in a style evolved
from, and expressive of the highest civili-
zations in history," were far from perfect,
and to be sure they gave visitors some
wonderful surprises. The Iowa State
Building, for instance, as an early French
Renaissance chateau shocked the feelings
of both European and the better informed
American visitors. McKim, Mead &
White's Villa Medici, as the New York
State Building, and many others, had "just
a touch of genius," as one visitor said,
that made them not only inoffensive, but
actually interesting and inspiring. Many
architects date their first architectural am-
bition from the day they visited the
World's Columbian Exposition.

The one circumstance, aside from this
"touch of genius," that made the exposition
an architectural success was the policy of
co-operation between architects and sculp-
tors, that had been decided upon at the
very start by Daniel Burnham as architect
in chief and I. W. Root as consulting
architect.

Only by such joint work in other cases
can sculpture regain its place, so long lost,
as a means of architectural decoration. The
modern method of designing "nice" or
"ideal"' statues without regard for a rela-
tion to the architectural background has
done as much, on the one hand, as the
method of designing the statue in direct
elevation by the architect and then hand-
ing the sketches to a sculptor for execu-
tion has done, on the other, toward spoil-
ing a large part of modern work upon
which architects and sculptors have col-
laborated.

There are as great possibilities before
the architect now as there were before
Greek, Roman or Gothic architects in the

192

THE ARCHITECTURAL RECORD.

use of sculpture in connection with Ameri-
can building, and we may well look for-
ward to splendid things to be accomplished
when this proper spirit of mutual co-opera-
tion and sympathy by the various artists
concerned — architects, painters and sculp-
tors, is at last realized, but recent work
seems only to emphasize the total lack of
any such sympathy as well as a complete
indifference to the necessary limitations of
sculpture as the highest form of decora-
tion in connection with beautiful buildings.

The present system of
choosing an architec-
tural design in competi-
Architectural tion, rather than holding
Competitions. a competition for the
purpose of choosing an
architect to study the
problem at hand is mani-
festly a bad system for architects as well as
for their clients. "The Nature and Function
of Art, more Especially of Architecture," a
book by the late Leopold Eidlitz, published
in 1881, is seldom read, by architects of the
present time. But it contains an amount of
suggestion and practical, helpful criticism
not often met with in books of an earlier or
later date. Eidlitz felt as he wrote, and he
wrote independently and fearlessly, with
full confidence in his own convictions. In
spite of his interest in the larger aspects of
ideals and aesthetics, space was found in
the book for a discussion of competitions.
This is under the general heading of
Architecture and Its Patrons.

All art, he says, "finally seeks apprecia-
tion and a market with an audience; but
it is successful art only in the ratio in-
versely proportional to its dependence upon
immediate popular approval. Architectural
art is especially unfortunate in this respect:
it submits to popular interference while in
the process of creation." Against this in-
terference he vigorously protests. "There
is no art or trade — there never was one out-
side of modern architecture — which is found
to be willing to court popular criticism and
to abide by its decision before its works are
executed."

An architectural design, he continues "is
•a conventional geometrical representation
of an imagined object, the merits of which
laymen attempt to determine by looking at

this conventional drawing." If it were pos-
sible to have juries composed entirely of
architects this objection would be done
away with, but even a single architectural
adviser is lacking in the great majority of
competitors. "It is true the architect is
supposed to assist the process by furnish-
ing a perspective view; but here the layman
is more at sea than ever. He is pleased
with the technical skill and the artistic
feeling which are displayed in the produc-
tion of this picture. He admires the pic-
ture, and imagines the architecture it rep-
resents to be good; or he is displeased, or
left indifferent by the picture and condemns
the architecture."

That the architect, working as he does
with the client's own material and upon
his client's land, must be willing to make
clear to the owner just what the results are
going to be is perfectly natural, but it
would seem that architects should protest
against too great interference by owners or
committee. Eidlitz says, "Hid the archi-
tect the authority to correct his client in
the same sense in which it is conceded to
the lawyer, the doctor, the shipwright, or
even the tailor or shoemaker, he would be
employed by reason of the merit of his fin-
ished work, and would not be asked to sub-
mit a design for approval.

"It is time he is granted a polite hearing
on all questions relating to his work, but is
time accorded to him to educate his clients
to the degree necessary to comprehend his
arguments? Is he himself master of the
theory of his art, and trained to debate
these questions? Can he, if personally able
to do so, impart to a client in a reasonable
series of conversations what can be ac-
quired only by a long professional educa-
tion and practice?"

Quite obviously, as Eidlitz concludes, he
cannot always do so. In fact, he argues,
that the architect in competition submits
to laymen "a design of what he intends to
do, and thereby admits, what is utterly
false, that laymen are competent to com-
pare a series of such designs, and select the
best, or that they can form a correct judg-
ment of any one of them."

Naturally, the conclusion is that so long
as this system is followed "architecture
must range with the fashions" and not with
the arts.

IN NEW YORK $3.^°AYEAR

WELDED STEEL SASHES

WELDED

FOUR TIMES AT

INTERSECTIONS

MAXIMUM

RIGIDITY

WEATHER

TIGHT AT

PIVOT

VENTILATOR

SECTION

CONTINUOUS
AT LOWER
CORNERS

All types for all
types of Buildings.
Write for Booklets

Excepting the Welded Muntin Intersec-
tion, weather tightness at pivots, and
continuous double weathering strip at
lower corner of ventilator opening, 'the
construction of Welded Steel Sashes is
standard.

THE ZAHNER METAL SASH & DOOR CO.

CANTON, OHIO

jl gents in All 'Principal Cities

VOL. XXXVII. No. 3

MARCH, 1915

SERIAL NO. 198

ARCHITECTVRAL
• RECORD

COVER — Detail of Court of the Four Seasons, Panama-Pacific Exposition Page

By Jack Manley Rose and Grace Norton Rose

THE PANAMA^PACIFIC EXPOSITION AT SAN FRANCISCO , . 193

By Louis C. Mullgardt

FOUR DRAWINGS OF THE PANAMA^ PACIFIC EXPOSITION Opposite 229

By Jack Manley Rose

THE PANAMA-CALIFORNIA EXPOSITION AT SAN DIEGO

By G. Matlack Price

229

TRINITY LUTHERAN CHURCH, Akron, Ohio : J. W. C. Gorbusier, Architect 252
By L T. Frary

THE OLD CITY HALL, Washington, D. G. -

By H. F. Cunningham

PORTFOLIO OF CURRENT ARCHITECTURE

268

274

THE ARCHITECT'S LIBRARY: New Volumes from University Presses
By Richard F. Bach

NOTES AND COMMENTS - -

281

287

Editor : MICHAEL A. MIKKELSEN.

Yearly Subscription— United States $3.00
— Foreign $4.00— Single Copies 35 cents

Contributing Editor : HERBERT D. CROLY

Advertising Manager : AUSTIN L. BLACK

Entered May 22. 1902. as Second
Class Matter, at New York. N. Y.

PUBLISHED MONTHLY BY

THE ARCHITECTURAL RECORD COMPANY

115-119 WEST FORTIETH STREET, NEW YORK

F. W. DODGE, President

F. T. MILLER, Secretary and Treasurer

SIDE AISLE ENTRANCE TO PALACE OF VA-
KIED INDUSTRIES-PANAMA-PACIFIC EXPO-
SITION. BLISS & FAVILLE, ARCHITECTS.

THE

ARCHITECTVKAL
KECOFID

MARCH, 1915

VOLVME XXXVII

NVMBER III

PANAMA-PACIFIC
EXPOSITION AT
SAN FRANCISCO

By Louis <?. "Mullgardt

T INTERNATIONAL expositions are
invariably founded on historical
events of great importance to nations.
Philadelphia's Exposition in 1876 cele-
brated the one hundredth anniversary of
the founding of the Republic. ' Chicago's
Exposition in 1892 celebrated the four
hundredth anniversary of the discovery
of America. St. Louis's Exposition in
1904 celebrated the one hundredth anni-
versary of the purchase of the Louisiana
Territory from Spain.

All of the foregoing celebrations were
related to past epochs. San Francisco's
Exposition celebrates the beginning of a
new epoch following the advent of the
greatest engineering accomplishment in
history. It celebrates the first establish-
ment of a direct belt connection between
the Atlantic and Pacific Oceans, whereby
a passage by water, through the middle
of the Western Hemisphere, near the line
of the Equator, is secured for all time

and all peoples. It celebrates the advent
of an entirely new around-the-world
route and a direct system of intercom-
munication between nations. It is the
road which leads to a better understand-
ing and makes for enduring peace, world
progress and amity between nations.

Fulfillment of San Francisco's laud-
able desire to hold this international ex-
position was made possible only through
a vigorous fight waged in Washington
for a period of six months or more with
its worthy Southern opponent, New Or-
leans. It is fair to assume that San
Francisco's success was largely due to
added valor acquired through surmount-
ing the desponding trials of devastation
by fire in 1906, only five years prior to
launching the herculean task of raising
the sinews necessary for this interna-
tional exposition, amounting to seven-
teen million dollars. This amount was
subscribed in a remarkably short time

194

THE ARCHITECTURAL RECORD.

within the State of California and with-
out the customary governmental assist-
ance accorded previous international ex-
positions.

The principal feature of the Philadel-
phia Exposition was its Crystal Palace.
Chicago similarly had its wonderful
Court of Honor, quadrangular in shape,
formed by the surrounding exhibit
palaces. St. Louis's monumental feature
was the great Cascade surmounted by
Festival Hall. San Francisco's Expo-
sition is mainly distinctive in its general
plan.

Unlike other expositions, the simple
plan of housing the department exhibits
has been accomplished in a manner that
seems commonplace when compared with
the planning of a residential palace that
is surrounded with gardens, arborium,
music pavilion, galleries, play yards and
visitors' cottages.

The eight centrally grouped palaces —
Education, Food Products, Agriculture,
Liberal Arts, Manufacture, Transporta-
tion, Mines and Metallurgy, and Varied
Industries — including the main tower,
the courts and the connecting longitudi-
nal and lateral avenues, together form
a homogeneous unit as compact and cor-
related as are the various departments
of a residential palace.

The east and west terminations of this
colossal unit are flanked by Machinery
Hall and the Palace of Fine Arts, and
the secondary lateral axes point to Fes-
tival Hall and the Palace of Horticulture.

These twelve subdivisions constitute
the principal housed exhibit departments.
The departments of Foreign Countries,
the States, Aviation and Military Ma-
neuvering Fields, the Race Course and
Live Stock Barns are beyond the extreme
west end of the principal exhibit pal-
aces. The amusement section is at the
extreme east end. The exposition pal-
aces form the central link which con-
nects all sections together continuously.

The ideal, fascinating site which the
exposition occupies has had the greatest
influence in the development of the gen-
eral plan — the great feature of this ex-
position.

It is well worth noting that the selec-
tion of this harbor view site caused the

inhabitants of San Francisco all the an-
guish that self-constituted factions with-
in an energetic community could pro-
duce and encounter. Lake Merced, Gold-
en Gate Park, Lincoln Park, the Water
Front and Harbor View each had en-
thusiastic adherents and opponents.

Chicago wisely placed its exposition in
the undeveloped and uncultivated lake
shore sands of Jackson Park, which sub- .
sequently became a great garden play-
ground of the people.

St. Louis unwisely placed its exposi-
tion in highly cultivated Forest Park,
thereby causing the destruction of years
of natural growth and cultivated park
land, now and forever wasted. St. Louis
made the additional mistake of placing
a permanent Gallery of Fine Arts in
Forest Park, where it is about as inac-
cessible to the people as if it were of
primary importance to have it so.

San Francisco narrowly escaped mak-
ing a similar mistake by destroying its
renowned Golden Gate Park, which has
taken forty years to develop out of wind-
swept sand dunes.

Golden Gate Park was seemingly the
one glorious spot in the city and county
of San Francisco upon which the ma-
jority of the public had its eye focused
as the most suitable of all sites for the
exposition. Had it not been for the wis-
dom and sagacity exercised by those who
were empowered to conduct the selec-
tion of a site along safer and saner chan-
nels, San Francisco would now have an
exposition where Golden Gate Park is,
but it would no longer have Golden Gate
Park.

The natural geographical condition of
the undeveloped site so wisely selected
may be better understood by referring
to the accompanying illustrations. The
major portion of the site where the great
palaces now stand was inundated with
salt water about twenty-five feet in
depth. This artificial lake was separated
from the Bay of San Francisco by a
substantial sea wall built of riprap and
old building stones discarded from build-
ings destroyed in the fire of 1906. East
Lake was filled by means of pumping
dredgers, which did service for several
months pumping silt from the bay whilst

THE ARCHITECTURAL RECORD.

195

the architects and engineers were en-
gaged in the preparation of working
drawings and the landscape engineer
established the location of his stock of
trees and plants throughout the State
preparatory to subsequent shipment when
required in accordance with the land-
scape plans prepared by the architects.

The Director of Works was the first
official appointed by the President of the
Exposition to provide for the physical
construction.

In the fall of 1911 the President of the
Exposition requested the San Francis-
co Chapter of the American Institute of
Architects to submit a list of twelve
names chosen from its ranks. From this
list the President of the Exposition
agreed, with certain reservation, to elect
five architects to constitute a council.
About one month after the first Architec-
tural Council had been appointed three of
its five members resigned. In January,
1912, three additional San Francisco ar-
chitects were chosen, this time without
reference to the chapter, also three ar-
chitects from New York City. Sub-
sequently one additional architect from
Los Angeles was selected ; these nine ar-
chitects constituted the permanent Archi-
tectural Commission.

An architectural drafting department
was immediately established in the down-
town exposition office building, where
preliminary planning was carried on
under the guidance of members of the
Architectural Commission with the pri-
mary object of developing the .best gen-
eral plan obtainable. Daily conferences
were held by the commission for the pur-
pose of analyzing every conceivable
scheme which might lead to a correct
solution of the general plan. Every pre-
vious exposition plan was made the sub7
ject of special inquiry by the commis-
sion. These daily meetings also provided
for many conferences with the local heads
of the Government Weather Bureau ;
with the Government military officials in
charge of the Presidio and Fort Mason,
lying to the west and east ends, as to
manner and extent permissible when in-
fringing upon their convenience ; with
the landscape gardener as to maxi-
mum possibilities in securing suitable

trees and plants such as would and would
not withstand the rigors of the trade
winds; with the transportation of-
ficials in reference to establishing prompt
new facilities for shipment of materials
to the premises and rapid passenger
transportation by land and by water ; and
finally, with the State harbor officials
relative to tides and currents — it had at
one time been considered, wise to estab:
lish a more extensive still water basin
along the water front of the exposition
grounds for smaller craft than was finally
agreed upon.

The Architectural Commission care-
fully tabulated all available data on every
subject affecting the general plan. Every
conceivable scheme was drawn out by the
draftsmen and analyzed by the commis-
sion. This process continued until the
date set for the first conference of the
entire Architectural Commission, in Feb-
ruary, 1912. After a week's conference
the present court plan was enthusiastic-
ally adopted by the Architectural Com-
mission. Immediately thereafter various
parts constituting the central body of the
exposition plan were assigned to the in-
dividual members of the commission 'by
unanimous agreement of its members.

At the second meeting of the Archi-
tectural Commission, in August, 1912,
preliminary studies were submitted by all
the members, each dealing with the par-
ticular part of the general plan assigned
at the February conference.

In December, 1912, the third and final
meeting of the entire commission took
place to consider and adopt the prelim-
inary drawings made on the basis of un-
derstandings had at the previous confer-
ences. Immediately thereafter the Board
of Directors of the Panama-Pacific Inter-
national Exposition unanimously adopted
the recommendations and designs sub-
mitted to it by the Architectural Com-
mission with authority to proceed with
the working drawings. Shortly there-
after a contract was entered into for the
filling and grading preparatory for the
pile foundations required, over eighty
per cent, of the entire area covered by
the exposition palaces.

Almost simultaneously with the work-
ing drawings the construction drawings

196

THE ARCHITECTURAL RECORD.

«?

'i' V ^ » '

1 t *

••>

>j'

•%,

PLAN OF EXPOSITION GROUNDS, SHOWING THE RELATION BETWEEN THE

we,re prepared. The timber floor sub-
structures and underfloors were placed
upon the piles before the superstruc-
tures were erected.

The chiefs of the Sculpture Depart-
ment, Department of Color and Decora-
tion and Landscape Engineering were
selected by the Architectural Commis-
sion at its second meeting and attended
its conferences and collaborated with it
constantly.

At the third meeting of the Architec-
tural Commission the Department of
Travertine Texture was established The
Architectural Commission thereby cre-
ated a new element in exposition design-
ing. This element of texture has given
an added interest in the final result which
is invaluable to an exposition and will
forever be regarded indispensable in
similar work.

The filling and grading, piling and
foundations, sewers and drains, tracks
and roadways, ferry slips and piers, en-
closures and workshops, exhibit palaces
and courts were separately contracted for
between the Division of Works and pri-
vate contracting concerns.

For the convenience of the contractors,
also to facilitate the work and for eco-
nomic reasons, the Exposition Company
assumed the purchase of all dimension
lumber and plastic material direct from
the forests and mills, and delivered the
same on the grounds to the contractors
by water and by rail at minimum cost.

The roadways and walks are built of
asphaltum on a broken stone and gravel
foundation.

Extensive railroad yards for the deliv-
ery of building materials and exhibits
were provided at the east end of the ex-
position grounds. Under Fort Mason
the first tunnel was constructed express-
ly for the purpose of establishing direct
railway facilities into the exposition
grounds. Three parallel lines were laid
longitudinally alongside and others
through the palaces so that railway ship-
ments are made to the nearest points of
delivery.

Visitors to the exposition grounds have
for the past year been afforded the con-
venience of public and private automo-
bile service over the main avenues of
the exposition grounds. Similar service

THE ARCHITECTURAL RECORD.

197

RIES OF THE EXPOSITION AND THE ADJACENT STREETS OF SAN FRANCISCO.

will be established throughout the expo-
sition year. An intermural system along
the water front has also been established.
In addition to this there will be wheel
chairs, jinrikishas and other similar small
conveyances to enable visitors to traverse
every part of the grounds and palaces on
wheels.

Ferry slips have been established near
the north end of Machinery Palace. The
protected bay inlet north of the Fine Arts
Building is designed for smaller pleasure
craft. People residing along the shores
of San Francisco Bay may approach the
exposition direct by water.

Special electric street car facilities
have been established by the City of San
Francisco along the south line of the ex-
position grounds, with tributaries leading
from the west, south and east ends of
the city. The exposition being situated
centrally on the north shore line and with-
in twenty minutes' walk of the business
centers, makes it accessible to the greatest
number of probable visitors.

Its location affords voyagers by sea
coming from the Orient or from north,
south or through the Panama Canal,

a first view from aboard ship, after
coming through the Golden Gate.

A permanent Auditorium has been
built in the New Civic Center, costing
one million dollars. This money was
appropriated out of the five million dol-
lars subscribed by the City of San Fran-
cisco to the exposition general fund.
This Auditorium has a seating capacity
of twelve thousand and is complete and
inaugurated.

The artificial lighting of the exposi-
tion is largely concealed. There will be
no electric bulbs visible within the area
occupied by the exposition palaces. Elec-
tric scintillators will be extensively used.

The total area occupied by the expo-
sition consists of flat land. The built up
hills of the city form a crescent back-
ground from east to west, establishing
an amphitheatre facing the bay. The en-
tire composition is visible from the hill-
tops and from the water. It is within
easy walking distance of the most thickly
populated surrounding hills, which in
their blue-grey atmosphere give added
luster and scale to the colorful composi-
tion.

Cfl Cfl

&?:-

5 • t ... f '• Mj

!,««

^ ;j-

»-'/>- OS ^P

. <j jf..* * . .- 3 k \V*«

•

SKETCH OF THE CONSTRUCTION FOR THE CENTRAL DOME
OF THE PALACE OF FINE ARTS, APRIL, 1914. DESIGNED
BY THE ENGINEERING DEPARTMENT OF THE PANAMA-
PACIFIC EXPOSITION. BERNARD MAYBECK, ARCHITECT.

BQ
H

^ J
o w

W —

^Q
J w

&H«

O CM

« <
y «
< o

THE PERISTYLE TO THE LEFT OF THE CENTRAL
DOME OF THE PALACE OF FINE ARTS. BERNARD
MAYBECK, ARCHITECT. PHOTOGRAPHED AT
NIGHT BY FRANCIS BRUGUIERE. DECEMBER, 1914.

SKETCH OF THE WEST END AND TYPICAL
DOME OF THE PALACE OF EDUCATION, FEB-
RUARY, 1914, BEFORE SCAFFOLDING WAS
REMOVED. BLISS & FAVILLE, ARCHITECTS.

SKETCH OF TYPICAL CORNER PAVILION AND PERIMETER
WALLS OF THE PALACE OF EDUCATION, MARCH 1914,
BEFORE SCAFFOLDING WAS REMOVED. THE MINI-
MUM HEIGHT OF ALL EXPOSITION WALLS IS SIXTY-FIVE
FEET. BLISS & FAVILLE, ARCHITECTS.

THE COURT OF PALMS, GEORGE W. KELHAM. AR-
CHITECT, WITH THE PALACE OF HORTICULTURE TO
THE SOUTH, BAKEWELL & BROWN, ARCHITECTS.

SKETCH OF PRELIMINARY CONSTRUCTION AROUND THE
COURT OF PALMS, MARCH, 1914. DESIGNED BY THE
ENGINEERING DEPARTMENT OF THE PANAMA- PACIFIC
EXPOSITION. GEORGE W. KELHAM, ARCHITECT.

Pk O

to W

«82£§°

s«S£*l

9M* ™t »'* *»

rt Vfll

f* ill n *%

^ .
ties/* of- tie far.

SKETCH SHOWING CONSTRUCTION IN THE NORTHWEST CORNER
OF THE COURT OF FOUR SEASONS, FEBRUARY, 1914. DESIGNED BY
THE ENGINEERING DEPARTMENT OF THE PANAMA- PACIFIC EXPO-
SITION. HENRY BACON, ARCHITECT. DOME OF THE PALACE OF FOOD
PRODUCTS IN THE DISTANCE. BLISS & FAVILLE, ARCHITECTS.

SKETCH OF TYPICAL INTERIOR CONSTRUCTION OF
THE EIGHT DOMES AS DESIGNED BY™E ENGI-
NEERING DEPARTMENT OF THE PANAMA-PACI
EXPOSITION. BLISS & FAVILLE, ARCHITI

ll I

W hJ " Lj

c/)

Sli

w R 2 w ««

c« W H § t_
« W Qb
w ;z;« Q «

>3^ w£

sBffi a

n v

H B

j, W g

« 3 fc

fc. p O O .

o 5 o ^ «

U H W

u§ wS

« W >^K w
< H « H O

NIGHT SCENE SHOWING SOUTHEAST CORNER PAVILION IN
COURT OF THE UNIVERSE, AS SEEN BETWEEN THE SCAF-
FOLDING OF THE GREAT ARCH OF THE TOWER OF JEWELS.
PHOTOGRAPHED DECEMBER, 1914, BY FRANCIS BRU-
GUIERE. McKIM, MEAD & WHITE, ARCHITECTS.

SKETCH OF CENTRAL SOUTH ENTRANCE TO
PALACE OF VARIED INDUSTRIES, MARCH.
1914. BLISS & FAVILLE, ARCHITECTS.

SKETCH OF EAST ENTRANCE TO PALACE OF
VARIED INDUSTRIES ON A RAINY DAY,
MARCH, 1914. BLISS & FAVILLE, ARCHITECTS.

SKETCH SHOWING FRAMEWORK OF NORTH AVENUE OF
THE COURT OF ABUNDANCE. DESIGNED BY THE ENGI-
NEERING DEPARTMENT OF THE PAN AM A -PACIFIC EX-
POSITION. LOUIS CHRISTIAN MULLGARDT, ARCHITECT.

SOUTHWEST VIEW OF CHIMES TOWER
OF THE COURT OF ABUNDANCE.
LOUIS CHRISTIAN MULLGARDT, ARCHITECT.

W H
O U
2 W

•

o J
u &

U «

SKETCH SHOWING INTERIOR CONSTRUCTION OF PAL-
ACE OF MACHINERY, FEBRUARY, 1914. DESIGNED BY
THE ENGINEERING DEPARTMENT OF THE PANAMA -
PACIFIC EXPOSITION. WARD & BLOHM, ARCHITECTS.

CENTRAL PORTION OF THE WEST
FACADE OF THE PALACE OF MACHIN-
ERY. WARD & BLOHM, ARCHITECTS.

o w

W ^ ta W

W O W

oo _• <;

H O

o ro * <

I o U

W £ «

P PQ fc,

A CORNER PAVILION IN THE COURT OF THE
UNIVERSE — PANAMA- PACIFIC EXPOSITION.
McKIM, MEAD & WHITE, ARCHITECTS.

FOVR DRAWINGS

OF THE

PANAMA-PACIFIC

INTERNATIONAL

EXPOSITION

JACK MANLEY RJDSE

TRINITY LVTHERAN CHVRCH

AKRON, OHIO

J WC CORBVSIER, ARCHITECT

By I T Frory [ggg

THE congregation of the Trinity Lu-
theran Church of Akron, Ohio, a
congregation of moderate size,
found itself under the necessity of pro-
viding a new place of worship ; and hav-
ing decided, by means of a competition,
upon an architect whose ideas seemed in
accord with its own, gave him a free hand
to develop an edifice suited to' its needs
and to the requirements of the ritual of
the Lutheran Church.

The architect chosen was Mr. J. W. C.
Corbusier, then of the firm of Page and
Corbusier, but now practicing alone.
Mr. Corbusier received his architectural
training in the ateliers of Paris and the
offices of New York, yet he was never
mastered by the spirit of Classicism with
which he was surrounded; instead there
gripped him an almost religious zeal for
the traditions of the Gothic period. The
bulk of his professional work, however,
has been, as it were by the irony of fate,
carried out along Classic lines, a fact that
has served to intensify the ardor with
which he has undertaken ecclesiastical
commissions.

In the case of the Trinity Lutheran
Church, he saw an opportunity to demon-
strate the feasibility of building a small
church edifice adapted to present-day re-
quirements, but possessing the dignity and
churchly feeling peculiar to the great
Gothic structures of the past. With this
idea in mind he personally designed and
superintended the entire structure.

As the plans grew, the appreciation of
the people grew also and the finished
structure embodies a completeness of
equipment far beyond the original plans.
This increase did not mean the addition
of unnecessary enrichment and useless
accessories. It simply meant raising the
standard of quality in materials and

workmanship and the introduction of
features whose omission would probably
mean expensive alterations later. The
only point on which a captious critic
might find fault would be with the use
of artificial instead of cut stone. This
question was not decided, however, until
after thorough tests had been made of
the materials, which demonstrated that
, the artificial was harder and more im-
pervious to moisture than the natural
product. The consequent saving in cost
made possible the use of tracery and or-
namental detail to an extent which would
otherwise have been out of the question.
An excellent modeller, working in ac-
cord with and under the constant super-
vision of the architect, succeeded in pro-
ducing a sympathetic quality in the de-
tail which one expects to find only in
structures which have been mellowed by
time. The intangible refinements found
in the old work have been studied so
carefully and the more evident factors
of proportion and massing have been
handled so skillfully that, despite its ac-
tual newness and smallness, the church
possesses to an unusual degree the air
of dignity, repose and age which con-
stitute the charm of the Gothic cathe-
drals.

The front conveys a satisfying im-
pression of massiveness and delicacy.
The great buttresses which flank the
doorway melt upward into twin towers
and produce a fine sense of unity and
stability. The severity of their dark
brickwork is softened by contrast with
the light stone trimmings and they frame
in, like a picture, the grouping of portal
and windows for whose delicate lace-like
detail they form an excellent foil. Crown-
ing all and pulling the composition to-
gether, the rich, light detail of turrets

254

THE ARCHITECTURAL RECORD.

REAR VIEW-TRINITY LUTHERAN CHl'RCH, AKRON, OHIO.
J. W. C. Corbusier, Architect.

and gable lends an air of exquisite deli-
cacy to the whole.

The brick used is dark and irregular
in color, rough in texture, and has much
the effect of that found in the fifteenth
century houses of England. The stone-
work has the warm grey tone of Bedford
limestone.

The ground upon which the building
stands slopes downward from the front.
At the extreme back an archway on the
lower level gives access to an open clois-
ter leading to the Sunday School wing,
which forms an L with the main block
and walls in the back of the level lot,
which may at some future time become
a cloister garth, but which at present is
occupied by an old residence utilized as
the parsonage.

Passing through the front doorway,
whose detail merits study, one enters the
narthex, which is enclosed by a rich oak
screen of open glazed tracery and car-
ries above it a gallery. At the right a
portion of this space is partitioned off
for a processional room, which is con-
nected by a winding stairway with the

robing room in the basement. In the
processional room is a small organ and
up in the tower, well above the gallery
level, the echo organ speaks through a
lancet opening in the front wall. The
narthex, with its low, dark beamed ceil-
ing, emphasizes the lightness of the soar-
ing, clustered columns and the vaulted
ceiling of the nave. This contrast pro-
duces a startling effect of height and
spaciousness, which is enhanced by the
rich light from the truly remarkable
glass which is rapidly taking the place
of temporary glazing. Shallow tran-
septs also tend to increase the effect of
spaciousness.

The transepts are occupied by galleries,
open below, but otherwise having prac-
tically the same detail as the one above
the narthex. The warm dark color of
the oak woodwork gives a pleasing con-
trast to the grey of walls and masonry,
while a restrained use of gold and color
adds a desirable accent. Tracery is much
in evidence throughout the woodwork,
but otherwise carving has been used
sparingly, chiefly in the form of symbolic

TRINITY LUTHERAN CHURCH.
AKRON, OHIO. J. W. C.
CORBUSIER, ARCHITECT.

SIDE VIEW— TRINITY LUTHERAN
CHURCH, AKRON, OHIO. J.

W. C. CORBUSIER, ARCHITECT.

NARTHEX SIDE ENTRANCE— TRINITY
LUTHERAN CHURCH, AKRON, OHIO.
J. W. C. CORBUSIER, ARCHITECT.

258

THE ARCHITECTURAL RECORD.

LOOKING TOWARD SUNDAY SCHOOL ENTRANCE-TRINITY LUTHERAN CHURCH, AKRON. OHIO.

J. W. C. Corbusier, Architect.

emblems, which are everywhere to be
seen in woodwork, glass and masonry.
The pulpit has nine shields bearing gold
symbols of the Passion of the Saviour.
Luther's crest appears in color and gold
upon shields which enrich the gallery
fronts. The chancel is lighted by seven
lancet windows, symbolizing the seven
original churches ; the three center ones
contain representations of the Nativity,
the Passion and the Ascension ; the other
fpur are of a purely geometrical charac-
ter. The large windows of the clerestory
a^re divided into three sections, symboliz-
ing the Trinity.

The great aim in view in designing
the glass was to produce the rich tone
found in the thirteenth century glass of
the old cathedrals. It was also definitely
determined that there should be no large
figures or other features which would
by their size dwarf the whole or make
unduly prominent any portion of it;
neither should any masses of color be
permitted to dominate the scheme. This
did not mean the elimination of pattern
or the use of a mere kaleidoscopic mass-

ing of bits of colored glass, but the care-
ful building up of well studied pattern,
with such restraint that, though filled with
pictured symbolism, it would at -first
sight suggest only a rich glow of jeweled
light. The completed windows show a
remarkable fidelity to the spirit of the
original studies. There are figures and
emblems innumerable, all forming com-
ponent parts of a well-studied and evi-
dent plan of ornament. Medallions give
a needed accent to the scroll work and
other ornament; the tiny figures which
have been used unstintedly show great
fidelity in drawing; in fact, painstaking
skill is evident in every detail. Yet in
striving for these minute perfections, the
greater thing, the true function of the
window, has not been forgotten ; and
when one steps back to get the general
effect, the little details are forgotten and
one is conscious only of a great glow of
scintillating color, filled with the sparkle
and fire of jewels.

The altar and reredos of artificial Caen
stone, with their light color and delicacy
of detail, give a pleasing relief to the

SUNDAY SCHOOL ENTRANCE-TRINITY
LUTHERAN CHURCH, AKRON, OHIO.
J. W. C. CORBUSIER, ARCHITECT.

260

THE ARCHITECTURAL RECORD.

DETAIL OF TRANSEPT-TRINITY LU-
THERAN CHURCH, AKRON, OHIO,
J. W. C. CORBUSIER, ARCHITECT.

262

THE ARCHITECTURAL RECORD.

VIEW TOWARD CHANCEL-TRINITY LUTHERAN CHURCH, AKRON, OHIO.
J. W. C. Corbusier, Architect.

sombreness of the chancel, whose plain
oak wainscot rises to the gallery level.
Five figures are being carved for the
niches in the reredos, the middle one
being the figure of the Saviour, the other
four representing the four Evangelists.
The technical inspiration for these fig-
ures is to be drawn from the best work
of the Middle Ages, and when completed
they are to be enriched with gold and
color, and antiqued.

The divided organ is placed on either
side of the chancel, lancet openings from
both chancel and transepts being filled
with plain pipes, no provision having as
yet been made for a decorative organ
front.

T.he metal work throughout the church
deserves especial mention. Lighting fix-
tures, locks, hinges, in fact all exposed
metal work, were designed by the archi-
tect; and here again is illustrated the
fidelity with which the spirit of the
Gothic style has been preserved. The
iron shows the handiwork of the smith,

not the founder nor the machinist, for a
glance makes evident the fact that this
work was hammered out on the anvil and
not cast in a foundry or cut on a ma-
chine. As a relief from the possible
monotony of the dark metal, bits of gold
enrichment have been introduced here
and there, but so toned down in color as
to appear but a touch of accent and not
a jarring spot of brightness.

An inspection of the accompany-
ing plans will show a well studied ar-
rangement of accommodation for the
various branches of parish activity. As
yet but little provision has been made for
''institutional work," but sufficient
ground space is available for future ex-
tension along this line.

In the basement, beneath the church
proper, is the large social room, which
will be utilized for entertainments, sup-
pers and various social gatherings. This
has an exceptionally high ceiling for a
basement room, is unobstructed by piers
or columns and as it has a seating capac-

THE ARCHITECTURAL RECORD.

263

NARTHEX SCREEN— TRINITY LUTHERAN CHURCH, AKRON, OHIO.
J. W. C. Corbusier. Architect.

NARTHEX-TRINITY LUTHERAN CHURCH, AKRON, OHIO.
J. W. C. Corbusier, Architect.

264

THE ARCHITECTURAL RECORD.

265

Urn

THE ARCHITECTURAL RECORD.

267

ity nearly equal to that of the church
above, it renders unnecessary the use of
the latter for any except devotional pur-
poses. An elevated platform makes am-
ple provision for concerts and other en-
tertainments and is adjoined by two
dressing rooms, in connection with which
the choir robing
room can be pressed
into service when
necessary. The space
beneath the plat-
form is enclosed by
doors, behind which
are stored the fold-
ing banquet tables
and surplus chairs.
These rest upon light
trucks, by means of
which they may be
readily wheeled to
any part of the room.

The adjoining
kitchen and pantry
are exceptionally
well ventilated and
lighted because of
the high ceilings and
the large windows
which open into
areaways. Service to
the dining room is
simplified by sliding
panels in the parti-
tion, through which
the dishes are passed
across a counter to
the waiters.

As the rooms de-
voted to the various
societies open from
the social room, all
the business and
social life is cen-
tered in this part of the building, access
to which is gained from the cloister in
the rear.

The wing occupied by the Sunday
School is entered from two levels, the
main room from the front, the primary
room from the lower level of the cloister.

SOUTH SIDE AISLE— TRINITY LUTHERAN
CHURCH," AKRON, OHIO.

Thus, although the primary department
is on the floor below the main room, the
slope of the lot makes it possible for
both to have entrances on the ground
level and to have outside light. No at-
tempt has been made in this wing to pro-
duce architectural effect ; but, instead,
comfort and con-
venience have, been
sought after. The
main room has a
balcony, which is
divided into class
rooms, as is also the
space beneath. These
rooms are so ar-
ranged in plan as to
focus on the center
of the rostrum, thus
affording an unob-
structed view of the
speaker from every
seat in the room.

It will be seen that
all the various de-
partments of church
activity are ade-
quately provided for
and in such a way
as to insure privacy
for each. Thus, the
devotional services
of the church prop-
er, the social and
business functions
of the different so-
cieties, and the edu-
cational work of the
Sunday School may
all be carried on si-
multaneously with-
out interfering with
one another, and yet
all are so housed as
to have convenient inter-communication.
Taken as a whole, Trinity Lutheran
Church is an interesting example of the
progress that is being made and the in-
terest that is being taken in developing
higher ideals in ecclesiastical architec-
ture.

THE OLD CITY HALL, WASHINGTON, D. C.

OLD CITY HALL
WASHINGTON, D.C.

By H. F. Cunningham^

ABOUT the middle of the year 1795
President Washington and Dr.
Thornton, author of the accepted
design for the Capitol Building, became
dissatisfied with the Frenchman, Hallet,
who had been employed as superintend-
ent of construction, and cast about for
some one to take his place. John Trum-
bull, the artist, was then in London and,
hearing of the vacancy, wrote Thornton,
urging the appointment of George Had-
ifield, a young British architect who had
"cut quite a caper" at the Royal British
Academy of Art about that time, having
won all the prizes at the Academy for
excellence of architecture. Benjamin
West, President of the Royal Academy,
strongly recommended Hadfield, express-
ing himself as convinced that he pos-
sessed a more thorough knowledge of
civil architecture than any other young
man in England.

Hadfield was accordingly appointed to
the vacancy on October 15, 1795, his sal-
ary to be $1,400 per annum, plus his
traveling expenses to America. The
Capitol Building was then scarcely start-
ed, Hallet having done nothing but some
excavating and a few foundations, most

of which were later removed as unneces-
sary.

Shortly after taking up his work Had-
field thought it advisable to suggest cer-
tain changes in the design of the building,
among other things recommending the
addition of an attic story to the design as
accepted. The Commissioners in charge
of the work had, however, become dis-
satisfied with Hallet by reason of his
wanting to make changes in the design
and were not open to suggestions. Learn-
ing of their rejection of his recommenda-
tions, Hadfield promptly gave the three
months' notice required by his contract
and was ready to quit; but finding the
Commissioners willing to accept his resig-
nation, he withdrew it and was continued
on the work, with the express stipulation
that he was "engaged to superintend the
execution of the plan without altera-
tion."

Things seem to have gone right
smoothly with him for a time, until 1798,
when, on May 10, he was notified that his
resignation would be acceptable, to take
effect three months from that date, but
without waiting for the three months to
elapse, he resigned forthwith. The trou-

270

THE ARCHITECTURAL RECORD.

VIEW ACROSS FORECOURT— THE OLD CITY HALL, WASHINGTON, D. C

ble this time was that he refused to sur-
render his drawings for the Federal Ex-
ecutive Offices, then building (demol-
ished many years ago to make room for
the Treasury and State, War and Navy
Department Buildings). James Hoban,
architect of the President's House, was
then engaged to succeed Hadfield on the
Capitol work, and was paid Hadfield's
salary in addition to the $1,400 a year he
already received for his work on the
President's House.

Hadfield then engaged in private prac-
tice in the new city and remained there
until his death, in 1826. He designed in
the course of his practice several public
and private buildings that we can posi-
tively attribute to him and possibly sev-
eral others whose authorship is not so
definitely known. Among the buildings
of which we are certain he was the au-
thor are the Federal Offices above re-
ferred to, the Mausoleum for the Van
Ness family, still standing in Oak Hill
Cemetery in Georgetown, and the City
Hall, now occupied by the United States
Courts of the District of Columbia, and
illustrated herewith. The Van Ness
Tomb is a gem of refinement and pro-

portion, and it is difficult to imagine a
more satisfactory solution of the prob-
lem. There is a very beautiful urn at
the top of it and all the details are most
delicate and pleasing. Like Palladio,
Hadfield was compelled to work in the
cheapest and most easily gotten mate-
rials ; and this lovely tomb, like the Court
House, is sadly in need of repair.

I think we should not be far wrong in
attributing the group of buildings built on
Analostan Island for the Mason family
to Hadfield, as well as several other pri-
vate houses in the city which are still
standing and occupied. Certainly no one
else, unless it were Dr. Thornton, could
have produced anything so well propor-
tioned and so exquisitely detailed as the
Mason house, and all Dr. Thornton's
works are pretty definitely known.

The City Hall was begun in 1820, the
first part built being the central part with
its Greek Ionic portico. The east wing
was finished in 1826, the year of its au-
thor's death, and the west wing not until
1849. During this, rather long period of
construction the building was, according
to an early writer, "a veritable ruin."

In 1871 the building was made over to

THE ARCHITECTURAL RECORD.

271

the Federal Government and has since
that time housed the District Courts.
The offices of the U. S. District Attor-
ney, the U. S. Marshal, the Register
of Wills and Recorder of Deeds are also
quartered in it. The District Jail was
formerly located directly behind the City
Hall, and there were in connection with
it a number of underground cells, which
are said to have been quite undesirable
places in which to spend one's days. The
building has been the scene of a number
of famous trials, among them that of
Guiteau, the murderer of President Gar-
field.

The City Hall, or Court House, as it
is now always called, furnishes a notable
example of the possibility of achieving
a perfectly satisfactory building without
the use of any ornament whatever. The
architect relied entirely upon proportion
and correct detail in this case, as he did
in all the examples of his work that we
know, and the result is most admirable.
The interiors are almost barn-like in their
absolute simplicity, and this is a source
of much criticism on the part of its pres-
ent occupants. Those who have to use

the building are endeavoring to have
Congress provide what they consider
more suitable quarters, and several
schemes have been brought forward,
among them the refacing of the building
with limestone or the replacing of it
with a wholly new structure. In either
event the city would lose a most notable
example of early American architecture.
The building is of brick, stuccoed, with
the architectural members, columns and
the like of sandstone, the whole being
painted white. The situation is most
agreeable, the building being set in a
large park, with an adequate approach
and a sufficient clear space all around.

There has been so little money appro-
priated for its maintenance for some time
past that certain parts, especially on the
exterior, are badly in need of repair, some
of the stone members having disinte-
grated through lack of paint, and the
stucco having peeled off in many places.
The entire restoration of the building is,
however, quite possible and should not
prove very expensive ; and it is to be
hoped that there will be found a willing-
ness on the part of those in authority to

SOUTH ELEVATION OF WEST WING. SHOWING ANNEX IN BACKGROUND- THE OLD
CITY HALL, WASHINGTON, D. C.

THE ARCHITECTURAL RECORD.

273

WEST ELEVATION OF WEST WING-THE OLD CITY HALL, WASHINGTON, D. C.

appropriate without further delay suffi-
cient funds to undertake it.

There are some interesting comments
on Mr. Hadfield to be found in the cor-
respondence of his contemporaries, a few
of which follow :

The Commissioners in charge of the
building of the new city write, in 1797,
that "Hadfield has drawn the plan of all
the public offices to be erected in the City
of Washington, and which have met with
the approbation of the President and the
several Departments for which they are
intended ;" and again in 1798, after he
had resigned, "We believe Mr. Hadfield
to be a young man of taste but we have
found him extremely deficient in prac-
tical knowledge as an architect."

This latter criticism would seem to be
rather disproved by such of his work as
we know today, as well as by the follow-
ing extract from a letter written by the
artist Trumbull after Hadfield's death:
"His services were soon dispensed with,

not because his knowledge was not emi-
nent, but because his integrity compelled
him to say that parts of the original plan
could not be executed. Poor Hadfield
languished many years in obscurity in
Washington, where, however, toward the
close of his life, he had the opportunity
of erecting a noble monument to himself
in the City Hall, a beautiful building in
which is no waste of space or materials."

Latrobe, the famous architect, later
connected with the Capitol work, wrote
to Hadfield urging him to. prove his au-
thorship of certain parts of the design
for the Capitol and thus lighten "the load
of calumny with which you have been
treated," but Hadfield never laid claim
to any portion of the design as his own.

In concluding the foregoing brief
sketch, the present writer wishes to ex-
press his indebtedness to the very inter-
esting "History of the Capitol" by Mr.
Glenn Brown, F. A. I. A., for many of
the facts relative to Hadfield's work.

PORTFOLIO OF
CVR.R.ENT AR.CHITE CTVB.E

RESIDENCE OF W. PARK MOORE.
ESQ., ELKINS PARK, PA. HEA-
COCK & HOKANSON, ARCHITECTS.

276

THE ARCHITECTURAL RECORD.

RESIDENCE OF W. PARK MOORE,
ESQ., ELKINS PARK, PA. HEA-
COCK & HOKANSON, ARCHITECTS.

THE ARCHITECTURAL RECORD.

I I 1 1 1 1 1 1 1 1 1

alilBiiiiiiniii

1 1 [ 1 1 1 1 1 1 i 1 1 1 1 1

NEW POST OFFICE, WASHINGTON, D. C.
Graham, Burnham & Co., Architects.

N*EW POST OFFICE, WASHINGTON, D. C.
GRAHAM, BtfRNHAM & CO., ARCHITECTS.

NEW POST OFFICE, WASHINGTON. D. C.
GRAHAM, BURNHAM & CO., ARCHITECTS.

WE PUTT r - : '

BOOKS FROM UNIVERSITY PRESSES

By RICHARD FRANZ BACH

Curator, School of Architecture, Columbia University
PART I.

\\// HERE there is no state supervis-
YV ion of the publication of learned
and eminently useful works
which in themselves are not sufficiently
well supported by public interest or finan-
cial subsidy, it is well for the universities
of the country to take it upon themselves
to guarantee that certain undertakings,
especially archaeological researches and
phenomenal scientific advances, often too
little known or of too slight monetary
promise to be handled by publishing
firms, shall in proper form see the light.
In Germany, Austria and France many
such contributions to human knowledge
are fathered by the respective govern-
ments, sometimes by schools of fine arts
or by altruistic societies. In England,
especially, the institutions of this country
have found their prototypes for the estab-
lishment of presses under the control of
prominent universities, notably at Ox-
ford and Cambridge. In the United
States a number of such presses have
latterly come into being, the finest, no
doubt, at Yale, Harvard, Princeton and
Columbia. From the standpoint of archi-
tecture and the arts the first three men-
tioned have already produced excellent

volumes, while Columbia has under way
extensive plans for the installation of the
machinery of reproduction and the han-
dling of its own printing entirely within
campus limits. In other fields, not re-
quiring the expensive means for making
highly finished illustrations, all of these
institutions, not to mention the Universi-
ties of Chicago and Pennsylvania, have
published extended series of authorita-
tive books ; as, for instance, in the depart-
ments of history or of philology.

By far the best volume which has thus
far been issued by the university presses,
both for intrinsic value and for book-
making skill, is that by William Henry
Goodyear, entitled Greek Refinements;
Studies in Temperamental Architecture
(Yale University Press, New Haven,
Conn. ; quarto, pp. xx — 227, indices ;
$10). This is a new and complete re-
statement of the matter of constructive
curvatures as applied to Greek building,
and it is intended to become — we are
grateful to learn — the first volume in a
series, of which the second will concern
the medieval aspect of the subject. Mr.
Goodyear has achieved new laurels with
this work for several reasons; and not

282

THE ARCHITECTURAL RECORD.

the least of these is that he has provided
us with a compact modern interpretation
of a much-discussed but scholastically
neglected phase of antique beauty, which
has hitherto appeared only in widely dis-
seminated articles in the periodicals by
Mr. Goodyear himself, in the frequently
ill-humored attacks upon his theories and
proofs in foreign journals, and finally in
English books over sixty years old and
not suitable for general use because of
their weight, size and specialized mode of
treatment. The new volume is a "sum-
mary, but systematic and readable, ac-
count" of a subject, which in this guise
takes on a fresh life and vivid interest,
although it has in the past often been
visited with voluntary ignorance ; and we
can assure its author that the general ap-
preciation of his researches, until now but
grudgingly accepted by those who could
best profit by them, will not be long out-
standing. No doubt he will reap his
greatest harvest in the schools, where the
format of the volume will commend it as
a standard library work.

In order that the correct definition and
application of the term "refinements"
may be properly construed, let us first
quote the author's words, on page 3, to
the effect that " . . they are purposed
departures from the supposedly geometric
regularity of the horizontal and perpen-
dicular lines in the Greek temples, and
from the presumed mathematical equality
of their apparently corresponding dimen-
sions and spaces." And here we have, in
the present reviewer's opinion, a fair esti-
mate of the chief reason for the contin-
ued incredulity aroused in many, even
avowedly professional and learned circles,
when the matter of intentional curvature
has been broached. It is seen in Mr.
Goodyear's express and well-advised use
of "supposedly," "presumed" and "appar-
ently." Out of suppositions and pre-
sumptions the mind creates a mirage, an
ideal, or a superstition ; surely it can, by
the same token, also create a wrong im-
pression— especially when the erstwhile
disconcerting science of optics, inaccurate
knowledge of ancient life, ability and con-
structive methods, and a generally be-
fogged understanding of the meaning of
Greek life in relation to art are also called

into play. First impressions are often
lasting, though they may be based on thin
air, hearsay or an inborn opinionative in-
clination. Again, although men of high
standing made public the first notice of
Greek temple curvatures, no such extrav-
agant reports had been penned by Stuart
and Revett or Lord Elgin, who had with
their scaffoldings climbed to all parts of
the Parthenon. Yitruvius himself, whose
writing had been architectural gospel for
centuries, had a careful passage concern-
ing the construction of curves in eleva-
tion; yet the 1812 translation of his book,
edited by Wilkins, contained an explicit
footnote to the effect that "they were
probably never actually employed." For
these reasons, coupled with a consistent
unwillingness on the part of readers,
writers and students to test authors' sta,te-
ments by the monuments themselves, Mr.
Goodyear has fought down a host of op-
ponents in whose inkpots his findings had
accomplished an unwonted confusion. By
dint of archaeologic conviction, a doughty
spirit and a sheaf of wholesome facts, he
has at last succeeded in establishing the
refinements as essential members in the
art and science of Greek building, arid his
efforts may be said to culminate in the
present volume, a capstone for his whole
fabric.

Those who still cavil at the structural
intention and artistic value of refinements
in building may be said to stand at the
gate of an architectural Samaria. They
jeered at the "glamor of crooked build-
ing." The deflections were so slight that
they were not observed unless sighted
for, and those who mocked had done no
sighting; what is more, they wilfully ig-
nored the fact that measurements and
observations of the masonry itself had led
the pioneers in this field to make their
declarations. They then relied upon the
fallibility of the mason's eye, until it was
demonstrated that "the degree of error
which may have arisen from inaccuracy
of workmanship in the Parthenon," i. e.,
between the breadths of the east and west
fronts, was .022 of an inch, or one-fiftieth
of an inch in 101 feet. This matter of
the quality of Greek masonry had, fur-
thermore, been set at rest by Stuart, who
showed that the finely ground stones of

THE ARCHITECTURAL RECORD.

283

the steps in the stylobate of the Parthe-
non, which are laid without mortar, had
by what the chemist and physicist call
molecular attraction, practically grown
together. What is more, those who came
to scoff were not loath to admit the ex-
istence of an inward leaning of columns
and of vertical faces of architrave and
frieze, a forward leaning of antae, verti-
cal cornice faces, fronts of abaci, acro-
teria and antefixge, and a leaning toward
each other of door-jambs ; and they were
fully assured that the columns and capi-
tals of the Parthenon were of differing
sizes (the maximum variation being two
and one-quarter inches), that intercol-
umniations varied and that metopes were
not of uniform width. These were facts,
incontrovertible and accepted only be-
cause substantiated by measurements ; yet
similar truths in different guise and sim-
ilarly vouched for by measurements, even
by photographs, were met with ridicule
when described as curves in plan or
curves in elevation. These are the master
curves, for they demand the maximum
building skill and the most refined aes-
thetic sense.

Mr. Goodyear disposes finally of a
number of erroneous theories which have
cluttered the progress of study in this
field and have obscured or misled non-
professional students, who were guided
only by the cursory notices in art histories
and text-books. Among these incorrect
assumptions is the supposition that Greek
refinements "were designed as optical
corrections of optical effects of irregular-
ity," e. g., the upper horizontal curve (in
the entablature) as a correction of the al-
leged optical effect of a downward sag-
ging in absolutely straight lines of similar
length similarly placed. This is contro-
verted by the fact that the optical theory'
involved has not received the indorsement
of a single expert in optics, although men
of the stamp of Hauck and Thiersch have
devoted their energies to a solution of the
problem; furthermore, it is controverted
by recent investigations of inward curves
in plan at Cori, Pgestum and Egesta,
which show that "it is exactly an optical
effect of sagging downward which is
actually produced by these concave curves
in plan, as far as the upper horizontal

lines are concerned" ; and finally it is set
at nought by a principle in the elements
of perspective, by virtue of which "lines
above the level of the eye, and especially
on near approach, curve downward to-
ward the extremities and not toward the
center." Another explanation hopelessly
beside the mark was that based upon the
opinion that Greek buildings were des-
tined to be seen from fixed points of
view. This cannot, of course, hold water
in face of the extended excavations at
Olympia, Delphi and other centers, for
each spectator would require a municipal
map of progress through these cities, with
marked points of accent, so that he might
be assured of a proper point of view in
accordance with that intended by the
architects of the buildings.

Yet Mr. Goodyear does not ignore the
human possibility that such curvatures
might be modulations (1) "designed to
please the eye by avoiding the inartistic
effects which attend formal monotony ;"
(2) "intended to suggest and accent de-
sirable effects," or (3) "intended to avoid
unpleasant effects." These three possi-
bilities are illustrated in order ( 1 ) by the
horizontal curvature ; (2) by the "con-
vergence and inward leaning of the main
perpendicular lines, which gives an effect
of solidity and strength;" and (3) by the
decreasing intercolumniations between
angle columns and the concomitant "vari-
ations in the metope widths."

Let us consider briefly the history of
exploration in regard to Greek refine-
ments. To begin with, none of these de-
flections from geometric regularity were
known through publications before 1838.
In 1836 horizontal curvatures in the Par-
thenon were first noticed by Joseph Hof-
fer, the court architect of the contempo-
rary Bavarian king of Greece, and in
1838 he published his observations, to-
gether with a goodly number of measure-
ments, in the Wiener Bauzeitung. At
about the same time and, no doubt, inde-
pendently, John Pennethorne observed
the same curvatures in the Parthenon, not
to mention others in the Theseion and the
Athenian Propylaea ; but only after a
study of the directions given by Vitruvius
and a journey to Egypt (in 1833), where
he found other curves in plan in the tem-

284

THE ARCHITECTURAL RECORD.

pie of Medinet Habu. Pennethorne's in-
vestigations found form in a p.-aiphlet
privately circulated in 184^f and in a folio
volume published in 1878 entitled Geome-
try and Optics of the Ancients. The task
of investigation in this field was next un-
dertaken by Francis Cranmer Penrose,
its chief apostle before Mr. Goodyear,
and whose results were published in 1851
under the title An Investigation of the
Principles of Athenian Architecture.
This was up to the time of the publica-
tion of the volume under discussion the
best and most general work in the field,
but its bulky proportions and specialist's
point of view precluded its general use-
fulness. We can safely say that the aegis
has now been transferred to new shoul-
ders. Nor has Mr. Goodyear's advocacy
of the aesthetic quality of these deflec-
tions been the joyful path of a bringer of
welcome news ; for he has shared the fate
of every prophet, being, in the nature of
things, without honor in his own country.
The author's studies date from 1868,
when he learned his first steps in this di-
rection from Carl Friedrichs of the Ber-
lin Museum, and were propagated and
widened in scope by suggestions found in
Forster, Burckhardt and Ruskin to in-
clude similar deflections in Italo-Byzan-
tine and Italian-Romanesque buildings.
After several years of study, extending to
1874, the researches were discontinued
until 1895, when were begun the deep
studies which have since that time, thanks
to Mr. Goodyear's unflagging zeal, grad-
ually gathered to themselves a definite
form and reality in the minds of men,
professional and others, so that the Greek
refinements now constitute an undeniable
and accepted factor in the Greek con-
structive system.

It is noteworthy that at the very be-
ginning of these discoveries Hoffer's ac-
count gives due credit for the aesthetic as
.well as the structural value of his find-
ings. For instance, he says : "In modern
times great porticos, of at least equally
large dimensions, have been built, and yet
we have not been able to achieve the
same satisfactory effect . . we find then
that the Greeks were not content to build
their temples according to narrow rules
or according to such a canon as Vitruvius,

or the modern architects, endeavor to es-
tablish, but that everything was with
them a matter of feeling. They had the
feeling, which was encouraged by their
high culture and their happy climate, that
straight lines have a cramped and stiff
effect (einen beengenden und starren Ein-
druck)." In this connection Mr. Good-
year's subtitle, Studies in Temperamental
Architecture, should be noted, and also
his statement, on page 68, that " . . the
classic horizontal curvatures were tem-
peramental refinements inspired by the
sentiment of beauty and by artistic pref-
erence, and not by a desire to exaggerate
by optical correction the formalism, stiff-
ness and rigidity of straight lines." And
it is interesting to trace in the writings of
other art historians of note a similar in-
tentional avoidance of any theory of pure
optics and a decided insistence upon the
temperamental quality as raison d'etre for
the Greek refinements. Witness Kugler's
opinion that the desired result was "an
effect of breathing life" ; or Schnaase's,
"a feeling of life inspired the whole
building"; or Burckhardt's, "These
(curves) are the expression of the same
feeling which . . everywhere sought to
give to apparently mathematical forms
the pulsation of a living organism." Sim-
ilar passages of generally identical con-
tent may be found in Michaelis, Boutmy,
Choisy, Anderson, Spiers, Percy Gardner
and Ruskin.

An interesting section of Mr. Good-
year's book is that concerning the uni-
versality of the use of horizontal refine-
ments, and another is that concerning the
method of construction of horizontal
curves in temple platforms. After read-
ing an account with such a sharp focus
as that contained in the present volume,
it is not difficult to assume that these plan
and elevation deflections were of univer-
sal application. The reverse is demon-
strated by the author and the reason for
the absence of curves in certain cases is
found in the necessary economy of labor
and of money practiced when buildings
were erected in times of national stress.
This reason would not, of course, affect
stylobate deflections, but chiefly the sub-
sequently necessary grinding of the beds
of the lower column drums to give them

THE ARCHITECTURAL RECORD.

285

the proper position and inward inclination
under the conditions of a curved base.
Temples without horizontal curves are
the Erectheion at Athens, built eight
years after the completion of the Parthe-
non, the temple of Nike Apteros, also on
the Acropolis and likewise of the fifth
century B. C., the temple at Phigaleia, of
which the architects of the Parthenon
were also the authors, the temples at
Aegina and at Rhamnus, both the Zeus
and the Hera temples at Olympia, and
the sixth century Greek Basilica at Paes-
tum in southern Italy.

There are therefore a number of im-
portant buildings in which refinements of
the horizontal type at least do not play.
any part at all. Apart from the possible
reason above stated, there may be one
other important cause for the omission of
such deflections, namely, the desire of the
architect in question. Says Mr. Good-
year on page 115 : "How did the introduc-
tion of these various Greek devices actu-
ally come about, as a matter of fact?
Common sense would lead us to suppose
that, aside from Egyptian influence or ex-
ample in the matter of curves, and per-
haps also in other directions, the intro-
duction of the Greek refinements was
gradual, tentative, and experimental, and
that it was also temperamental, and con-
trolled by the susceptibilities and sensi-
tiveness of the individual architect. Only
this point of view could explain the varia-
tions in the measurements for the same
refinement in different buildings." We
have, therefore, a free and spontaneous
and, better yet, individual interpretation
in the execution of Greek refinements ;
they are not only tolerated but obviously
intentional and really a part of design as
we understand it. And this is a new con- .
tribution toward the proper definition of
that much maltreated descriptive adjec-
tive, classic.

The matter of the method of laying
stereobate or stylobate stones in order to
obtain the desired curvature is made clear
by the author's reference to Emile Bur-
nouf's explanation, dated as long ago as
1875, of Vitruvius' directions concerning
the use of scamilli impares, or unequal
sighting projections (scamillus is best
translated by the French word nivelette}.

The scamilli on the individual blocks were
of varying sizes, graded according to po-
sition— shorter on the middle blocks, tall-
er on those in the extremities of the stylo-
bate — and by sighting properly along
their points, the calculated curvature was
readily obtained. It is obvious that a sim-
ilar method would also be feasible for set-
ting out curves in plan.

In order to make his book sufficiently
inclusive, Mr. Goodyear also devotes a
section to vertical inclinations in Greek
temples ; notably the inward lean of the
columns (pointed out by Donaldson in
1829), with the consequent diagonal in-
clination of the corner shafts, the for-
ward leaning of antse, the entasis (which
has been published only since 1810) and
the diminution of columnar diameters. A
thoroughly illuminating chapter is that on
"Asymmetric dimensions in Greek tem-
ples," wherein is adequately set forth that
formal regularity was not the "desirable
ideal of classic architecture." In this con-
nection is discussed the Hera Temple at
Olympia, with its heterogeneous columns
which, according to Dorpfeld, superseded
original timber shafts in the order of
their decay and therefore illustrate a
number of successive phases in the treat-
ment of column and capital. These dis-
crepancies are seen in a new light when
discussed in the same paragraph with
similar variations at Selinus, in Temple
G ; nor are we yet satisfied with any ex-
planations thus far advanced in regard to
Greek indulgence on this head; for ob-
viously, according to Durm, "it did not
offend the Greek sense of beauty to allow
columns of quite unlike form in the same
building side by side." An amazing ex-
ample of such disparity of column diam-
eters is seen at Syracuse in Ortygia,
where in the sixth century Apollo Temple
the two remaining "monolithic angle col-
umns, on the same front, differ by a foot
(thirty cm.) in diameter." From Mr.
Goodyear's instructive chapter on the
many Greek asymmetries, those in plan
dimensions, spacing and diameter of col-
umns, and others, we may, then, select the
following concise statement of the case:
"The fact thus stands out in bold relief
that both systematic and unsystematic ir-
regularities are found in the same Greek

286

THE ARCHITECTURAL RECORD.

temples." And this is followed by the
promise of a subsequent volume on the
curvatures in buildings of a later date ;
therefore we obtain a foothold and par-
allel for demonstrations in later volumes
of these studies that the existence of un-
systematic irregularities of dimension in
a given medieval cathedral, does not pre-
clude or discredit the existence of system-
atic irregularities in the same cathedral.
This gives us no little food for thought by
way of anticipation ; we eagerly await the
study of the medieval refinements, for
these have been made the target of the
most virulent attacks in the past.

Finally we heartily congratulate Mr.
Goodyear upon this notable volume, its
scholarly and efficient arrangement, and
its sterling subject matter. For purposes
of demonstration and suitable reference
an appendix is added to each chapter ;
the footnotes are lettered and appendix
sections are indicated in the body of the
text by numbers. There is also an index
of authorities with page references, and
an analyzed index of subject matter. The
book is a .fine example of American ideals
in typography and illustration, as well as
of the exacting standard of the Yale Uni-
versity Press.

OLD PHILADELPHIA.

v\ TT E have in our Atlantic Seaboard
My States a wealth of worthy archi-
tectural remains from the eigh-
teenth century, and all too few of
them are widely known. Many of these
old buildings are in places difficult to
reach and there is no accessible or ac-
curate record of the details and features
that give them their peculiar charm.
Year by year the ancient structures grow
less in number and with the demolition of
each one we suffer an irreparable loss to
our heritage which is only mitigated in
some degree by the possession of accu-
rate measurements and drawings.

The authors of Old Philadelphia Colo-
nial Details* have reaped in a fat field,

*Old Philadelphia Colonial Details. Measured and
Drawn by Joseph Patterson Sims and Charles
Willing. New York : Architectural Book Publish-
ing Co., $10.

for Philadelphia and the neighboring
country offer an abundance of valuable
architectural material that has scarcely
been touched. Of the fifty odd large folio
plates, drawn chiefly at three-fourths inch
scale or else in full size, thirteen are de-
voted to Hope Lodge, built in 1723 and
an excellent example of early Georgian
work. Seven plates are given to Graeme
Park, Horsham, built in 1722 by Sir
William Keith. Graeme Park, owing to
its location, is difficult to reach and, as
the house presents one of the finest ex-
amples of early Georgian panelling, and
moulding details, one wishes that even
more space might have been bestowed
upon it. Cliveden in Germantown also
has seven plates. To the State House
(Independence Hall) are given five
plates, the south elevations being from
measurements made by Messrs. Brockie
and Hastings.

Three city houses, 338 Spruce Street ;
the Stocker house, 402 South Front
Street, and the Bishop White house at
Front and Pine Streets, have respectively
three, four and three plates. Those of
the Stocker house, built about 1768, are
particularly interesting because they
show the beginnings of Adam influence
in American work. The rest of the
plates are taken up with various details,
including the panelled side of the parlor
at Whitby Hall, some interesting pieces
of exterior ironwork along the river
front and doors and mantels from the
King of Prussia Inn (now demolished)
in Germantown.

It is to be regretted that the word "Co-
lonial" in the title is somewhat mislead-
ing, for the work illustrated is all Georg-
ian and there is not a single piece that is
truly Colonial. In a book of such excel-
lent purpose and, in the main, creditable
execution, it is unfortunate that such a
concession should have been made to
popular laxity in the application of the
terms "Colonial" and "Georgian."

It is distinctly gratifying to note the
large share of attention that has been
given to mouldings and to the faithful
presentation of their profiles.

H. D. E.

NOTES
AND
MMENTS

The First
City

After six years of con-
struction France has
opened her first garden
city, at Draveil, near the
gates of Paris. No doubt
another period of even
greater length will pass
before the whole work
of plantation, laying out of streets, and
sanitation is completed, not to mention the
erection of some five or six hundred dwell-
ings, of which but fifty are now standing.
France at last feels acutely the need for
proper building facilities to provide a solu-
tion for the problems of city crowding and
inadequate housing, although both England
and Germany have these many years set
her a consistently praiseworthy example,
with tangible results in the form of greater
health and lower mortality. It is surely
time that a nation threatened by the omin-
ous shadow of a falling birth rate should
give attention to the greater care of chil-
dren. It is for these that the garden city
will offer the greatest benefits in the way
of normal growth and physical efficiency,
which are invariably an asset to the nation
at large.

For six or seven years
the Germans have been
Ingenious at work preparing new
Repairs to uniform concrete foun-'
Strasburg dations for one of the
Cathedral. 142 metre spires of
Strasburg Cathedral.
The undertaking would
not have been completed until 1917, but has
now, of course, been indefinitely postponed.
The method of carrying out the necessary
repairs is of the utmost interest. A com-
plete circle of concrete piles was sunk
around the base of the spire and their
heads bound together by a concrete crown.
The earth around these piles was saturated

by hydraulic pressure with a thin cement,
or "milk of cement." Another concrete
unit or "collar" was prepared to form a
base for the tower itself, and between this
and the previously mentioned concrete
crown the actual work of support during
operations was done by twelve powerful
jacks. After the whole weight of the tower
has been brought to rest upon these provi-
sional foundations', the old stone under-
structure will be removed and superseded by
an immense "thimble" of concrete which is
destined to serve as the final foundation.
The whole work will cost not less than
$500,000.

The exposition en-
titled "L'Art pour 1'En-
An Exposition fance," recently held in
of Art the Galliera Museum in

for Children. Paris, succeeded in as-
sembling a most re-
markable collection of
works in a rather unus-
ual field. The exhibits were extremely
various in nature, including pictures of
children, historic children's costumes, peas-
ant toys, books, nursery decorations, and
other artistic efforts, and it was a revela-
tion to the casual visitor to note how large
a part children play in the modern ar-
tistic world. The court of the museum was
filled with play-houses of various types,
exhibited by the Paris department stores:
houses varying from the architecture of the
thatched Breton cabin to that of the trel-
lised arbor. In the main hall toys vied
in interest with portraits of children, il-
lustrated children's books and quaint cos-
tumes of the eighteenth century. But the
exhibits in the long gallery at the rear
were, perhaps, the most interesting of all.
Here a number of small sections were di-
vided off to show attempts at nursery deco-
ration. One of these compartments, with

288

THE ARCHITECTURAL RECORD.

CHILD'S ROOM BY MISS JESSIE KING-EXPOSI.
TION DE L'ART POUR L'ENFANCE.

white walls and cream-colored furniture,
was the work of Miss Lloyd; the English,
it seems, excel in this form of art. The
high dado around the room was white, with
light blue dots, surmounted by a frieze of
gray, decorated with conventional flowers
in natural colors. The insets in the fur-
niture were of yellow rattan, with colored
pictures of animals to add an additional
note of gayety. Another nursery interior,
by Miss Jessie King, of Glasgow, was al-
most entirely in blue
and white, and its
air of brightness and
cleanliness delighted
all the mothers who
visited theexposition.
The blue walls and
white-painted wood-
work and furniture
were relieved by de-
signs in gay colors,
green and yellow
predominating. The floor was a dark gray,
the curtains' light blue. This room had a
large window, with insets of colored glass,
whose light tones added animation to the
general effect without greatly reducing the
amount of sunlight admitted to the nursery.
The room contained, in addition to its
ingenious built-in cupboards and window
seat, and the usual table and chairs, a most
charming dolls' house, designed in the
style of the room, and a remarkable hobby-
horse, this latter being the work of Mile.
Isabelle de Nolde.

In the same gallery, ranged along the op-
posite wall, were the delightful toys de-
signed by Andre Helle, the well-known
humorist. Here we have a procession of
cut-out wooden toys, representing the King
(Louis XIV, to judge by the costumes of
his following) on the way to the war. This
type of wooden toys, of which Helle and

GIRL'S ROOM BY MISS LLOYD— EXPOSITION
DE L'ART POUR L'ENFANCE.

WOODEN TOYS BY ANDRE HELLE-EXPOSI-
TION DE L'ART POUR L'ENFANCE.

Canau d'Ache have produced such excel-
lent examples, is one that deserves a great
degree of popularity. Because of the sim-
plicity of the construction, excellent de- '
signs are possible at small expense, and
surely these vigorous silhouettes, with their
bright colors', should appeal more highly
to the imagination of the child than the
stuffed horses and woolly lambs of our
own less fortunate infancy. Helle exhibit-
ed also, in addition to his wooden toys.
pages from his books
for children, illus-
trated in much the
same spirit, wall-
papers for nurseries,
and other similar
designs, but the
toys seem to have
the widest appeal.
Wooden toys of the

same type have met
with considerable
success in Germany, and there seems no
reason why America should offer a less
promising field for a similar experiment.

The Hotel Biron,

after many vicissitudes.

will at last find a perma-

The Hotel Biron nent owner in the

a National French government. The

Monument. building is one of last-

ing beauty and a fine ex-

ample of the manner of

Jacques Gabriel, from whose designs it was

erected in 1730. It is now to become a

"national monument" and a depository for

the Musee Rodin, in which will be exhibited

Greek and Egyptian collections owned by

the great sculptor, as well as much of his

personal work. The establishment of this

museum but slightly antedates that founded

by the same artist in London.

**«

fc •*

•

PUB LISHE

IN NE\</ YO

XNTSaCOPY
& YE

ii ill

V K

Space is vital in the mod-
ern office building. Any
method of construction
that economizes it is sure
to interest you. You can

specify 2" solid partitions if the

plaster is laid on a base of

Expanded Metal Lath

and be sure of satisfactory results.

"Kno-Burn" has other advantages. It is fire-proof,
easy to apply and easy to plaster over and equally
suitable for walls, partitions, stairways and ceilings.

"Kno-Burn Expanded Metal Lath" is our newest booklet.
We should like to have you look it over and then file i't for
reference.

Send us your address today.

NORTHWESTERN EXPANDED
METAL CO.

910 Old Colony Bldg., Chicago, 111. fg Jf^

VOL. XXXV1L No. 4

APRIL, 1915

SERIAL NO. 199

ARCHITECTVRAL
sj> RECORD

COVER-AN ITALIAN GARDEN. By C. Matlack Price t»w

THE MEDIAEVAL MARKET PLAGE AT YPRES . . .289

By G. A. T. Middleton

RECENT ASPECTS OF GARDEN DESIGN . . . .300

By Harold D. Eberlein

THE HOTEL STATLER IN DETROIT: Geo. B. Post £- Sons, Architects , 320

By W. Sydney Wagner

THE GROUPING OF FARM BUILDINGS: Examples from the Work of

Alfred Hopkins - 340

By John J. Klaber

COLONIAL ARCHITECTURE IN CONNECTICUT . 360

Text and Measured Drawings by Wesley Sherwood Bessell

PORTFOLIO OF CURRENT ARCHITECTURE - 370

THE ARCHITECT'S LIBRARY: Books from University Presses. Part II - 379

NOTES AND COMMENTS - 383

Editor : MICHAEL A. MIKKELSEN. Contributing Editor : HERBERT D. CROLY

Advertising Manager : AUSTIN L. BLACK

PUBLISHED MONTHLY BY

THE ARCHITECTURAL RECORD COMPANY

115-119 WEST FORTIETH STREET, NEW YC. 'K

F. W. DODGE, President

F. T. MIDLER, Secretary and Treasurer

PERGOLA AND TERRACE-GARDEN AT BEA-
CON HILL HOUSE," ESTATE OF ARTHUR CUR-
TISS JAMES, ESQ., NEWPORT, R. I. OLM-
STED BROTHERS, LANDSCAPE ARCHITECTS.

AKC

THE

ITECTVRAL

RECORD

APRIL, 1915

VOLVME XXXVII

NVMBER IV

MEDIAEVAL MARKET PLACE
°f YPRES. AN IRREPARABLE WAR
LOSS TO ARCHITECTVRE^

BY C.A.T.MIDDLETON

THE bombardment and consequent
destruction of Ypres, being a legit-
imate act of war, has not caused
a shudder to pass through the civilized
world as did the burning of '.Louvain,
but it is quite doubtful whether the archi-
tectural loss has not been greater. No
Gothic group of buildings in Europe, ex-
cept that at Westminster, which owes
much to the modern Houses of Parlia-
ment, could compare with that which
the Grande Place of Ypres disclosed —
the largest market square in Belgium, but
by no means frequently visited by for-
eigners, who were more attracted to the
flourishing neighboring towns of Bruges
and Ghent, these being more generally
accessible. Like Westminster, the group
consisted of two great buildings only —
the Cloth Hall and the Church of St.
Martin — emphasized only by the juxta-
position and inclusion in the general mass

of many works of minor importance,
greatly differing from one another, yet
in perfect harmony ; and, as at Westmin-
ster again, the greatest building of all
was not ecclesiastical.

The history of Ypres cannot be traced
with certainty further back than the sec-
ond half of the tenth century, when it
consisted of a few houses grouped round
a small castle on an island of the Yper-
lea (the river now so well known as the
Lys); probably of similar character to
several marshy islands still formed by
the river, which almost wholly circles the
town, along the lines of the moat of the
middle ages, just outside the walls. It
grew with great rapidity, for in a hun-
dred years (a short space of time in those
days for so much progress to be made)
it had become quite an important town,
a center of the cloth weaving industry,
possessing two parish churches some dis-

290

THE ARCHITECTURAL RECORD.

FONT, ST. MARTIN'S CHURCH, YPRES.

tance apart ; and within another hundred
years it had become the metropolis of
Flanders, with a population of no less
than 200,000, not all cooped up in the
narrow circuit of the walls but spreading
out into suburbs, where a large home-
weaving industry was carried on.

It was at this period of unexampled
prosperity when the great Church of St.
Martin — the most beautiful church in
Belgium — and the even greater Cloth
Hall, unparalleled amongst secular build-
ings of the Gothic era, were erected.
Both of these have now almost wholly
disappeared. The extent of the damage
done can be gauged by comparing the
general sketch of the group from the
Grande Place, made in 1910, with the
photograph taken from almost the same
position recently, though the latter does
not include so much as the former. It
will be particularly noticed that the whole
of the Hotel de Ville (locally known as
the Nieuwercke) has been swept away.

Possibly, however, the loss which
architecture has sustained can best be
understood by describing and illustrating
these buildings as they were before the
war — as the writer has known them for
a period of some twenty years, without
material change till now.

The Church of St. Martin, generally
known as the Cathedral, though it ceased
to be the seat of a bishopric a long while
since, was built on the site of another
church whjch was begun in 1073. This,
like many another Romanesque edifice,
was demolished in the thirteenth century
to make room for one more in keeping
with the growing wealth and importance
of the town, and the present choir was
commenced in 1221. It was apsidal,
without the usual chevet of chapels, and
probably followed the plan and was built
on the foundations of the earlier apse, if
indeed this was ever entirely pulled
down, for the arcading of the triforium
was of early and severe Romanesque
character, and externally the pointed
lancet windows above (of almost Eng-
lish character) were continued in Romap-
esque arches. The cylindrical piers, with
capitals whose foliage represent the
broad leaves of the hart's-tongue fern,
were typical of thirteenth century work,
whether of Belgium or Northern France,
but in themselves were not conclusive
evidence of early date, for such are to
be found occasionally in later work, and
in fact occur, with scarcely any modifi-

INTERIOR OF ST. MARTIN'S CHURCH,
LOOKING EAST.

THE ARCHITECTURAL RECORD.

201

cation, in the nave also, though this was
not commenced till 1254, when it was
pushed on rapidly, being finished twelve
years later. The nave piers, however,
differed from those of the choir in hav-
ing statues protruding from them, in the
same fashion as in the Cathedral at
Malines, while in the choir statues
were introduced above the capitals, where
they had the appearance, though not the
actuality, of serving as corbels for the
vaulting shafts to spring from. The
vaulting was all of the simple quadri-
partite character generally found on the
continent of Europe, the filling being ar-
ranged as it would be in France ; so that
in all essentials the church was of French
type internally, except for the absence of
the chevet. Even the nave arches were
almost unmoulded, having only a roll on
the outer angle, while the inner order
was chamfered, thus following the se-
vere French fashion, which retained the
Romanesque mouldings in all their sim-
plicity till the end of the fourteenth cen-
tury, in apparent ignorance of the elab-
orately beautiful groupings of undercut
mouldings which were being evolved and
gradually modified in England at that
time.

CONFESSIONAL, ST. MARTIN'S CHURCH,
YPRES.

CHOIR STALLS, ST. MARTIN'S CHURCH.
YPRES.

The church furniture, if one may judge
from photographs of the remains, appears
to have suffered less than might have
been anticipated, for although the finely
carved and unusually well restrained
wooden pulpit, with its statue of St.
Thomas of Aquin, and its heavy sound-
ing board so cleverly constructed as to
look as if it were floating in the air, have
apparently all disappeared, the world-
famous choir stalls seem to be intact.
These were the work of the carver Tail-
lebert, a native of Ypres, and were in-
serted in 1598, a date which would make
them contemporary with the Jacobean
work of England to which they are
greatly superior, the only resemblance
being in the generally low relief adopted.
The bishop's throne, shown in the photo-
graph, is a remarkably fine piece of
work which well repays a close study.

Just behind the choir stalls, and stand-
ing in the choir aisle, there used to be,
and possibly still is, a confessional box
of a later and more florid type of Renais-
sance, but so strongly influenced by the
restraint of the choir stalls as to harmon-
ize with them almost as perfectly as if
they were the work of the same carver.
The central (priest's) box has a low door

292

THE ARCHITECTURAL RECORD.

ST. MARTIN'S CHURCH, YPRES, AS IT APPEARED IN 1910.

c^l^MpS

V* ,_jmr L

7T J,i UJ-- -4*
k, , -™ -J *-->^

V ,,Myi-..,.r f.p •/',•-/,

* *?

itti " — ** II . ij <*7

I ! |;

THE OLD BISHOP'S PALACE AND MONASTERY, YPRES.

ul
U

CL
UJ

oc
V

<£
Q.

r
h
o

o 3
S §

Photograph by

Newspaper Illustrations, Ltd.

RUINS OF THE CLOTH HALL AND HOTEL DE
VILLE, TAKEN FROM THE GRANDE PLACE.
ST. MARTIN'S CHURCH IN BACKGROUND.

Photograph by

Newspaper Illustrations, Ltd.

RUINS OF THE BELFRY OR CENTRAL
TOWER OF THE CLOTH HALL ON THE
GRANDE PLACE, YPRES, BELGIUM.

296

THE ARCHITECTURAL RECORD.

CENTRAL TOWER OF THE CLOTH HALL. '
YPRES, BEFORE BOMBARDMENT.

to it, and over the doorway a dove is
shown descending, emblematical of the
Holy Spirit.

Another notable piece of furniture was
the font, with its cover, all of cast and
hammered brass, generally massive in de-
sign but with delicately executed 'figures,
three in number, acting as caryatid sup-
ports to the canopy of the cover ; which,
however, they do not really carry, for of
course the cover is suspended (from an
ugly iron swinging bracket). One was
consequently tempted to criticize the de-
sign as conveying a wrong impression.

Close to the font, on the north side of
the church, a door which few people were
permitted to pass led into the cloisters of
the old monastery, utterly neglected for
many years past, forming a small well
between the church, the monastery, and
the Bishop's Palace. On the north side,
where the cloister walk has been built
over at a much later date with ugly
brickwork, the work appears to be con-
temporary with the nave — that is, to
belong to the second half of the thir-

teenth century; but the eastern walk is
flamboyant in character, something like
200 years later. That the cloisters were
in use within comparatively modern
times, however, was indicated by the
tracery being filled with commonplace
glazing in wood frames.

Unoccupied, bare and cheerless as were
the rooms of the monastery, their close
investigation led to the discovery of a
magnificent mediaeval, steep-pitched,
timber roof, which it was possible to
photograph above the level of the tie
beam which carried the attic floor. It
will be noticed that a secondary tie-bearn,
or collar, was carried on the extremities
of lower principals, aided by brackets,
while side brackets were also used,
springing from the same lower principals,
to carry the plates (or purlins). These
upper principals were framed into the
collars; and so it went on, till the ridge
was reached. The position of the scarf
in the purlin was worth noting, and alto-
gether the construction deserved consid-
eration, if only for curiosity in an age
when such roofs would scarcely be re-
peated.

It was altogether exceedingly difficult
to disentangle this group of buildings,
which formed a picturesque medley of
roofs, chimneys and turrets when seen
from outside, butting up against St. Mar-
tin's tower, but at one time the Abbey of
St. Martin, founded by Pope Pascal II
in 1 102, stood upon the site. It belonged
to the Canons Regular of St. Augustine,

VAULTED MARKET UNDER THE CLOTH
HALL, YPRES.

THE ARCHITECTURAL RECORD.

297

ROOF or me CLOTH

YPRE5

DETAILS FROM THE ROOF OF THE CLOTH HALL AT YPRES.

but where it commenced or ended, where
the Bishop's Palace came in, or where
"Poor Clares Convent" stood (also men-
tioned in connection with the same site)
it would be difficult to say. Possibly the
same area was devoted to several uses
at different times.

Externally the tower of St. Martin's,
an exceedingly fine piece of work of it-
self, was out of proportion with the rest
of the church, for it was centrally placed
at the west end and so wide as to en-
compass the 'whole width of the nave.
Logically, in an architectural sense, this
is right, for a fitting termination for the
nave is produced, but it takes a very long
church to carry such a mass as results at
its extremity with any sense of fitness,
even when, as in this case, much is done
to lighten the effect by introducing tra-
cery in the upper stages. There is also
difficulty in introducing a commensur-
ately sufficient doorway for a great
church within the restrictive limits of a
tower without apparently weakening its
supports. This has been very well done

indeed at St. Martin's, the necessary ef-
fect of strength not even being dimin-
ished by the introduction of a traceried
window within the great enclosing arch
of the doorway, and above the heads of
the actual doors themselves, in place of
the usual sculptured stone tympanum —
treatment which, elsewhere, was only to
be found at Reims.

The sketch of the east end indicates
how admirably St. Martin's grouped with
the Cloth Hall from this side, as well as
from the Grande Place; yet, though
erected at very much the same time, they
were totally different buildings in archi-
tectural spirit as in use.

The Cloth Hall was commenced in the
year 1200, when Baldwin of Constanti-
nople was Count of Flanders, the first
portion to be taken in hand being the
central tower, or belfry, and the eastern
wing, extending from it to the Grande
Place. This was finished in 1230 and
the work was not resumed till 1285, when
the similar western wing was added, then
turned northwards and then eastwards

298

THE ARCHITECTURAL RECORD.

ROOF OF THE MONASTERY. YPRES.

again, all in accordance with the original
design and forming the letter J on plan,
the whole being brought to conclusion
in 1304, rather more than a hundred
years from the start. For simplicity and
directness of design no mediaeval build-
ing could compare with it, perfect in bal-
ance, well proportioned, admirably held
together and beautifully detaile*d. On
the ground floor an arched passageway
passed through the central tower while
a large covered market extended along
either wing, reached by numerous square-
headed doors directly from the road and
lighted by small traceried windows over
them — the square tower openings going
far to give an appearance of substantial
strength to the whole building.

This market, with its curious groined
vaulting of small bricks, supported by a
row of octagonal pillars down the center,
was -unique.

The arcades on the upper floor, while
appearing superficially to consist of a
range of similar and evenly spaced win-
dows, were alternately of glazed and of
blind tracery, the "lights" in the blind
arches being filled with statuary of high
order ; and a crenellated parapet fringed

the eaves, breaking the harshness of the
horizontal line without destroying its
character.

Internally, the whole of the upper floor
forms one huge room which, in addition
to two returns, was no le.ss than 433 feet
long, though only 38 feet wide ; redeemed
from being too greatly extended in ap-
pearance by the rising of the tower
arches across the centre, and by the
grand open timber roof, in construction
not entirely unlike that to the monastery,
already described. It was, however, bo^i
richer and larger, as will be seen by the
sketch section, while it possessed a most
exceptional feature in the form of a
trussed support to the ridge, like a double
trellis girder in timber, which extended
the whole length of the building, binding
it longitudinally though greatly adding
to the weight. The scantlings of the oak
tie-beams, 18 in. x 15 in., with a span of
nearly 38 feet, will be noticed; and so
will the fourteenth century character of
the mouldings wrought upon them at
their junction with the brackets, though
the Renaissance carving at the foot of
some of the wall pieces, bearing date of
the period of the Spanish occupation of
the country, may indicate that repairs
were undertaken then or possibly more

LA CONCIERGERIE, YPRES.

THE ARCHITECTURAL RECORD.

299

likely that a carver at that time set him-
self to enrich the older work.

It is a wonderful indication of the
trade of Ypres that such an enormous
room should have been needed for the
annual cloth fair in the early part of the
fourteenth century.

The Nieuwercke, or Hotel de Ville,
containing the . municipal offices, which
stood at the east end of the Cloth Hall,
facing the Grande Place, was built about
1620, it is supposed from plans made in
1575 by John Sporemah, an architect of
Ghent. At any rate it was in the style of
the Spanish Renaissance, light and pic-
turesque enough, and an excellent foil to
the severe Cloth Hall, but far from good
in detail.

There must • have been ' much small
building, or at any rate of reparation
work done at Ypres at about that date,
for many an older front of cut brick-
work, with four centred pointed arches
to the window heads and stepped gables
with curiously twisted finials, has had in-
.troduced into it somewhere a rectangular
Renaissance window, often displaying
the shell ornament conspicuously and
with hopeless lack of any sense of bal-
ance.

Ypres has now fallen from its high
estate and this sort of thing was only to
be expected. It had received its first
serious blow in 1383 when it was be-
sieged by English troops acting in con-,
cert with the men of Ghent, the whole of
the populous suburbs being destroyed.
The cloth trade declined ; it ceased to be
the commercial metropolis of Flanders,
but for the whole of another hundred
years and longer it still remained a place
of consequence. Then came the troubles
of the Spanish occupation and it was
sacked in 1566, 1578 and again in 1584,
being reduced to a community of 5,000
souls. Then for two whole centuries it
figured constantly in history as the scene'
of sieges, bombardments and captures,
followed invariably by pillage and ruin-
ous taxation, so that the wonder is that
anything remained of its ancient glories.
Yet, till quite recently, a fourteenth cen-
tury timber house was standing, while
the front of another had been re-erected
within the great room of the Cloth Hall ;
and twisted gables, in wood and plaster,

of the time of the Spaniards, contempor-
aneous with the English Elizabethan
work and somewhat similar thereto, were
not uncommon, as exemplified in the
house known as the Conciergerie.

Another significant record of that im-
portant epoch existed at Ypres, and may

SHOP FRONT OF CUT BRICKWORK, YPRES.

possibly still be there, in the Museum.
Philip II of Spain, launching his Ar-
mada against England and claiming the
English throne from Queen Elizabeth as
the husband oi her predecessor, Mary,
whom he had married as a child, had
taken his bride's wedding chest to Flan-
ders, ready for transport across the nar-
row seas as soon as his Armada should
succeed. It failed, as all know, and the
chest remained in Flanders and found its
way to the Museum at Ypres.

Again Ypres has suffered devastation,
more complete than any in its history of
trouble, except that it has not actually
been occupied by enemies ; and some day
we may confidently hope that it may rise
again to at least a reasonable prosperity
and accompanying architectural import-
ance.

ANTIQUE URN-GARDEN OF RUSSELL A.
ALGER, JR., ESQ., DETROIT. MICHIGAN.

PERGOLA— GARDEN OF CHARLES W. HUBBARD, ESQ., WESTON, MASS.
Olmsted Brothers, Landscape Architects.

RECENT ASPECTS y GARDEN DES1CN

BY HAROLD-D EBERLEIN

FROM a critical examination of the
results of modern garden design
may be learned many a valuable
lesson. What is of greater and more
specific import, if we are alert to apply
the principles to be deduced from such
a discriminating survey of the subject,
we can scarcely fail to arrive at an at-
titude that may readily be translated,
through well considered choice, into
wisely constructive action.

Garden planning is both an art and a
science and has ever been regarded by
the more thoughtful as a worthy object
of serious and sober endeavor. As such
it is based on certain fundamental prin-
ciples and it is absolutely essential that
these principles be kept always in mind
as a safeguard and check to ensure san-
ity of design and execution. No more
illuminating instances of the application

of these principles can be adduced than
the work accomplished within several
decades past by the foremost designers
of gardens in America. At the same
time, it will be well to direct attention
to certain aspects of garden design both
past and present in England, whence
so many of our own garden traditions
are derived, and afford grounds of com-
parison with the best of contemporary
British achievement.

To understand the rationale of gar-
den making, it is necessary at the very
outset to recognize the two elemental
purposes for which gardens were first
made and for the fulfillment of one or
the other or both of which they are still
contrived. Those two elemental pur-
poses are utility on the one hand and
pleasure or adornment on the other. We
must keep account of both if we would

302

THE ARCHITECTURAL RECORD.

follow intelligently the development of
garden planning and fully appreciate
modern aims and performances, in the
light of history, as the results of an or-
derly evolution from worthy antecedents.
The ancestor of our modern garden was
designed in its "utility" capacity as a
proper place for the cultivation of fruits,
the raising of vegetables requiring pro-
tection and careful culture, such as were
not wont to be sown in bulk as field
crops, and the growing of sundry herbs
and simples. In other words, the gar-
den in its utility capacity was a kitchen
garden. In its capacity as a place for
pleasure, adornment, outdoor relaxation
and the raising of plants and flowers for
the gratification to be gained from their
beauty or perfume, the ancestor of the
modern garden was also a highly im-
portant ins'titution. Indeed, "in Tudor
and Stuart days people were accus-
tomed to spend a great deal more time
in their gardens than did succeeding gen-
erations and it is only within recent years
that we have regained an equal love and
practice of garden life. How fully some
of our forebears used their gardens may
be gathered from what we read of Sir
Thomas More's garden in Southwark,
where, on Sunday afternoons, were wont
to gather and walk to and fro, notable
persons come to see the greatXord Chan-
cellor, along with belles and beaux ar-
rayed in brave attire, to listen to the
music and see the strange animals and
birds, of which Sir Thomas had a small
menagerie, being the gifts of mariners
and travellers from far distant lands.
Other historic gardens were nearly as
famous and quite as fully used as that
of the author of "Utopia."

The dual functions of the garden for
utility and pleasure were closely blended
in a way that may seem a trifle incon-
gruous to some of us. In many in-
stances it would be hard to say just
where the boundary line was to be drawn.
The growing of simples seems to have
formed a kind of connecting link, for
at one time it was the custom to culti-
vate various plants for their medicinal
or domestically utilitarian properties
which we now raise merely for their
decorative value. Among such, by way

of example, may be mentioned digitalis
and the marigold, the dried petals of the
latter being used both to make a dye and
as a flavor and coloring matter for soup.
In whatever way the prosaic and orna-
mental functions of the garden may
originally have been joined, the com-
plete union was to be found in old
English and Dutch cottage gardens and
also in some gardens of greater extent
and pretense where fruits and shrubs,
vegetables and flowers, were grows to-
gether in a kind of promiscuous democ-
racy. However crude their method may
have been, the makers of those humble
gardens were trying to express, a right
principle. They were trying to realize,
albeit unconsciously, the old Greek ideal
of making the useful beautiful and, con-
versely, the beautiful useful, according
to the utilitarian and somewhat material
modern standard. We find this same
combination, this sarrie intimate connec-
tion between kitchen garden and flower
garden, existing in many of the finest of
our early American gardens. An in-
stance of it occurs at Ury House, Fox
Chase, Philadelphia, a part of whose fa-
mous old box garden is shown in one
of the accompanying illustrations. The
vegetable garden with its beds edged with
box of nearly two centuries' growth, is
just across a box-bordered, trellised
walk from the flower garden, laid out
in all the old-fashioned glory of geo-
metrical devices. This principle of ren-
dering the homely vegetable patch seemly,
attractive and dignified by an accompani-
ment of flowers, fruit bushes and shrubs
commingled with its beds is strongly re-
asserting itself in modern garden plan-
ning. It is extremely narrow minded
to look with despite upon a vegetable be-
cause it is not a flower and condemn it
to a hideous and shabby setting. The
modern garden designer is keenly alive
to this feature and devotes much in-
genious effort to making the kitchen gar-
den a help rather than a hindrance to
the general scheme. He masks, by judi-
cious planting within its limits, the un-
avoidable scars and unsightliness incident
to certain stages of vegetable-growing.
Were this principle not being so strongly
reasserted that it demands cognizance.

THE ARCHITECTURAL RECORD.

303

ANTIQUE GARDEN FURNITURE-GARDEN OF HAROLD McCORMICK, ESQ., LAKE FOREST, ILL.

Charles A. Platt, Architect.

PERGOLA-GARDEN OF WILLIAM MATHER, ESQ., CLEVELAND, OHIO.
Charles A. Platt, Architect.

304

THE ARCHITECTURAL RECORD

the foregoing paragraph would have
merely antiquarian interest and be de-
void of any particular application.

In yet another point a number of mod-
ern gardens show a reversion to an an-
cient precedent and hark back k>r in-
spiration to an almost forgotten custom,
and people hail with admiration and de-
light what they deem an agreeable nov-
elty. Reference has been made to the
small menagerie in Sir Thomas More's
garden. In other private gardens, too,
both in England and on the Continent,
it was not an unusual thing to find oc-
casional collections of rare birds or small
animals. The custom, however, seems
to have almost died out and been well
nigh forgotten. Now it has been revived
again and the maintenance of an aviary
of rare and curious birds has been made
a feature ' of both permanent interest
and decorative value in one of the gar-
dens illustrated, that at Doylestown,
Bucks, Pennsylvania. Although the open
air aviary is not shown, it occupies a
conspicuous place all along one side of
the garden. Another modern garden in
which the keeping of exotic birds is made
an important feature of interest is that of
Mr. Mellen at Stockbridge, Massachu-
setts. Other instances might be added,
but the two already mentioned are suffi-
cient to indicate a modern "trend in gar-
den arrangement derived from ancient
precedent.

In the gardens selected for the illus-
tration of the present article are to be
noted two distinct tendencies which are
highly significant and indicative of op-
posed present-day ideals of garden mak-
ing. In the instances before us neither
tendency is carried to an extreme and,
in some cases, notwithstanding the dis-
similarity of the several underlying con-
ceptions, we may discern certain de-
vices and methods of treatment common
to both schools of design. The two ten-
dencies referred to are, on the one hand,
the obvious intent to impart an intimate
and even personal character to the gar-
den, stamping it unmistakably as a place
created for comfort, privacy and domes-
tic informality, while, on the other, the
purposes of formal or semi-formal and
wholly impersonal environment or set-

ting for the house have been the chief
factors in determining the arrangement.
As fairly representative examples of the
former category, that is to say, the gar-
dens whose intimate character supplies
their dominant note, one may refer es-
pecially to the walled garden at Doyles-
town, and the garden of Charles W. Hub-
bard, Esq., at Weston, Massachusetts,
executed by Olmsted Brothers. As typical
of a somewhat more formal and preten-
tious style of garden planning, designed
as an accompaniment to the house or a
setting to display it to advantage rather
than as an adjunct for the intimate
daily pleasure and protected occupancy
of the people who live in the house, we
may examine the garden of Samuel Vau-
clain, Esq., at Rosemont, Pennsylvania,
by Messrs. Duhring, Okie and Ziegler, or
the garden by Olmsted Brothers, illus-
trated on p. 309.- The intimate type of
garden seems to be gaining more and
more popular favor as American garden
ideals tend to coincide more fully with
the conception on which it is based. The
majority of garden owners are happily
getting beyond the stage where they de-
sire gardens planned to impress the ap-
proaching stranger by their starched,
smug, symmetrical ostentation. At the
same time, while the garden of the inti-
mate type is strongly expressive of the
best traditions of American life by its
well-bred informality, it makes use of
not a few material accessories of the
distinctly formal garden and in this em-
ployment of the same means lies the
common ground of both types. The in-
timate garden, however, uses both archi-
tectural and furnishing accessories in an
easy and informal way.

The manner of treating the garden plan
depends upon the conception of what a
garden is and of the purpose for which it
exists. Opinions upon this point will in-
evitably differ among different individu-
als, but the general trend of sentiment,
put into specific words, indicates that
the garden of the average house is to be
regarded as a necessary adjunct to the
structure to give it a proper setting and
display its architectural worth to advan-
tage, a spot set apart for the enjoyment
of the air and the pleasures of norticul-

THE ARCHITECTURAL RECORD.

305

PERGOLA— GARDEN OF CHARLES W. HUBBARD, ESQ., WESTON, MASS.
Olmsted Brothers, Landscape Architects.

PERGOLA— GARDEN OF ARTHUR CURTISS JAMES, ESQ., NEWPORT, R. I.
Olmsted Brothers, Landscape Architects.

306

THE ARCHITECTURAL RECORD.

307

308

THE ARCHITECTURAL RECORD.

ture, a middle ground between the dwell-
ing and the outside world, a guaranty of
privacy and protection. From the ety-
mology of the word, "garden" denotes an
enclosure and implies the presence of a
wall or some protecting barrier. Further-
more, history shows an inseparable as-
sociation between this enclosure and the
cultivation of vegetables, fruits or flow-
ers. As the very basic idea of a garden,
therefore, presupposes cultivation and
fostering care, it can readily be seen that
the evidences of human artifice therein
are unavoidable, that it would be impos-
sible to crowd rustic landscape effects
within a restricted compass and that the
attempt to do so could only be ludicrous.
Artifice, then, and at least some measure
of formality, however slight, being in-
volved in the creation of a garden, it is
eminently fitting and reasonable that an
architectural element should be employed
to supply the formal frame or back-
ground desired and strengthen the tone
of unity binding garden and house to-
gether. The extent to which architectural
gardens and parks must be kept separate
will be governed by the exigencies of each
case and the architectural tone of the
garden will naturally be kept consonant
with that of the house. Not only is it
interesting to note the success realized in
the treatment of many gardens where
some measure of formality, in the shape
of architectural adjuncts, has been com-
bined with a thoroughly informal scheme
of planting, but it is also instructive to
mark the reserve and restraint practiced
in using only so much architectural equip-
ment as the occasion requires for prac-
tical ends and no more. In this modera-
tion lies the cause of the combination's
agreeable result, and it is often astonish-
ing to see how rich a variety of effects
can be attained by employing only a lim-
ited number of features. The accom-
panying illustrations show how success-
fully sundry architectural devices have
been used in gardens of distinctly inti-
mate and unostentatious type. We need
only point to the delightful arrangement
of the gazebo or tea-house, of which sev-
eral views are given, in Mr. Hubbard's
garden at Weston, the interesting treat-
ment of the walled pergola and court in

the same garden or the telling touch
added by the dovecote in Mrs. Riddle's
garden at Glen Riddle, Pennsylvania, a
creditable piece of garden designing exe-
cuted by Messrs. Duhring and Howe.

Allusion has been made to the concep-
tion of a garden as a place of privacy.
In this view of the garden, making it
virtually an out-of-doors extension of the
house, we are rapidly coming to coincide
with our British contemporaries, to whom
the bold publicity of so many Ameri-
can gardens is utterly abhorrent. If there
is to be any real privacy, the garden en-
closure must be of such character that it
will be a protection. It must either be
an exceedingly thick hedge or a wall and
of a suitable height. A wall to enclose
a garden, either wholly or in part, em-
phasizes the architectural bond of re-
lationship with the house more strongly,
perhaps, than 'any other one feature. At
the same time, it affords numerous and
varied opportunities for interesting treat;
ment, as the reader may judge from the
illustrations of the walled gardens at
Doylestown and elsewhere. When the
walls are not given .any distinct architect-
urally decorative value, "planted" or es-
paliered for fruit, they at least serve the
double purposes of shelter and back-
ground or foil for the blooms and foliage
near them. If the walled or partly walled
or semi-formal garden is really to be lived
in and its close relationship to the house
bound by a thousand little ties of human
occupancy, it must be fitly furnished and
equipped for comfort. Otherwise one
might as well camp on a wide stretch of
lawn in the midst of great plantations of
shrubbery, groves of trees and all the
other devices of the landscape engineer
that go to make up a park, but have no
place in a garden. Man naturally seeks
to surround himself with articles of com-
fort and pleasure within easy reach and
their presence and orderly arrangement
necessarily create at least some slight
measure of artifice and formality. A
garden, properly arranged with due re-
gard to its intimate relationship with the
house, is ready for use by the occupants
at any and all times while, to use a land-
scape, one needs to prepare a picnic
equipment. One of our chief troubles in

THE ARCHITECTURAL RECORD.

309

WELL— GARDEN OF ARTHUR CURTISS JAMES, ESQ., NEWPORT, R. I.
Olmsted Brothers, Landscape Architects.

LONG POOL— GARDEN OF ARTHUR CURTISS JAMES, ESQ., NEWPORT, R. I.
Olmsted Brothers, Landscape Architects.

310

THE ARCHITECTURAL RECORD.

POOL AND TEA HOUSE— GARDEN OF SAMUEL VAUCLAIN, ESQ., ROSEMONT, PA.
Duhring, Okie & Ziegler, Architects.

garden planning is that we so often fail
to make a sufficient distinction between a
garden, on the one hand, and its suit-
ability for intimate use in connection with
the house, and a park, on the other, with
its landscape features. Consequently we
sometimes try to have landscapesque
gardens or gardenesque landscapes, and
the combination is incongruous and un-
successful. To get satisfactory results
gardens and parks must be kept separate
in execution as well as in conception.

In all the phases of gardens so far
noted, whether designed for utility, pleas-
ure, adornment or curious interest, one
quality may be clearly discerned — ob-
vious relationship with the houses to
which they belong. This relationship is
far stronger than it is between some
houses of earlier date and their gardens,
when pictorial landscape effects were in
fashion and attempted on all scales, large
and small. Before all else, it is of the
last importance that we realize fully the
fundamental principle of relationship that
ought to exist between the garden and
the house. It is only when this relation-

ship has been recognized and conscien-
tiously honored that results have been
successful. English gardens laid out in
recent years almost invariably show a
proper and logical relation to the houses
they surround, and in that particular are
deserving of special study. A sense of
fitness has been observed in their design,
and from the resultant quality of felicity
we may derive a store of inspiration. The
success of a garden depends almost
wholly upon this right relation, and where
it is absent, no matter how excellent in-
dividual parts of the composition may be,
the effect of the ensemble is bound to be
disappointing if not a total failure. The
intimate relationship between the house
and its setting exists quite independently
of the consideration of natural features
or the lie of the land. It consists of the
degree of correspondence maintained be-
tween the modes of expression made use
of in the garden and in the scheme of the
house and is susceptible of indicating
just as much individuality of character
as does the fabric of the structure itself.
Over and above the relationship between

THE ARCHITECTURAL RECORD.

311

DOVE COTE— GARDEN OF MRS. SAMUEL D. RIDDLE, GLEN

RIDDLE, PA.
Duhring & Howe, Landscape Architects.

TERRACES-GARDEN OF MRS. SAMUEL D. RIDDLE, GLEN RIDDLE, PA.
Duhring & Howe, Landscape Architects.

THE ARCHITECTURAL RECORD.

313

GRASS WALK AND PLANTED WALL— GARDEN OF DR. GEORGE WOODWARD, KRISHEIM,

ST. MARTIN'S, PHILADELPHIA.

Olmsted Brothers, Landscape Architects.

PLANTED WALL— GARDEN OF DR. GEORGE WOODWARD, KRISHEIM, ST. MARTIN'S.

PHILADELPHIA.

Olmsted Brothers, Landscape Architects.

314

THE ARCHITECTURAL RECORD.

the plan of the garden and the style of
the house, must be reckoned the inevitable
relationship between the garden and the
natural features of the land on which it
is laid out. The preservation and due
balancing of this duality of relationships,
while furnishing many perplexing prob-
lems, also afford rare opportunities for
the display of originality and skill.

The secret of British pre-eminent suc-
cess in their particular method of dealing
with gardens lies largely in making a
judicious combination of formal and in-
formal elements. Such men as E. T.
Lutyens, Sir Robert Lorimer, Ernest
Newton, Reginald Blorafield, Guy Daw-
ber, Blow and Billery, E. Turner Powell
and a number of others, whose names
might be added to the list, have been
singularly fortunate in giving just enough
formal or architectural treatment as a
setting for gardens, whose general com-
position is somewhat informal in plan
and execution, to establish firmly the
unity of the garden and house as one in-
divisible whole. Many of the modern
English gardens designed by the more
prominent architects might be character-
ized as examples of formality in an ir-
regular setting or informality in a for-
mal setting. The designers have not only
shown a conscientious regard »for the
basic relation of garden to house, but
they have also preserved an admirable
degree of unity and consistency in the
management of the garden itself. They
have shown a sense of fitness and propor-
tion and have not introduced irrelevant
or inappropriate features. If a balus-
trade, a flight of steps, a pool, a wall
fountain, a gazebo, a leaden figure, a
sundial, a terminal bust, or any one of a
dozen other possibilities — all savoring in
greater or less degree of formality — be
employed, one may be reasonably sure
that there is some logical and often in-
tensely practical reason for having them
just where they are placed and that
sooner or later that reason will become
apparent. We find the same discriminat-
ing choice and judicious arrangement in
many of our recently planned American
gardens and it is gratifying to note that
these characteristics are becoming more
general among us.

Sometimes one of these features may
be used to emphasize a certain desirable .
view or aspect — witness the low enclos-
ure and the tea-house in the Hubbard
garden — to give balance or accentuate
proportion, sometimes the motive may be
to subserve the demands of convenience
and sometimes, we shall find, the purpose
is either to disguise and beautify some
object which it is neither desirable nor
practicable to remove or to overcome
some difficulty presented by the natural
conditions of the site. Time and again
necessity has been made a virtue in this
latter respect and, in considering the
natural configuration and characteristics
of the site preparatory to beginning oper-
ations, a large measure of individuality
has often been secured by adapting the
plan to the peculiarities of the situation
instead of sweeping them aside at great
expense and much labor to make way for
a scheme of tame and unconvincing con-
ventionality. We may, indeed, say that
one of the most important factors that
has contributed to the great success of
the more recent gardens is the systematic
practice of the principle of congruity — in
other words, this very method of study-
ing conscientiously, first of all, the natural
conditions of the ground, the lie of the
land and the exposure and then making
the garden plans conform as nearly as
possible to the requirements thus indi-
cated without attempting drastic altera-
tions.

It would seem to be the part of ordi-
nary common sense to cultivate any
natural feature which imparts strong in-
dividuality instead of endeavoring to de-
stroy it or tone it down, but despite the
obvious propriety and advantage of such
a course, it is a matter of almost daily
occurrence to see the policy of ruthless
levelling in operation with its inevitable
destruction of rare opportunities for the
display of ingenuity and good taste. In
their delightful book on gardens for small
houses, Mr. Lawrence Weaver and Miss
Jekyll pertinently observe that if the
natural features of a garden-site are "em-
phatic or in any way distinct,. they should •
be carefully maintained and fostered. It
is grievous to see, in a place that has some
well-defined natural character, that char-

POOL AND JETS— GARDEN OF DR. GEORGE WOOD-
WARD, KRISHEIM, ST. MARTIN'S, PHILADELPHIA.
OLMSTED BROTHERS, LANDSCAPE ARCHITECTS.

316

THE ARCHITECTURAL RECORD.

acter destroyed or stultified, for it is just
that quality that is most precious." This
side of garden-planning is one of the
aspects that needs most encouragement
and development among us in America.
By following intelligently the course sug-
gested by nature we may be sure of ob-
taining the most harmonious, dignified
and enduringly satisfactory results. In
other words, if nature's fullest help is to
be gained, she must be courted, not
bullied. "Many a site," continue the au-
thors just quoted, "has been vulgarized
by a conventionally commonplace treat-
ment," a statement with which most read-
ers familiar with the situation will be
disposed to agree.

By a natural sequence of thought, one
passes from considering the .plan of the
garden, with reference to the natural
features of the site, to considering the
placing of the house itself with refer-
ence coincidentally to the site and to the
scheme of the garden. In this matter
too many of us are slaves of habit. It
cannot be denied that we have an un-
fortunate obsession for placing the house
squarely in the middle of the property,
no matter what the exposure, no mat-
ter what the outlook, no matter what
the lie of the land. We are still in the
toils of an odious thraldom to the sense-
less mid-Victorian convention of having
a "front approach." A few bold spirits
— the time is. coming when more will
show the same laudable daring — have
disregarded meaningless conventions and
put the backs of their houses directly
upon the road, or at the very corner of
their lot, if it suited their purpose to do
so and gave them a better chance of
making their garden a success. This is
exactly what some of the most success-
ful English architects, like Mr. Lutyens,
have done time and again and the re-
sults have thoroughly justified their de-
fiance of baseless traditions. It is only
by showing a proper consideration for
the natural features of the location in
such cases that we shall arrive at a sat-
isfactory solution. It may be well enough
to dress for others, but certainly one's
house ought to be built primarily for
one's own satisfaction and not for the
commendation of an unthinking and con-

vention-ridden public. In this connection
it will not be amiss to suggest the pro-
priety of placing a house on the boun-
dary line of the property if conditions
call for it so that the garden may stretch
away to the south, west and east and
have the exposure most favorable to its
development.

While it is by no means an unusual
thing still to meet with gardens made
ostensibly for show and lacking all trace
of homelikeness, gardens perpetuating
the uninspired fashion of twenty-five or
thirty years ago and only one degree bet-
ter than the depressing "landscape" lawns
abounding in cast iron dogs or beasts of
the chase, passant, couchant or regardant
or the terra-cotta representatives of the
Greek or Roman pantheon, disposed as
agreeable "surprises" amid island clumps
of shrubbery or ranged against back-
grounds of obviously artificial "bosky
tangle," gardens arranged, in short, with
blatant vulgarity, "where everything that
money can do to spoil nature" has been
done, nevertheless, the general tone of
garden design has perceptibly and rapidly
changed for the better, thanks to the
wholesome leaven of the labors, during
the past two decades, of such men as the
( Mmsteds, among landscape gardeners,
and, among architects, Charles A. Platt,
Wilson Eyre, Little and Browne, Mc-
Kim, Mead and White and many more
who have conscientiously stood for sound
principles until the present average ex-
cellence of garden-planning has come to
pass and popular taste has been tutored
to a high measure of appreciation. Al-
though the work of each man bears, in
some degree, the impress of his person-
ality, one may readily recognize the pres-
ence of traits common to all of them and
all of them make their plans with due
regard to the comprehensive analogy be-
tween architecture and gardening mani-
fested in the correspondences between
the several architectural styles and con-
temporary fashions in garden design.
Also, in nearly all of the better work we
find the grateful merit of simplicity.

To a consistent devotion. to simplicity
we doubtless owe it that modern ex-
amples of garden-planning have generally
escaped the absurdities of formalism

THE ARCHITECTURAL RECORD.

317

OLD BOX GARDEN— URY HOUSE, FOX CHASE, PHILADELPHIA.

which the gardens of the eighteenth cen-
tury so often fell into, absurdities that
Horace Walpole flayed when he wrote
of "canals measured by the line, ....
terraces hoisted aloft, .... giants, ani-
mals, monsters, coats of arms and mot-
toes, in yew, box and holly" and added
that "the compass and square were of
more use in plantations than the nursery-
man." Where a real . formal treatment
has been adopted it has, in most. instances,
been characterized by a reasonable re-
straint and freedom from finicky inani-
ties. Whether one likes formal gardens
or not, fairness compels the admission
that, as architectural constructions they
often possess the great merit of consist-
ency in their relation to houses of cer-
tain types whose outlines they serve to
break and gradually to soften and that
they thus form an agreeable "connection
with the irregular and unstudied forms
of meadow and forest beyond." They
are often, in other words, connecting
links or middle-grounds between houses
and the landscape. While professedly
formal gardens not infrequently occupy
a considerable extent of ground on large

estates, it often happens that honors are
divided and the formal garden limited in
space so that more space may be given
the development of the informal garden.
An excellent example of this arrange-
ment is to be found at "Krisheim," St.
Martin's, Philadelphia, illustrated on pp.
313 and 315. In executing this garden
the Messrs. Olmsted have confined the
formal section to a comparatively limited
area adjacent to the north wing of the
house and have constructed all the walls,
terraces, retaining walls and other archi-
tectural features of the native Chestnut
Hill stone so that both material and tex-
ture of masonry conform to that em-
ployed in the house.

In the rest of the estate, which is
treated informally, the designers have
followed the sound principles of accept-
ing natural features for what they are
worth without trying to change them by
expensive and usually ill-judged altera-
tions, of using the native material ready
at hand and, finally, of using native trees
and shrubs, getting excellent effects with
them and confining such exotics as may
be used to the bounds of the formal gar-

318

THE ARCHITECTURAL RECORD.

den. Dogwoods and other native trees of
a decorative character have been added
in the thickets and the open hillside has
been covered with a tangle of sweet-
briar and honeysuckle where it would be
hopeless to have presentable grass. The
retaining wall has been built "dry" and
planted with a variety of rock plants,
some of which are in bloom most of the
time. The practice of planting "dry"
rock walls has become exceedingly popu-
lar within the past few years and must
be reckoned one of the most effective de-
vices of modern informal gardening.

At this point it will be appropriate to
call attention to the praiseworthy prac-
tice, all the time gaining in popularity,
of procuring some object or group of ob-
jects of unusual artistic merit and mak-
ing them focal points of interest in the
formal garden, whether it be small and
walled and intimate in character like the
Doylestown garden, with its Florentine
fountain, Calabrian oil jar and decorative
plaques and medallions set into the wall
or whether it be open and extended and
meant for the public to gaze upon like
the garden shown on p. 309, with its
flaring well kerb, wrought iron cover and
four exquisite flanking Venetian col-
umns with ornate capitals, or the garden
terrace shown on p. 303, with its ancient
carved marble seats, pedestals and jars.

One other phase of the modern garden
must be adverted to — the treatment to be
accorded to the small plot of the house of
modest size and particularly the house
of either Georgian or Colonial type,
which enjoys such general favor.

A degree of formality, or rather, to
be strictly accurate, a degree of artifi-
ciality or symmetry, is quite compatible
with the acceptable treatment of a small
garden and it was such formality, tem-
pered with taste and common sense, that
the gardens of many of our American
Georgian houses displayed, gardens with
gravel paths and grass alleys laid out
with mathematical precision in geometri-
cal patterns, outlined with box hedges
or shut in between box-edged flower bor-
ders in which old-fashioned blooms,
stately and humble side by side, crowded
each other in promiscuous informality
within a formal setting. Such is the

box garden of Ury House, Fox Chase
Philadelphia, previously alluded to, which
has been the pride of its owners for
nearly two centuries. Such also are
many other modest but stately Georgian
gardens in our older Eastern States, cher-
ished intact by their owners with rever-
ently punctilious affection, enduring wit-
nesses of the best gardening traditions of
the eighteenth century, their trim exacti-
tude marked here and there by a well-
placed marble statue or classic urn, or,
perhaps, a sun-dial or flight of balus-
traded steps — just enough evidences of
formality to preserve the tone of unity
and relationship between the garden and
the house and cement the correspondence
between the urbane atmosphere of one
and the architectural urbanity of the
other.

There is no necessary relationship be-
tween size and formality. Many a small
garden is successfully formal — the
American Georgian examples prove it —
while not a few large formal gardens
are complete failures. A small garden,
within really strait limits, may be rigidly
formal and dignified and likewise thor-
oughly satisfying, much more so, in fact,
than some other gardens in the same
vein where there has been no hampering
limitation of space. From the modest
American Georgian gardens, therefore,
we may derive not a little present inspira-
tion and learn a lesson in the art of at-
taining an agreeable unity and fit rela-
tionship between the structure and its
immediate setting. In view of our pres-
ent partiality for Georgian domestic
architecture for houses both large and
small we cannot afford to overlook the
manner and plan of our own eighteenth
century horticultural achievements, es-
pecially since it is obvious that a treat-
ment in some later fashion would have
impaired the architectural charm of the
house which is always dependent on its
immediate environment to appear to the
best advantage. In instances where such
later gardening fashions have replaced
the original treatment, the result has not
been reassuring.

Architects are coming more and more
to include a scheme for the garden, along
with the plan of the house and outbuild-

319

WALLED GARDEN— HOUSE AT DOYLESTOWN, BUCKS, PA.

ings, in the lay-out of the property pre-
pared for the client, no matter how small
the property may be. The practice is
logical and sane and based on a realiza-
tion of the close and necessary relation
of the garden to the house and their de-
pendence on each other for the best ef-
fects of which each is capable. Some-
times the garden scheme in these render-
ings is merely a rough, tentative sketch,
at others it is worked out in full and care-
ful detail so that little is needed in ad-
dition from which to direct further oper-
ations. In either case, and whether the
architect himself supervises all the
minutiae of garden-making and furnish-
ing or entrusts them to a landscape en-
gineer, the growing tendency to regard
garden and house as one composition is
full of promise for the future. One thing,
however, must be kept in mind. No mat-
ter how skillfully the architect may de-
sign the garden, no matter how consci-
entiously he may superintend the plant-
ing— and many architects, be it remem-

bered, have a wide knowledge of plants
and flowers and their habits and colors —
the responsibility for the ultimate success
and lasting charm rests upon the client.
The architect may supply walls and steps,
pools and fountains, pergolas, tea-houses,
gazebos, exedrae, arbors and a dozen
other devices, but unless the client be-
stows the constant and devoted attention
upon the planting which the intimate na-
ture of the garden demands, the result
will not be happy. A garden must be
coaxed, humored and caressed, not
bullied or condemned to cold neglect.
There are clients, as architects know only
too well, who expect to have a garden
planted at the outset and then be kept
running with a minimum of attention
from a hired gardener. Their own per-
sonal interest they completely withhold.
Such laissez-faire gardening can never
be a success and a garden subjected to
it will always look cold and starved in
spite of all the initial efforts of the archi-
tect.

MAIN LOBBY, LOOKING TOWARD OFFICE
LOBBY-HOTEL STATLER, DETROIT, MICH.
GEO. B. POST & SONS, ARCHITECTS.

ASSEMBLY HALL AND ELEVATOR LOBBY.

l^fie Hotel dtatfer in ^e troit

§e~° B. Post & Sons, ~4rcfiit<2Qts
W. Sydney Wagner

THE recent opening of the Hotel
Statler in Detroit, Michigan, has
given that city a hotel notable for
modernity, completeness and studied ar-
chitectural embellishment. It is the third
and largest of the very remarkable ho-
tels built, owned and operated by the
Hotels Statler Company, and is the sec-
ond hotel of this company to bear the
name of Geo. B. Post and Sons as archi-
tects, the first being the Hotel Statler in
Cleveland.

To those specially interested in hotel
management or construction, a careful
examination of the illustrations published
herewith will reveal an unusual number
of interesting and novel features for effi-
cient and economical service.

Fronting on Grand Circus Park, one
of the most beautiful of Detroit's many
parks, and bounded on one side by Wash-
ington Avenue and on the other by Bag-
ley Avenue, the segmental shape of the

site, added to the exacting requirements
of modern hotels of the first class, has re-
sulted in unique features of plan and de-
sign.

The building is sixteen stories in
height above grade. The first two floors,
each of which is mezzanined, are devoted
to the large public rooms and entertain-
ment suites with their necessary com-
plement of service units and the like.
Above these are eleven guest room floors.
Then come two floors devoted to sample
display rooms, and there is a servants'
dormitory floor immediately under the
roof. Below grade are a basement and
a sub-basement, containing the laundries,
the mechanical plant, store rooms and
so on.

While the general architectural treat-
ment of the exterior has followed the
lines of the style popularly referred to as
"Adam," it has been largely inspired by
the Classical and the Italian Renaissance

322

THE ARCHITECTURAL RECORD.

architecture of the periods beloved by
Piranesi, and from which the brothers
Adam evolved the style known by their
name.

The two lower stories are of buff In-
diana limestone resting on a base of gran-
ite. The limestone ashlar is laid up in
wide horizontal courses, each of the
courses being about five feet in height.
Texture and contrast are obtained by the
use of two-cut-to-the-inch tooling in all
of the large stone surfaces, the mouldings
and small surfaces being rubbed. The
treatment of these two lower stories has
been kept severe and simple, the large
plain wall surfaces displaying to the best
advantage the natural beauty of the lime-
stone and enhancing the stone carving
concentrated in the panels and placques
between the pilasters of the second story.

The shaft of the building is of an in-
expensive wire cut brick, ranging in color
from red almost to black, and laid up
with a three-quarter inch joint of grey
mortar in English cross bond, which gives
a pleasing yet unobtrusive diaper pattern
on the wall surfaces.

The three upper stories are of terra
cotta and brick, the terra cotta matching
the limestone of the lower stories both
in color and texture. Here again the
principal architectural motif is the
Adamesque placque and ornament of
terra cotta inlaid in the brick panels.
The cornice above is entirely of terra
cotta, and the sky line, already interesting
on account of the unusual shape of the
building, is further enhanced by the light
terra cotta balustrade and the severely
classical urns surmounting it.

An interesting and successful feature
of the exterior is the graduated chamfer-
ing of the corners of the building extend-
ing through the entire shaft. This gives
to the mass of the building a most ap-
preciable sense of stability and entasis
without the necessity of using the expen-
sive method of battering back the entire
surfaces of the walls.

In approaching the question of the plan
of this hotel, there are three general con-
siderations which must be borne in mind,
and which will be found to govern the
disposition of practically every unit, both
public and service, in the building; and

the success of any hotel depends, ulti-
mately, upon the architects' and owners'
thorough understanding of these consid-
erations, and upon their ability to use
them to the best advantage in planning
and building: First, the arrangement of
that part of the house devoted directly
to the guest in such manner as to meet
absolutely every reasonable demand of
his for comfort and convenience; sec-
ond, the entertainment part of the house,
so arranged as to give every convenience
for handling affairs of all kinds without
interfering with the comfort of the guest,
and so flexible that it will properly ac-
commodate the largest as well as smallest
function ; third, the location and arrange-
ment of the service department of the
hotel in such manner that the service to-
all parts will be complete and direct, and
therefore most efficient and economical.

To these considerations it may be well
to add a fourth, that of economy of mate-
rials and construction. This is such an
obvious requirement in any building con-
structed and operated by the owners to
return a fair profit upon their investment
that it seems hardly necessary to mention
it, yet it is a consideration of prime im-
portance, one that, unfortunately, seems
to be only too often disregarded.

In the Hotel Statler the utmost econ-
omy possible without detriment to the
quality or completeness of the work was
demanded, and in consequence the de-
sired architectural effects were obtained
by the careful selection and use of inex-
pensive materials, combined with a thor-
ough study of proportion, detail and
color.

The guest arriving at the hotel enters
the main lobby at either end, passing
through small entrance vestibules, the
walls of which are of Botticino marble
inlaid with delicate ornament of Port
d'Or marble. The main lobby is an im-
posing room forty-eight feet wide,
ninety-two feet long and twenty-four
r^et high, with a vaulted ornamental
plaster ceiling. The walls are of Bot-
ticino marble up to the height of the mez-
zanine balcony, which extends along one
side of the room as well as around the
office lobby. The ceiling is supported on
eight panelled marble piers; and on that

THE HOTEL STATLER, DETROIT, MICH.
GEO. B. POST & SONS. ARCHITECTS.

MEN'S ENTRANCE-HOTEL STAT-
LER, DETROIT, MICH. GEO. B.
POST & SONS, ARCHITECTS.

326

THE ARCHITECTURAL RECORD.

MEN'S CAFE-HOTEL STATLER, DETROIT, MICH.
Gco. B. Post & Sons, Architects.

GROUND FLOOR PLAN— HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

THE ARCHITECTURAL RECORD.

327

MEZZANINE FLOOR PLAN-HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

side of the room overlooking Grand Cir-
cus Park the furniture and rugs have
been so arranged between these piers as
to afford comfortable lounging" alcoves
for guests. The color scheme of the
hangings and furnishings of the room is
gray and blue, and this color scheme is
recalled also in the decoration of the
plaster ceiling.

Opening from the main lobby, and
similar to it in treatment and decorations,
is the office lobby, containing on one side
the hotel office, with its complete equip-
ment of room racks, cashiers' cages,
safety deposit boxes and the like, and on
the opposite side the telegraph office, and
the cigar, news, and souvenir counters.

Proceeding from the office lobby, the
guest finds himself in the elevator lobby,
where are located the four high-speed
passenger elevators, the check room and

the porters' office. A special men's en-
trance and exit for the convenience of
the house guests is provided by means of
a third doorway to Washington Avenue.

Opening directly from the elevator
lobby and men's entrance are the main
dining room, the grill room and the men's
cafe, of which the main dining room and
men's cafe are in direct communication
with the main lobby.

The main dining room faces on Bagley
Avenue and has a flat ornamental plaster
ceiling and plaster walls and pilasters
decorated in gray and green. The walls
are protected by a low wainscoting of
Botticino marble. This room, although
large in size, and with its floor space un-
obstructed by columns, has been so dec-
orated and furnished as to be comfort-
able and informal. There is none of the
feeling of stiff formality which chills and

330

THE ARCHITECTURAL RECORD.

— ™=x=a rW'/j'

,*„*«•» • —.V. /. «

FIRST FLOOR PLAN-HOTEL STATLER, DETROIT. MICH.
Geo. B. Post & Sons, Architects.

repulses the average guest and oppresses
him throughout the entire meal.

The grill room and the men's cafe are
both in that style of architecture which
at present is the accepted type for a
''man's room," the Elizabethan, with its
characteristic antique ornamental plaster
ceilings and with walls panelled for their
full height in quartered oak. The carv-
ing in the base and cornice is enriched
by the introduction of ebony inlay. In
the richly colored window draperies and
furniture coverings, in the deep-toned
portraits on the walls, and in the sparkle
of the antique silver lighting fixtures, are
found those notes of color so necessary
to the proper finish of a room of this
type.

The mezzanine balcony, which over-
looks both the main lobby and the office
lobby, provides additional lounging space,
and is connected with pantries giving the

necessary service facilities for afternoon
tea. At one end of this balcony, be-
tween the lobby and the main dining
room and opening into both, is the musi-
cians' balcony, one orchestra thus being
capable of serving for both rooms.

A special banquet elevator, opening
from the main lobby and situated adja-
cent to the carriage entrance, is for the
use of residents of the city attending
balls and banquets. It serves as still an-
other means of entrance and exit for the
assembly hall, on the first floor, which
is accessible by the main passenger ele-
vators and by the two broad marble stair-
cases situated on either side of the ele-
vator enclosure.

The first floor is devoted exclusively to
the entertainment of guests and provides
unusual facilities for balls, conventions
and private dinners. Opening from the
elevator lobby and assembly hall, which

THE ARCHITECTURAL RECORD.

THE BALL ROOM-HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

A CORNER OF THE BALL ROOM-HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

A CORNER OF THE MAIN BANQUET
ROOM— HOTEL STATLER, DETROIT, MICH.
GEO. B. POST & SONS. ARCHITECTS.

B-B

H o *

W « C
^H^-

z P =a

< .

« M H

w K

to «

THE ARCHITECTURAL RECORD.

LARGE PRIVATE DINING ROOM --HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

SMALL PRIVATE DINING ROOM-HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

THE ARCHITECTURAL RECORD.

335

LADIES' PARLOR AND RETIRING ROOM— HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

LIBRARY— HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

336

THE ARCHITECTURAL RECORD.

TYPICAL FLOOR PLAN-HOTEL STATLER, DETROIT, MICH.
Geo. B. Post & Sons, Architects.

are provided with ample checking facili-
ties, are the ball room, banquet rooms,
and various-sized small private dining
rooms, all so arranged that they can be
united into suites; if occasion arises, the
entire floor can be utilized for an extra
large affair. The ball room, main ban-
quet room, and small banquet room are
provided with maple floors for dancing,
and the pantries are so arranged that
every room on this floor, including the
ball room, has dining service.

The ball room extends across the en-
tire Park front of the building, and is a
•finely lighted room, forty-seven feet in
Width by one hundred feet in length, with
its magnificent expanse of dance floor
entiiely free of columns. The room is
Adam in treatment, the key note being
dignity and simplicity.

The plain wall surfaces are broken
only by the tall fluted pilasters support-

ing an ornamental plaster cornice and a
segmental vaulted plaster ceiling decor-
ated in low relief. Ivory and oyster
shell gray are the prevailing tones of the
walls and ceiling, and the window hang-
ings and furniture coverings are rose
damask ; the scheme as a whole acting as
an excellent background for the costumes
and jewels to be seen at formal affairs.

The decorative scheme throughout the
hotel has been based upon the assump-
tion that the architectural and decorative
treatment of a room should always be so
designed that it will provide with its
furnishings a refined background for the
people using it, and that there is never
any justification for that type of over-
decorated, garishly furnished room
where the only purpose served by the
human being is to give it scale.

Two excellent "background" rooms on
the first floor are the ladies' retiring

THE ARCHITECTURAL RECORD.

337

PLAN OF THIRTEENTH AND FOURTEENTH FLOORS-HOTEL STATLER, DETROIT, MICH.

Geo. B. Post & Sons, Architects.

room, which opens from the ball room,
and the library adjoining it. The ladies'
retiring room is a finely proportioned
room with gray panelled walls and is fur-
nished in the Chinese Chippendale period.
The library is furnished in oak, with a
ceiling of dull antique gold. This room
contains a carefully selected library of
some two thousand volumes for the use
of guests, and a hurried glance at some
of the book titles and a few moments' '
relaxation in one of the comfortable
English chairs with its reading lamp
close by convince one that this room will
be one of the most used and homelike in
the hotel.

In addition to the other private dining
rooms on this floor there is a large
private dining room in the period of
Henry II. with an interesting ceiling in
gray antique oak decorated with poly-
chrome ornament.

The main banquet room and small
banquet room are of the same general
style as the ball room. Both the banquet
room and the ball room are provided
with musicians' balconies, and the wide
doorway between the two rooms is pro-
vided with two sets of doors so that
music may be played in both rooms
simultaneously without interfering.

In the planning, equipment, and fur-
nishing of the bed room floors, the guest
will find the highest development of the
Statler service, which is so striking a
feature of the Cleveland and Buffalo
hotels of the same name.

There are eight hundred guest rooms
in the greatest variety of sizes and fur-
nishings. The majority of the rooms
are of moderate size. All rooms are
easily accessible from the passenger ele-
vators located in the center of the build-
ing and opening into a lobby that receives

THE ARCHITECTURAL RECORD.

339

plenty of daylight. Directly back of the
passenger elevators are the service ele-
vators and service hall, and in close prox-
imity is the maids' room. Thus the focal
point of the floor service is located as
centrally as are the passenger elevators,
assuring prompt and economical service
for the entire floor.

Each bedroom is provided with a pri-
vate bathroom, running ice-water, ther-
mostatic heat control, telephone, etc. An
interesting instance of the thoroughness
with which the comfort of the guest has
been considered is the pincushion found
on every dresser, and which holds
needles, pins, thread, buttons of assorted
sizes, and even hooks and eyes.

The bathrooms are ventilated by a sys-
tem of forced ventilation, and between
every two bathrooms is a vent and pipe
shaft containing all of the supply, waste,
vent, steam and other piping, besides the
valves controlling the bathroom fixtures.
This shaft is accessible from every bath-
room, and is large enough to admit a
workman, thus insuring quick and ecox
nomical repair of all piping.

The thirteenth and fourteenth floors
are divided into large rooms for the dis-
play of samples, and these rooms have
been fitted with the disappearing wall
type of bed, which is concealed in a
closet when not in use. This allows
of one room doing double service, as
bed room and display room, thereby
saving the salesman the added cost
and inconvenience of engaging two
rooms.

It is, of course, a simple matter to give
good service to the guest if the cost of
operation be disregarded; and it is also
a simple matter to operate cheaply by
giving the guests no service. But it is
quite a trick to give complete service and
at the same time maintain economical
operation.

Accordingly, the service parts of the
house have been so planned and equipped
that the corps of trained employees using
it will be able to give complete and eco-
nomical service. This was considered of
so great importance that valuable ground
floor space with street frontage on Bag-

ley Avenue was devoted to the kitchens
and the service entrance.

The location of the kitchen on this
floor, and between the main dining room
and the grill room, assure.s both rooms
perfect "hot" service. The kitchen is so
arranged that all food leaving it, whether
going to the dining rooms on the ground
floor, to the bedrooms upstairs by way
of the service elevators, or by stairway
or lift to the mezzanine and first floor
pantries, must pass by and be checked at
the checker's desk located at the unique
entrance and exit.

The service entrance on Bagley Avenue
contains an office for the checker and
timekeeper, who controls the coming and
going of all employees and materials.
This entrance is entirely cut off from
the remainder of the ground floor, all
supplies passing into the basement by way
of the sidewalk lifts, and being distrib-
uted there to the various storerooms or
sent to the floors above by the service
elevators. Employees go by stairways,
first to their locker rooms in the basement
or on the mezzanine, and then to their
various departments.

The basement is free of any room for
the use of the public, as the barber shop,
and men's toilet rooms and washroom,
usually to be found tucked away in the
basement, are here located on the ground
floor mezzanine, thus insuring unusually
good light and air, as well as adding
greatly to their accessibility.

On this mezzanine is also located that
service department, and a very important
one it is, to which the public and service
have access: the manager's office with
its accounting department, public wait-
ing lobby, and the like.

This department is in constant touch
by telephones, telautographs and pneu-
matic tubes with every unit of the ex-
ceedingly complex organization necessary
to run this most modern of American
hotels. It must so control and guide the
activities of the various departments and
its hundreds of employees that to the
guest it will seem as simple, as efficient,
and as noiseless in operation as the ser-
vice of a small, well-ordered household.

ENTRANCE TO FARMER'S COTTAGE— ESTATE
OF ADOLPH MOLLENHAUER, ESQ., BAY SHORE,
L. I. ALFRED HOPKINS, ARCHITECT.

FARMER'S COTTAGE-ESTATE OF C. V. BROKAW, ESQ., GLEN COVE, L. I.
Alfred Hopkins, Atchitect.

TiHE

EXAMPLES FR.0M THE WORK OF ALFRED HOPKINS

FARM buildings, until a very recent
period, were planned, almost uni-
versally, with little regard for
scientific arrangement, and none for
architectural treatment. The scientific
aspect has come to be seriously consid-
ered as a result of the researches of the
national and state Departments of Agri-
culture, while the architectural improve-
ment to be noticed during the last few
years has been due to the growth of the
gentleman farmer, who, deriving his main
income from other sources, was in a posi-
tion to allow himself, in the design of
his buildings, a more generous outlay than
was possible for the farmer whose sole
revenue was derived from agriculture.
We find, consequently, that the newer
farm buildings excel the older, not only
from a decorative standpoint, but from
a practical standpoint as well. The labor
of farm work has been simplified, the

sanitation is greatly improved, and the
products of the farm are of better qual-
ity, particularly in the matter of the
purity of milk, that most vital point in
modern sanitary reform.

To this improvement no architect has
contributed more than Mr. Alfred Hop-
kins. While he has not devoted himself
exclusively to farm building design, he
has, to some extent, specialized in this
class of work, and in many cases he has
been called upon to design farm build-
ings on estates where the residences were
the work of other architects. He has
also written extensively on this subject,
and his book, "Modern Farm Buildings,"
is one of the leading works on this
phase of architecture.

The considerations to be taken into
account in planning a farm group are
both practical and artistic. From the
practical side, and particularly as re-

342

THE ARCHITECTURAL RECORD.

FARM BUILDINGS-ESTATE OF HENRY M. TILFORD, ESQ.. MONROE, N. Y.
Alfred Hopkins, Architect.

gards milk production, the problem of
cleanliness is paramount. It is this that
dictates the isolation of the dairy, the
planning of the stables, and the details
of much of the interior treatment. Dust
and flies, the two great conveyers of
microbes, are the chief enemies to be
excluded. Hence the adoption, in the
best recent work, of a type of interior
finish that can be thoroughly washed,
with floors usually of concrete, walls and
ceilings of hard plaster in place of the
wood finish formerly prevalent. Hence
the elimination of interior mouldings and
trim, which would form lodging places
for dust. Hence, also, the removal of
the hay storage from its traditional loft
over the stables, thus eliminating the
infiltration of dust, as well as the pol-
lution of the hay by the foul air arising
from below. These details form the sub-
ject of a volume, and cannot be fully
developed in this article, but a brief
reference to them is necessary, as they
determine, to a great extent, the group-
ing of the various buildings.

Where the hay used is produced on the

farm itself, and not brought in from the
outside — although this latter method is
not infrequent — its bulk is necessarily
so considerable that the hay barn be-
comes the largest building of the group.
The separation of the horses from the
cattle then leads to a typical plan in which
the hay barn becomes the center, with
two wings of varying importance balanc-
ing each other. An excellent example
of this type is the group of buildings
designed by Mr. Hopkins for the estate
of Mr. Henry M. Tilford, at Monroe,
N. Y. Here the hay barn occupies the
central position, and its location at the
extreme north of the plan shelters the
central court, used as a cow yard, from
the cold north winds, and leaves it open
to the rays of the sun. In the right
wing are the horse stables, with five ordi-
nary stalls and four box stalls. Adjacent
are the harness and wagon rooms, open-
ing on a second court, around which are
also grouped the machinery and tool
rooms, and a shed for the rougher farm
wagons. Above the wagon room are
some living rooms for the men, reached

THE ARCHITECTURAL RECORD.

343

DAIRY— ESTATE OF HENRY M. TILFORD, ESQ., MONROE, N. Y.
Alfred Hopkins, Architect.

FARM BUILDINGS— ESTATE OF HENRY M. TILFORD, ESQ., MONROE, N. Y.
Alfred Hopkins, Architect.

344

THE ARCHITECTURAL RECORD.

PLAN OF FARM BUILDINGS- ESTATE OF HENRY M. TILFORD, ESQ., MONROE, N. Y.

Alfred Hopkins, Architect.

by an outside staircase. The adjoining
tower is used as a boiler room, while
its summit accommodates a pigeon house,
a picturesque feature that Mr. Hopkins
has frequently introduced into his de-
signs.

This part of the group is connected
with the hay barn by a feed room, and a
similar room connects with the other
wing, and also with the adjoining silo.
The left wing is divided into two main
parts, one for the milking cows, the
other for the young stock, the calves, and
the bull. A court enclosed by these two
buildings and the dairy, but open to the
west, is used as a yard for the young
stock, while the bull has a smaller por-
tion, fenced off at the end.

The dairy is more closely connected
with the cow barn than was formerly
considered good practice. However, if
proper standards of cleanliness are main-
tained, this should not be a serious detri-
ment, while it certainly facilitates the
work of the farm. The plan of the dairy
is relatively simple, consisting only of a
milk receiving room, a milk room, wash
room and laundry, together with a steril-
izer and a refrigerator. This is ample
for the usual requirements of a private
farm of considerable size, although a
commercial plant requires a more com-
plete installation.

The materials used for the exterior of
these buildings are rough local stone and
shingles, the former composing the larger

part of the walls. The general treatment
is characterized by the simplicity appro-
priate to a structure of this nature, the
architectural effect being obtained almost
entirely by the differentiation of the var-
ious buildings composing the group. No
attempt has been made to secure a rigid
symmetry, the effect being rather a pic-
turesque balancing of masses, each
treated as simply and directly as possible.
The amount of applied decoration, in
fact, has been reduced to a negligible
quantity.

In the buildings on the estate of Mr.
C. V. Brokaw, at Glen Cove, L. I., the
accommodation for both cows and horses
is considerably less than in the preceding
example. Here a single feed room is
used, located between the two stables, and
the hay loft is placed above the wagon
house, forming the dominating mass on
the axis of the nearly symmetrical court-
yard. The arrangement of the wagon
shed and machinery room is similar to
that above described, and the tool room
is located at the entrance to the court,
balancing the calf pens. The cow yard
is placed to one side, adjacent to the cow
barn. The dairy, placed as in the Tilford
group, is smaller and simpler in arrange-
ment, practically all the work being done
in a single room. Adjacent to it, although
not directly connecting, is the farmer's
cottage. The yard lying between the
cottage and the cow stables is used for
the service of the latter. In its center is

THE ARCHITECTURAL RECORD.

345

MEN'S QUARTERS, FARM BUILDINGS— ESTATE OF HENRY M. TILFORD, ESQ., MONROE, N. Y.

Alfred Hopkins, Architect.

a watering trough, above which has been
constructed a circular corncrib, supported
by four brick posts.

The effect of this group is very differ-
ent from the preceding one, due prin-
cipally to the use of clapboards as the
material of the walls, and of detail of a
generally Colonial or Georgian character.
The buildings are low and rambling, the
only conspicuous exception being the hay
barn, with its cupola used as a ventilator
and clock tower. The essential character
of a hay barn is well expressed by the
great central door with its beam and hoist,
and by the louvers for additional venti-
lation. The farmer's cottage is a pleasing
bit of domestic architecture, and the
few ornamental details are excellently
studied in the style adopted, which Mr.
Hopkins has used for most of his work
on Long Island, in conformity with the
houses of similar character that are so
frequent in that locality.

The south side of this group of build-
ings faces on a large vegetable garden, on
the opposite side of which is the chicken
house. This is of about the same length

as the main farm group — exclusive of the
farmer's cottage — and is treated in a simi-
lar manner, though with slightly greater
simplicity. The north side, facing the
other buildings, is decorated with a
simple but attractive arbor of trellis work,
while on the south side are the runs for
the poultry. This side of the building is
very open, with skylights in the roof so
as to give the greatest possible amount
of sunlight, while the north side has only
such openings as are necessary for ven-
tilation. The design of the entire build-
ing has been studied with a view to the
greatest possible efficiency and conven-
ience.

In the farm buildings of Mr. Adolph
Mollenhauer, at Bay Shore, L. I., the
chicken house is combined with the other
farm buildings, in a single group. Here,
again, the buildings are arranged on the
three sides of a court, but the orientation
is different, and has produced a different
distribution of the various parts.

The chicken houses face the south, as
on the Brokaw estate, and their runs
are similarly arranged, although the inter-

346

THE ARCHITECTURAL RECORD.

DBYING

YAPD

BOX \

STALL I

,11 Jli ' '

rcco CM

w AGON

HOUSE

AAACMINCOY
COOM

COUBT YACD

our

PtNS

WAGON

SMCO

PLAN OF FARM BUILDINGS AND FARMER'S COTTAGE— ESTATE OF C. V. BROKAW, ESQ..

GLEN COVE, L. I.
Alfred Hopkins, Architect.

iVf-y^'^^-' & ^ ^^€£»cvr:

•

; ]

VCGL^

S jj

L.LL

0 A

nwSBR

•s

|EN

».

•y

«j

?Tt1V.<v

, ,~nt*sra.! r-> ,.-> 4 V«A.'.^

CEttNMOOit

'-" s> c- icrC"*"5,^-^

^%\f» ^

^XX g e- v

(«C9ei.ObO Jift »ci

o»vo>o-rvo«

SK'OC^JTJil**!.

f~^ ~"\

GROUP PLAN OF FARM BUILDINGS AND VEGETABLE GARDEN— ESTATE OF C. V. BROKAW,

ESQ., GLEN COVE, L. L
Alfred Hopkins, Architect.

THE ARCHITECTURAL RECORD.

347

FARM BUILDINGS AND FARMER'S COTTAGE— ESTATE OF C. V. BROKAW, ESQ., GLEN COVE. L. I.

Alfred Hopkins, Architect.

FARM BUILDINGS AND FARMER'S COTTAGE— ESTATE OF C. V. BROKAW, ESQ., GLEN COVE. L. I.

Alfred Hopkins, Architect.

348

THE ARCHITECTURAL RECORD.

U U

1 4

BUNS

fOUSI.
;OMc*tri i LOON.

nop^t

P» a » /oe co«c«.«rirlo

VIEW AND PLAN OF POULTRY HOUSE-
ESTATE OF C. V. BROKAW, ESQ., GLEN COVE,
L. I. ALFRED HOPKINS, ARCHITECT.

THE ARCHITECTURAL RECORD.

349

WAGON SHED AND TOOL ROOM-ESTATE OF C. V. BROKAW, ESQ., GLEN COVE. L. I.

Alfred Hopkins, Architect.

nal disposition of the houses is somewhat
different. The stables, however, are much
simpler, being arranged for only two
cows and three horses, with a single feed
room and no hay barn. The central court,
open to the east, is divided to form a
cow yard and a paddock, with a passage
for the service of the chicken houses.
Connected with the horse stable is the
wagon room, and next to it a shed and
machinery room, with a small tool room
adjoining.

The farmer's house lies a little to the
northeast of the main group, and is con-
nected with it by an arbor, interestingly
treated with trellis work. The house is
a pleasing example of the same Colonial
type of architecture that Mr. Hopkins
has so frequently used. It differs from
the Brokavv group, as do the other build-
ings of this estate, in being built of
shingles instead of clapboards, but the
treatment is otherwise very similar.

The buildings of this group are more
uniform in height than in the previous
examples, due to the absence of the domi-
nating mass of the hay barn. Any pos-

sibility of a too monotonous effect, how-
ever, has been obviated by the introduc-
tion of decorative motives of trellis work,
in various parts of the group, as well as
by the addition of an octagonal tower,
used as a store-room and pigeon house.
The peculiar form of the roof, while
not without precedent in the old Georgian
examples, is still sufficiently unusual to
add a very decided note of interest to the
group of buildings.

The buildings on the estate of Mrs.
Glenn Stewart, at Locust Valley, L. I.,
are also very similar in character, and
perhaps even simpler in arrangement.
The main group is arranged on three
' sides of a small garden, open to the north.
On the east side are the dairy and cow
barn, with only two stalls. In accord-
ance with Mr. Hopkins' practice, these
two buildings do not connect, and the
only access from one to the other is
through the open porch adjoining. The
feed room, next to the cow barn, forms
the angle of the group. It serves the
horses as well as the cows, hence its con-
siderable size, which would be somewhat

350

THE ARCHITECTURAL RECORD.

VIEW AND PLAN OF FARM BUILDINGS AND FARMER'S
COTTAGE— ESTATE OF ADOLPH MOLLENHAUER, ESQ.,
BAY SHORE, L. I. ALFRED HOPKINS. ARCHITECT.

THE ARCHITECTURAL RECORD.

351

FARM BUILDINGS— ESTATE OF ADOLPH MOLLENHAUER, ESQ., BAY SHORE. L. I.

Alfred Hopkins, Architect.

excessive for the latter alone. The har-
ness and carriage rooms, adjoining the
feed room, form the south side of the
garden court, while on the west is the
farmer's cottage.

The horses are lodged in a separate
wing, containing five box stalls with
Dutch doors and broad overhanging
eaves. The wing to the south, shown in
the plan as containing chicken houses and
additional stall room, has not yet been
built.

In the center of the garden court is a
small dove cote on the top of a high pole,
around the base of which is an octagonal
seat. The entire effect of the garden is
rather more individual than one expects
the surrounding of farm barns to be, and
this, no doubt, is due to the personal taste
of the owner.

To the northwest, at a distance of about
one hundred and fifty feet from the main
group, is located the superintendent's cot-
tage. This is another of the t excellently
designed small Colonial hous'es that we
have already seen in connection with Mr.
Hopkins' work. It is slightly more am-

bitious than the other cottages above de-
scribed, and should be capable of furnish-
ing a useful suggestion to the builders of
small country houses. The treatment of
the gables, by means of which the rear of
the house is made considerably higher
than the front, should have special adapt-
ability.

One of the most important works that
Mr. Hopkins has undertaken is the "Sky-
lands" farm, the estate of Mr. Francis
Lynde Stetson, at Sterlington, N. Y. This
includes almost every type of building
that a farm might well contain, the build-
ings being scattered over a vast estate,
and employing various types of material
and of architectural treatment. Several
of them are illustrated in Mr. Hopkins'
book, and from them we have chosen
the cow barns as being particularly perti-
nent to the subject of this article, and as
presenting certain features that are not
to be found in the other buildings shown
herein.

The buildings in question are note-
worthy because of their thorough pro-
tection against fire, a measure made par-

352

THE ARCHITECTURAL RECORD.

FARMER'S COTTAGE— ESTATE OF ADOLPH MOLLENHAUER, ESQ., BAY SHORE, L. I.

Alfred Hopkins, Architect.

FARM BUILDINGS AND FARMER'S COTTAGE-ESTATE OF ADOLPH MOLLENHAUER, ESQ.,

BAY SHORE, L. I.
Alfred Hopkins, Architect.

THE ARCHITECTURAL RECORD.

353

FARM BUILDINGS— ESTATE OF MRS. GLENN STEWART, LOCUST VALLEY, L. I.
Alfred Hopkins, Architect.

ticularly important because of the sur-
rounding woods. The material used is
reinforced concrete throughout, except
for the silo, which is of wood. The use
of concrete has led naturally to a type of
architecture with a distinctly Italian sug-
gestion, despite the absence of any de-
tails that would stamp it as belonging to
a definite historic style.

The main building consists of two
wings, at right angles to each other. The
lower of the two, running east and west,
contains the quarters for the milking
cows, ten in number, with bull and calf
pens adjoining. The other wing contains
the feed room, root cellar, hay barn and
dairy, this last a fairly complete installa-
tion of five rooms, reached from the cow
stable only through an open passage.
Above the dairy are the dairyman's quar-
ters, accessible only by an outside stair-
case. The upper part of the hay barn is
extended over the root cellar and part of
the feed room, giving abundant space for
hay storage. On the exterior of the
building this space is indicated by a wall
containing no windows, and pierced only

by louvers, while the dairyman's rooms
have large windows, the two parts being
separated by an open porch.

The building for the young stock,
erected at a later period, is entirely inde-
pendent of the main building, being joined
to it only by a pergola. The silo is lo-
cated between the two buildings, so as
to serve both of them conveniently. A
storeroom and woodshed are connected
with the building for the young stock,
and further to the north are the cow and
bull yards, each with a shelter open to
the sun, but closed against the cold north
winds.

Several features of this plan are note-
worthy, and in particular the great pic-
turesqiieness of effect attained by a simple
use of the material adopted, with the help
of a certain amount of planting, and with
a very simple and convenient arrange-
ment of services. The use of concrete is
also notable from the point of view of
sanitation, as no material presents greater
facilities for the high degree of cleanli-
ness that is desirable in all installations
for the production of milk.

% Q Q o O

COTTAGC

' §0 O Q O O O

ft O

PLANS OF FARM BUILDINGS AND GROUNDS-
ESTATE OF MRS. GLENN STEWART, LOCUST
VALLEY, L. I. ALFRED HOPKINS, ARCHITECT,

THE ARCHITECTURAL RECORD.

355

GARDEN COURT OF FARM BUILDINGS— ESTATE OF MRS. GLENN STEWART,
LOCUST VALLEY, L. I.
Alfred Hopkins, Architect.

While these are by no means all the
farm buildings recently built by Mr.
Hopkins, they are sufficiently various in
their arrangement to be fairly typical of
his recent practice. We find among them
the use of stone, shingles, clapboards
and concrete, as the materials of the
buildings ; we find horse and cow stables,
dairies, cottages, chicken houses, silos,
hay barns and other accompanying ser-
vices, grouped in a variety of ways. But
in all the groups we find the same spirit
and the same principles of composition.

One of the main points to be noted
throughout the works of Mr. Hopkins is
their general air of appropriateness to
their position and use. They are char-
acteristically farm buildings, and most de-
cidedly rural in character. Their gen-
eral lowness contributes greatly to this
effect, and so do the low pitch of the
roofs and the manner in which the build-
ings are joined together by arbors and
covered passages instead of being set
down anywhere, without apparent rela-
tion, as on the ordinary farm. We may
note also the reticence in the use of orna-

ment that characterizes all this work, a
feature that is none too common in re-
cent buildings, where the prevailing ten-
dency seems to be toward the use of a
great amount of detail, so fine in scale
as to be lost in the executed work. Mr.
Hopkins, on the other hand, uses few
ornamental details, but these few are al-
ways large enough in scale to be able to
produce the desired effect.

Another important point is the freedom
with which the compositions are handled.
While Mr. Hopkins is no enemy of sym-
metry, he very rightly recognizes that the
sacrificing of common sense to a formula
is by no means advisable, and that the
different parts of a farm group demand
different proportions and different fenes-
tration, and he has combined these vary-
ing factors into a harmonious whole,
without losing either variety or unity.

On the practical side, also, a few points
may be noticed. One of these, to be
found in all Mr. Hopkins' recent plans,
is the use of the manure trolley, hung
from the beams above, in place of the cart
formerly used, with a great gain in clean-

356

THE ARCHITECTURAL RECORD.

SUPERINTENDENT'S COTTAGE-ESTATE OF MRS. GLENN STEWART, LOCUST VALLEY, L. L.

Alfred Hopkins, Architect.

WOOD

SHED

KITCHEN

nPANTrl

PINING CM

BED

BED PM

POPCH

it *

PLAN OF SUPERINTENDENT'S COTTAGE— ESTATE OF MRS. GLENN STEWART,

LOCUST VALLEY, L. I.
Alfred Hopkins, Architect.

THE ARCHITECTURAL RECORD.

357

SUPERINTENDENT'S COTTAGE-ESTATE OF MRS. GLENN STEWART, LOCUST VALLEY, L. I.

Alfred Hopkins, Architect;

BOX STALL WING OF FARM BUILDINGS-ESTATE OF MRS. GLENN STEWART,

LOCUST VALLEY, L. I.
Alfred Hopkins, Architect.

358

THE ARCHITECTURAL RECORD.

COW BARN AND DAIRY-ESTATE OF FRANCIS LYNDE STETSON, ESQ., STERLINGTON, N. Y.

Alfred Hopkins, Architect.

PLAN OF FARM BUILDINGS— ESTATE OF FRANCIS LYNDE STETSON, ESQ., STERLINGTON. N. Y.

Alfred Hopkins, Architect.

THE ARCHITECTURAL RECORD.

359

COW BARN AND SILO— ESTATE OF FRANCIS LYNDE STETSON, ESQ., STERLINGTON, N. Y.

Alfred Hopkins, Architect.

liness by the substitution. The track can
pass anywhere that there is four feet of
clear width, with a three foot radius on
the turns. In the cases where silos are
included in the group the ensilage can
be conveyed on the same track, thus add-
ing considerably to simplicity of oper-
ation. The manure trolley sometimes
passes through the feed rooms, but Mr.
Hopkins does not consider this a. serious
detriment, as a little care avoids all pos-
sibility of contamination, and any other
arrangement would usually lead to con-
siderable complication in plan and con-
sequently in operation. Where the track
runs outside the buildings it is supported
by overhanging eaves or rafters. The
old-fashioned manure pit is generally
abandoned, except in special cases, the
manure being carted away and stored at
some distance.

Another departure from earlier prac-

tice is in the location of the dairy. It
was formerly believed that this should be
as far from the barn as possible, but the
inconvenience of this arrangement is
scarcely offset by its value in preventing
contamination, since this is more likely
to occur in the barn than in the dairy. If,
therefore, the two buildings are effec-
tively separated, it would seem that all
reasonable precautions in planning have
been taken, and the problem of cleanli-
ness becomes one of administration.

Other details might be mentioned, but
to do so would be to depart too widely
from the limits of our subject. For those
whose interest in this type of buildings
is greater than can here be satisfied, we
can scarcely do better than to commend
the very instructive volume that Mr.
Hopkins himself has written on this sub-
ject, in which he epitomizes the results
of the best recent practice.

THE TALMADGE HOUSE. LITCH-
FIELD, CONN. FROM WATER COLOR
DRAWING BY WESLEY S. BESSELL.

COLONIAL QAK.CHITECTVK.E

IN COHNECTICVT

Text and Measured "Drawings
'Wesley <£herwood Bessell

PART I.

IN studying the old Colonial architec-
ture of Connecticut, one is brought
to realize how little remains in its
original state, how much modern meth-
ods are doing to kill the beauty there
was in the homes of our forefathers. To
pick out the good that is left, without
modern addition in the way of a porch
or new front door or change to two-
light sash to mar the picture, is a difficult
task. So it is with a great deal of satis-
faction that we occasionally catch sight
of some example remaining to us in the
original state.

Going into the details of this old Colo-
nial architecture, the different periods are"
clearly marked by the changes wrought
in our manner of life as the country pro-
gressed.

When we see a house similar to that
built about 1720 at Essex, shown on page
362, one of the first types of small
houses, we must close our eyes to the
porch attached at the side. Here is a
house two hundred years old, represent-
ing the beginnings of our Colonial archi-
tecture, an architecture born of the neces-
sity for economy and typical of the sim-
ple way in which our forefathers lived.
What they wanted most of all was a
home, four walls with as little ornament
as possible. Here was simplicity, the
keynote to everything worth while. How
charming is the house with its simple
lines and one color note in the detailed
doorway.

From these primitive Connecticut sur-
vivals a lesson is to be gleaned. Let us
go to the quiet of an out-of-the-way place
and rest awhile, become fascinated by
Simplicity. The results will be beneficial
in many ways. You will see that to get
your best results you must adhere to the
study of simple composition. The dis-

position of openings will count for far
more than ornament for vacant places.

Let us analyze one of these houses.
How are they planned? What are they
built from ? Who designed them ? Where
did the ideas originate that make them
so dignified?

As to the planning, it is extremely
simple. You enter a small hall; against
the large centre chimney, in the hall, is
the stairway, of a sharp ascent, the rise
and tread generally nine inches by nine
inches, making a rise of forty-five de-
grees and not, as one wpuld imagine, at
all difficult to go up. To the right are
two rooms, and likewise to the left. The
second floor is similar. In the very early
houses there was only one room on either
side of the chimney. This was the gen-
eral plan with few exceptions. For the
larger houses the hall was carried
through the house, and there were two
chimneys, one at each end of the house.
The houses have later been enlarged, as
occasion arose, by putting on a lean-to
and extending the roof line down over it.
This was used as a kitchen. The ceiling
heights vary between seven and eight
feet for the smaller houses ; the larger
ones are generally higher.

The majority are built of oak and in-
tended to stay "put," as time tells. The
rafters, floor beams and sheathing boards
are from the rough, and all these boards
are left as they were ripped from the
original timber. They are held in place
with the wood pins of those days. There
is no flimsiness, no neglect of small detail
in construction. The floor beams were
of oak, usually five by six inches, and
these are still in an excellent state, the
core being sound. The girders were solid
and about ten by twelve inches. Some
girders were supported by oak columns

362

THE ARCHITECTURAL RECORD.

HOUSE AT ESSEX, CONN., BUILT ABOUT 1720. ONE OF THE EARLIEST TYPES OF.
SMALL COLONIAL HOUSES.

twelve inches square. The walls were
constructed of stone in the early houses,
stone only being procurable ; and of stone
or brick in the later ones, the brick be-
ing imported from England or made in
the Colonies.

As to who designed these early houses
our knowledge is meagre. Few names
are left to us. Generally the builder was
also the designer. In the case of the
Hotchkiss house at Old Saybrook, there
is an original agreement between owner
and builder, as follows :

"Terms of agreement entered upon and
concluded between Mr. Humphrey Pratt,
Junr., on this one part and Frederick
William Hotchkiss on the other.

"Concluded — That he, Mr. Humphrey
Pratt, Junr., will build an house for Fred-
erick William Hotchkiss. The dimen-
sions of the house shall be as follows,
viz., 38 feet in length, 29 feet in breadth.
16 feet, posts, in heighth, a plain upright
house to be finished on the outside and
in the inside carried as far as the com-
pletion of the chambers floor according
to the manner of that which was the
property of Samuel Elliott, Esq., late of

this place, deceased, except that it be only
a wooden structure, and the fire place
in the front rooms, above and below,
shall be of brick; that it have a brass
lock and ketch of a large kind on the
front door, and two knob locks of a
smaller kind on the inside door, together
with plain works over the windows. The
whole specified in calculation made by a
committee for that purpose. For the
above building Mr. Humphrey Pratt,
Junr., is to receive the sum of two hun-
dred and fifty pounds lawful money.

"He likewise engages to provide mate-
rials for sd building on the former part
of this sum, being for materials and for
finishing this house as above specified.
Frederick Wm. Hotchkiss on his part is
to pay the sum of one hundred pounds
lawful money, which money becomes clue
to him from this society on the 26th day
of September, 1784, as soon as the same
money be collected, to Mr. Humphrey
Pratt. He likewise engages that he will
do his endeavor that it shall be collected
as speedily as possible or otherwise will
give Mr. Humphrey Pratt, Junr., his full
power to collect it of the collector, or

THE ARCHITECTURAL RECORD.

363

committee, and Frederick Wm. Hotch-
kiss likewise promises that Mr. Hum-
phrey Pratt, Junr., shall hereby become
entitled to the remaining sum of one hun-
dred and fifty pounds lawful money due
for finishing the house as above on the
26th day of September, 1785, provided
sd house be finished as is agreed upon
above and provided also that the same
sum of one hundred and fifty pounds
lawful money which will then become
due to Frederick Wm. Hotchkiss from
this society be collected by the committee
as collector of society, rate or otherwise ;
if not collected by a reasonable time after
that sd 26th day of September, 1785,
that he, the Rev. Dr. William Hotchkiss,
will, if deposited, give Mr. Humphrey
Pratt, Junr., his full power to collect the
same of the committee so-called. The
same conditions or terms of agreement
we, Mr. William Humphrey Pratt on his
contract and Frederick William Hotch-
kiss on the other part, do mutually agree
to perform and abide by and faithfully
accomplish; witness our hands this 26th
day of May Anno Domini, 1784.

Saybrook Society, May 26, 1784.
HUMPHREY PRATT, JUNR.
FREDERICK WILLIAM HOTCHKISS.
"This house settled and paid for and
receipt given as per receipt to be seen in
full.

HUMPHREY PRATT

For building my house,

1784."

This agreement is written in the long-
hand of the day, and the builder was the
architect. Along with the agreement was
a memorandum of material, of fifty
words, so worn that it cannot be made
out. In truth, contractors were to be
trusted then. It was in this house that
Samuel Morse, inventor of the telegraph,
lived. Contractors would use Asher Ben-
jamin's "Handbook," or, if earlier,
Beatty Langley's "Builders Jewel," to
which books are due the great quantity
of good detail. The house consisted of
four walls and a roof. To quote Emerson,
"The line of beauty was the line of per-
fect economy" probably sums up the
architectural merit of the Colonial style.

SMALL HOUSE AT LITCHFIELD, CONN., OF THE PERIOD OF THE GREEK REVIVAL.

STREET FRONT OF THE HAYDEN
HOUSE, ESSEX, CONN. MEASURED
AND DRAWN BY WESLEY S. BESSELL.

THE ARCHITECTURAL RECORD.

365

THE HAYDEN HOUSE, BUILT IN 1665. THE SECOND OLDEST HOUSE AT ESSEX, CONN.

The typical small house illustrated on
page 362 one will see a great many of in
a day's journey. There is also much of
the handiwork of the period called the
Classical Revival ; and may it be said of
the builders of that period, they had
ability and soundness well worth study-
ing. Just as one period was woven into
the other by additions to the English
country homes, preserving a beautiful
whole, so has this Revival worked into
our purely Georgian architecture. After
that, however, traditions were broken,
and only in spots do we see hope of their
return. The small house at Litchfield
(page 363) is of this period.

It is interesting to note when compar-
ing the Hayden house at Essex, the home
of the gruff old sea captain, with the
Wolcott house at Litchfield. the home of'
the Governor of the State and signer of
the Declaration of Independence, that the
directness of lines and composition is
practically identical ; the planning also is
the same, and yet these places are a great
distance apart.

Essex is a place of interest. One would
imagine oneself back a hundred years.
Here was the beginning of the Haydens
in 1665, the Pratts, the Denisons, and
other well-known families. The old

Hayden house, illustrated herewith, is
a veritable library of knowledge ; here
has hung for years a woodcut of George
III and his consort ; here are old knock-
ers brought over from England at the
time the house was built by Capt. Hay-
den; here are beautifully panelled rooms,
to be illustrated in a later article; and
here also is the quoining at the corners
of the building similar to that at Mount
Vernon, although this house is of an
earlier date. This surely is the begin-
ning of our Colonial architecture. Quaint
Essex, with its little streets that end ab-
ruptly at the water's edge, or against a
little white house. Would there were
many more such towns instead of our
modern jumble of Spanish Mission, so-
called Colonial, English and Modern-
esque architecture, all shuffled up and fill-
ing endless streets with their conglom-
erant of ideas.

The details are traced in a very inter-
esting manner. The mouldings that were
on one house in a town were likewise
used on others, showing clearly that the
builder had the moulds run from the
same knife. These mouldings were very
carefully cut out, as one can see by re-
moving the paint from any one member.
The cyma recta and cyma reversa, the

THE ARCHITECTURAL RECORD.

367

THE STARKEY HOUSE AT ESSEX, CONN., BUILT IN 1750.

HEZECAH PRATT HOUSE, ESSEX, CONN., BUILT IN 1744. DOOR IS OF LATER DATE.

368

THE ARCHITECTURAL RECORD.

THE OLIVER WOLCOTT HOUSE, 1752. OLDEST HOUSE AT LITCHFIELD, CONN

THE NORTON HOUSE, BUILT IN 1803, EAST GOSHEN, CONN.

THE ARCHITECTURAL RECORD.

369

quarter round, in fact all mouldings,
were very carefully studied and used,
one with the other, in a manner well
worth copying.

The earliest houses had no gutters, but
on later ones wood was used for gutters.
Today these are replaced by the metal
gutters used everywhere. A few of the
houses had copper gutters and leaders.
Examples of leader heads are few, but
some are very exquisite ; unlike anything
used today, they have usually a long and
tenuated feeling.

Sash and frames were made of oak ;
the frame usually solid wood and the
sash doubled, with nine lights to a sash,
the glass commonly seven inches by eight
and a half inches. No weights were
used, windows being held in place by
pins slipped through the sash into the
frames at a proper height.

The shingles were hand riven, irregu-
lar, few of which remain. All clapboards
were fastened by the old wrought iron

nails with large heads or with oak pins,
and at coast and river towns the boat nail
was used, very often left clearly exposed
to be painted over.

The Starkey house at Essex conveys
a dominant impression of repose. The
doorway is, as usual, the color note, to-
gether with the Palladian window over it.
Formerly all the sash contained small
lights, and the roof was of shingles in-
stead of imitation shingles in metal. The
house is of an early date, and, while
alike, it is still unlike the Smith house
at Litchfield, built at the end of the
Classic Revival.

The Norton house, though not a small
house, was built in 1803, about the time
when some of the most refined and deli-
cate detail was being executed.

We shall take up in future articles
the details, such as doorways, man-
tels and panelled rooms; and by this
means we shall see wherein the beauty
of things Colonial lie.

THE LYMAN SMITH HOUSE, BUILT IN 1833, LITCHFIELD, CONN.

"PENCOYD," BALA, MONTGOMERY COUNTY.
PA. RESTORATION AND ADDITIONS BY
LOUIS CARTER BAKER, JR., ARCHITECT.

372

THE ARCHITECTURAL RECORD.

375

JICOWD TLOOX, Pi-AW

TLOOi. PLAU

LIVING ROOM AND PLANS-HOUSE OF HENRY S.
DRINKER, ESQ., WYNNEWOOD, PA. ALTERATIONS
AND ADDITIONS BY MELLOR & MEIGS, ARCHITECTS.

r")

a c «
£S£

2 . W

C0>< H

o
oS

P<
^

)

O c« O

a w PS

DOORWAY-HOUSE OF GEORGE K.
SMITH, ESQ., ST. LOUIS COUNTY.
MO. ROTH & STUDY, ARCHITECTS.

; «5&p/5fc*£

ARCHITECT'S LI

BOOKS FROM UNIVERSITY PRESSES

By RICHARD FRANZ BACH

Curator, School of Architecture, Columbia University
PART II.

THE Princeton University Press has
also issued a volume of high qual-
ity in Luca della Robbia by Allan
Marquand (No. Ill of the Princeton
Monographs in Art and Archaeology ;
Princeton University Press, Princeton,
N. J. ; pp. 286; quarto, $7.50. This is ar-
ranged as a catalogue raisonne of the
works of the great architectural colorist
of the fifteenth century, in which the ar-
tist's works are chronologically listed.
Documents bearing on his life and activ-
ity are printed where found advisable and
careful bibliographies, arranged by cen-
turies, appear after each number of the
catalogue. This volume is likewise the
first of a series. There will ultimately be
four concerning the family of the name
of Robbia; the second will concern An-
drea della Robbia, the third Giovanni
della Robbia and the fourth the Robbia
School.

The body of the present volume is pre-
ceded by a biographic introduction, to
which are appended a number of docu-
ments concerning Luca in the original
Italian. One hundred and twenty-seven
works are listed, and these are grouped
in five chapters, each covering a decade of
Luca's creative life, beginning 1430 and

ending 1480, followed by a sixth section
including works in the manner of Luca
della Robbia.

Luca della Robbia was born in 1399 or
1400. His chief activity was in stone,
marble, bronze and terra cotta, although
Vasari claims that his father set him to
learn the goldsmith's art under Leonardo
di Ser Giovanni. Donatello's influence
has by many been traced in Luca's work,
notably in the Cantoria and Campanile
reliefs at Florence, but Professor Mar-
quand demonstrates that Luca's works
both antedate those of Donatello whence
their inspiration is supposed to have em-
anated, namely the latter's dancing chil-
dren at Prato and at Florence and his
disputants in bronze on the sacristy doors
of S. Lorenzo. It is not to be doubted,
however, that the advice of Donatello was
welcomed by della Robbia ; this is seen in
the consistent use of receding planes in
the marble altar of S. Pietro, a manner
not generally preferred by Luca. Other
noteworthy influences in the work of this
artist were those of Brunelleschi' and of
Lorenzo Ghiberti. The effect of the
former "could hardly have extended
much beyond architectural details,"
whereas strictly sculptural portions of

380

THE ARCHITECTURAL RECORD.

Luca's works show a dependence on Lo-
renzo Ghiberti. The best work of this
member of the della Robbia family was
done for the Florentine Duomo, although
his efforts did not lack the appreciation
of the great houses of art patrons, such
as the Medici, notably Cosimo and Piero,
the Pazzi, Buondelmonti and Capponi.

Luca's works were "varied in charac-
ter, comprising a choir gallery, bronze
doors, lunettes, ceilings, pavements, dec-
orative and commemorative medallions,
altarpieces, shrines, statues, groups and a
sculptural monument." Although he fa-
vored the architectural point of view—
"his mouldings deserve careful study"-
on one hand ; his reliefs, on the
other, "exhibit little interest in the prob-
lems of perspective and anatomy, which
attracted so much attention in his day."
Luca's results show that he loved nature
and revered religion. He has a deep sym-
pathy for the form and color of flowers
and of fruits. Although animals attract
him little, the human form engrosses him.
Above all, he is known by his profound
feeling for the beauty of womanhood, and
the exuberant life and simplicity of child
life. His sole contribution to his art was
"the application of white and colored
enamels to terra cotta figures and reliefs."
Professor Marquand doubts the stock-
statement that the della Robbia glaze was
a secret composition, for which the form-
ula has not yet been discovered. He
points out that "glazes of a similar char-
acter had been employed by Egyptians
and Persians in ancient times, and to a
limited degree by Greeks and Romans.
Throughout the Middle Ages majolica, or
glazed faience, was still made in Italy,
and many towns began to be celebrated
for the manufacture of majolica before
Luca was born." Luca used his glaze as
a substitute for marble, with the result
that his figures are generally white. His
color sense was one of ultimate refine-
ment, and his sense of fitness or appro-
priateness for the purpose to be served
was at the bottom of each of his under-
takings. In his conceptions, he was ever
a naturalist, but a saving grace of artistic
restraint prevented him from being a
thorough realist. His death occurred in
1482, after the great era of ceramic work

inaugurated by his nephew, Andrea della
Robbia, was already well under way.

Professor Marquand's work is a mar-
vel of care and accuracy, its arrangement
is destined to render it highly useful.
Although there are no colored illustra-
tions, the one hundred and eighty-six re-
productions presented give a fair idea of
the man's work in a field which is at the
moment much neglected, namely that of
the introduction of color in architecture.

The commanding authority of Vitru-
vius has cast its portentous shadow across
the path of the Renaissance. It has dom-
inated with transcending force the de-
velopment of antique forms in their mod-
ern interpretation in such degree, that his
work itself may justly be called a classic,,
though it is not characterized by marked
literary graces. The small matters of the
identity of the author, the time at which
he flourished, the authenticity of his mas-
ter work, and, by way of climax, the
actual and observational foundation for
the theories, principles and processes of
which he discourses, have for many a
day been moot questions ; they have peri-
odically engaged men's minds, but have
not finally been invested with sufficient
fact and reality to give them a definite
place in the history of architecture. To
this day we are not fully assured that Vit-
ruvius lived in the Augustan age, though
Latin philologists generally agree on that
period.

His work appears in its first American
translation under the auspices of the Har-
vard University Press, with the title
Vitruvius: The Ten Books OH Architec-
ture, translated by Morris Hickey Mor-
gan, with illustrations and original de-
signs prepared under the direction of
Herbert Langford Warren, revised and
edited for publication by Albert A. How-
ard (Harvard University Press, Cam-
bridge, Mass. ; crown octavo ; pp. xiii —
331, index; $3.50). Other translations
into German and into French have ap-
peared recently, the latter by Choisy. Like
all classic writings of equivalent impor-
tance the work under discussion 'was fre-
quently transcribed ; the latest of the
transcriptions dates from 1316. What
may be called the first edition dates from

THE ARCHITECTURAL RECORD.

381

1486, while under Julius II, Fra Gio-
condo, at one time an associate architect
of St. Peter's, published a critical edition,
which has furnished a number of the il-
lustrations used by Professor Warren for
the present translation. This is the fourth
version in English ; the first was by New-
ton (1791), the second by Gwilt (1826),
the third by Wilkins (1872).

But who was this embodiment of arch-
itectural omniscience and what was his
place in architectural development? To
begin with, the manual of Vitruvius is
the only work of its type. Much of it is
the result of his personal experience, al-
though we know of only one work of his
hand in the practical field, the Basilica of
Fano ; on the other hand, he was greatly
indebted for much of his material to An-
axagoras, Ictinus, Theodorus and others.
At a time when archaeological investiga-
tion was as undreamt of as the Martian
canals, when the beauties of Imperial
Rome were crumbling with neglect or
served as quarries for current work, there
was no other record of old Roman build-
ing, much less of that of Greece. In the
eyes of the architects of the Renaissance
he was the corner stone of professional
faith. Alberti borrowed from his" work
in preparing his De Architecture! ; Palla-
dio writes : "I proposed to myself Vitru-
vius as my master and guide" ; in Cham-
bers' Civil Architecture, his name often
appears, while in Newton's translation he
is proclaimed "the father of the art." Al-
though in his lifetime he seems to have
been a sort of pariah, in his own -opinion,
at least ; in the centuries following his
time his word became gospel, with never
an attempt at verification. For these
reasons Professor Morgan's new transla-
tion has an added value; it is a careful
and thorough work by an able student of
the classics ; while Professor Warren's
exact knowledge of ancient building has
contributed valuable assistance.

For Vitruvius the word "architecture"
had an all embracing connotation. At
the end of his volume, he says : "Such
principles of machines as I could make
clear, and as I thought most serviceable
for times of peace and of war, I have
explained in this book. In the nine ear-
lier books I have dealt with single topics

and details, so that the entire work con-
tains all the branches of architecture."
The "single topics and details" will be
found to cover methods of finding water
and the construction of cranes, astrology
and weather prognostics, musical theory
and chronometry, not to mention purely
architectural matters, such as, planning,
construction, orders, materials and theory
of design. But it was a characteristic of
many an old treatise to attempt to span
the universe ; and we are mindful of an
ancient and sturdy encyclopaedia of uni-
versal knowledge in one volume.

A NEGLECTED SUBJECT

VERY few writers of books have the
good fortune or the good sense to
write books which deal adequately
with a hitherto neglected subject, and
when such a book is written and pub-
lished it deserves more than usually close
attention. Mr. Cecil C. Evers' book on
The Commercial Problem in Buildings*
does deal with a hitherto neglected sub-
ject, and, what is more, it discusses and
explains this subject with exact and ex-
haustive knowledge and with the utmost
perspicacity.

Considering the large number of peo-
ple all over the United States who are
vitally interested in the development and
the management of urban real estate, it
is extraordinary that so little writing has
been done upon the subject. Mr. R. M.
Hurd's "Principles of City Land Values"
remains almost the only adequate dis-
cussion of the conditions which actually
determine the price of urban land, and
the work which was so well begun eleven
years ago by Mr. Kurd is now carried
on by Mr. Evers. The latter's book is in
a real sense supplementary to the for-
mer's. The former explained the condi-
tions which give value to the sites upon
which city buildings are erected. The
latter deals with the conditions which de-
termine successful building in cities for
commercial purposes.

"The Commercial Problem in Buildings. A dis-
cussion of the economic and structural essentials of
profitable buildings, and the basis for valuation of
improved real estate. By Cecil C. Evers, vice-presi-
dent of the Lawyers' Mortgage Co. 111. 8vo. 271
p., index. New York : The Record and GTuide Co.
$1.50.

382

THE ARCHITECTURAL RECORD.

Mr. Evers, like Mr. Hurd, has every
reason to know a good deal about urban
real estate, because he is professionally
engaged in deciding whether certain
classes of buildings are likely to be prof-
itable on particular sites. The examples
which he uses in order to give point to
his assertions are for the most part those
which have come under his own observa-
tion.

The distinguishing quality of the book
is its eminent and complete serviceabil-
ity. It is, properly speaking, a manual
for the man who is interested in build-
ing houses for commercial purposes of
any kind or in any city. The careful
reading of the book is almost certain to
enable such a man to avoid mistakes and
to save money, and a very little exercise
of intelligence will help the reader not
only to avoid mistakes, but to achieve
successes and to make money. That is
the great value of a careful study of a
concrete business condition, such as Mr.
Evers has made. It places at the dis-
posal of owners and builders all over
the country the fruits of a varied and
prolonged experience in watching the
success of building operations and of a
patient and exact study of the causes of
success or failure.

Perhaps the best way to convey an
adequate idea of the scope and value of
the book will be to enumerate some of
the topics which Mr. Evers discusses.
The first four chapters are occupied with
an examination of the more general as-
pects of the subject. Mr. Evers dwells
upon the rapid growth of cities, of the
increased variety and complexity of the
types of buildings needed in a modern
city, and the conditions under which the
ordinary demand is met. He separates
the commercial problem involved by ur-
ban building into two parts. One of these
concerns the real estate problem, includ-
ing the study of the site, its surroundings,
.accessibility, and in general all the ex-
terior factors. The other concerns the
building proper, including the cost, the
number of stories, the size, the planning,
the elevator equipment, and1 in general all

the interior factors, which determine suc-
cess or failure.

The larger part of the book is naturally
occupied with a discussion of the interior
factors. Not that the interior factors
are more important than the exterior
ones, but they are more numerous, more
complex and on the whole not so well
understood. In the chapter devoted to
the exterior factors he discusses, how-
ever, such matters as accessibility, ap-
proach, transportation, topography, street
plan, shape and size of building lots, the
comparative value of corner and inside
lots, paving, the width of streets, nuis-
ances, restrictions, taxation and other ar-
tificial interferences with natural tenden-
cies. The end of this chapter contains an
admirable summary in which the benefi-
cial and detrimental exterior influences
upon each class of building are classified
and placed in parallel columns.

Mr. Evers' investigation into the inter-
nal factors is equally exhaustive and help-
ful. He discusses in the first place the
structural problem in its general aspect
and insists upon the importance of har-
monizing a building with its surroundings
and of making its cost proportionate to
that of the land. He goes exhaustively
into the requirements in the way of good
planning, light and air, convenience and
the like, which all buildings need, no mat-
ter whether they are devoted to business
or residential purposes. Then he takes
up the special requirements which differ-
ent classes of buildings have to meet.
He discusses in turn private residences,
two-family houses, business buildings in
general, and retail stores in particular.
Finally he goes exhaustively into the
structural life of different classes of
buildings, how fast they depreciate, how
they can be most economically maintained
and operated. All the points which Mr.
Evers makes are driven home by numer-
ous examples. The book abounds in use-
ful facts and illuminating figures. Over
sixty illustrations are published, showing
instances of good and bad plans, success-
ful and unsuccessful buildings.

H. C.

NOTES
AND
MMENTS

The White Plains sta-
tion of the New York
Tapestry Brick Central Railroad which
in a Large was °Pened a few weeks

Composition. a£° is one of the most
interesting examples of

the use of what has come
to be known as "tapes-
try" brick in the neighborhood of New
York. Both inside and out, this material
has been employed for the wall surfaces.
The architectural scheme of this building
is big, but simple in the extreme, the detail
being confined almost entirely to the pat-
tern and texture variations of the brick,
which are cleverly done. The wide frieze
under the main cornice is of especial inter-
est. The building impresses one as being
adequate and absolutely permanent and of
distinct architectural merit.

At Our request Mr.
Louis Carter Baker, Jr.,
An Authentic who designed the very
Restoration of interesting restoration
a Fine Old of Pencoyd, the historic
Residence. home of the Roberts
family at Bala, Mont-
gomery County, Pa.,
shown on pages 370 to 373, has prepared
the following note:

"About a year and a half ago I was em-
ployed by the present owner to restore the
house, and alter it as far as possible to con-
form to the original lines. In this connec-
tion it is interesting to note that Pencoyd
is said to be the oldest house in Philadel-
phia or Montgomery counties. It is of the
early Pennsylvania Dutch type, built
of field stones, laid in rubble masonry, with
many flint stones in the wall, which varies
from two feet to sixteen inches. The char-
acter of the workmanship and of the mortar
in the walls also varied considerably. Look-
outs or peep-holes were found in the old
walls, from which it is supposed the hostile
Indians were observed and fired at. I also

found in the middle of the walls several
hewn blocks of cherry wood; for what pur-
pose they were inserted in the walls, I was
not able accurately to determine.

"It was built in 1683 by John Roberts,
who was the first settler in that section.
He came from Wales', and procured his
grant of about 250 acres of land from
William Penn, in England, before sailing.
His original account of his coming and
settling here, and of his naming the place
Pencoyd (originally spelled Pencoid) is
now in the family possession. The place
has passed by will from father to son, since
1683, without a break or deed, and the pres-
ent owner is the eighth generation to live
in it.

"The house has been changed many
times, each generation, so far as I was able
to observe, making some changes; but the
original house, about forty feet by twenty-
eight feet, has always remained, with the
original oak rafters, joists, etc. There is
no account of, nor can any of the family
remember, whether the window frames' and
sash have ever been changed from the orig-
inal, but their present size and design would
indicate that at some time new window
frames were placed in the old walls.

"When I took hold of the house it was
a conglomerate mass of alterations and ad-
ditions, some of them extensive and costly,
especially those added by the late George
B. Roberts, president of the Pennsylvania
Railroad, but they were all torn down, and
the original walls simply lengthened, as is
shown in the photograph. The old kitchen
fireplace was uncovered and repaired (see
page 373). The old kitchen is now a living
room.

"Pencoyd is notable among Philadelphia's
country homes, because of its age, its
unique and attractive setting, and because
it has been the home of a notable family,
without a break, for eight generations.
Penn Cottage, at Wynnewood, built in 1693,
is the next oldest house in the vicinity; the

384

THE ARCHITECTURAL RECORD.

old Merion Meeting House, another ancient
structure, having been built in 1695."

In fitting up the new interior, floor
boards, trims, doors, mantels, hardware,
and the like, taken from old houses through-
out the country, suitable and proper for this
purpose, were procured. The interior there-
fore represents, as far as possible, and as
far as conformable with modern uses, an
accurate and veritable reproduction.

Glass
Houses.

The Berliner Bauwelt
publishes an account of
the glass houses of the
future by Paul Sheer-
bart. On the assump-
tion that with the ex-
ception of air, light is
the most important
agent toward happiness and health, Herr
Sheerbart prophesies that wood, stone,
brick and other recognized materials of
these many centuries will play no part in
the houses of the future. An absolutely
sanitary structure of glass, doubled for
warmth, will be supported upon an iron
skeleton or framework, the latter of course
the contribution of the present building age
and already fully understood. At the Co-
logne Exposition, the architect Bruno
Traut erected a glass building, the first
conscious exemplification of the new struc-
tural creed.

The selection of Dan-
iel C. French as sculptor
The for the statue of Lincoln

Lincoln to be placed in the Lin-

of the coin Memorial at the

People. foot of the Mall in

Washington is a logical
one. Mr. French un-
doubtedly stands in general estimation at
the head of the American sculptors of to-
day. The selection, while it presents the
greatest possible opportunity for an Ameri-
can sculptor, at the same time carries with
it a tremendous responsibility. The nation
will demand that this figure of Lincoln
shall embody those great traits which it
most admired in the man. Mr. French's
Lincoln of the Nebraska State Capitol will
riot do, beautiful and appealing as it is. I
have seen a great room full of people stand
hushed in awe before the pathos of that
figure, but it is not pathos that must be
the characteristic of the Lincoln of the
Washington Memorial. It should have
something of that, but it should have above
and beyond more of the iron character of

the man who stood firm and undismayed
through the storm and stress of the Civil
War; it must have the loftiness of that
character that towered clear above the
calumny and opposition of enemies at
home, and the keensightedness which saw
through all sham and beyond the clouds of
doubt and disappointment into the clear
future of this great land; and, withal, it
must have something of the keen humor
and the kindliness which endeared him to
small and great. If Mr. French produces
the Lincoln that the people have set up
in their hearts, great will be the glory of
it, but it is a task which should be entered
upon with fasting and prayer.

Electus D. Litchfield.

The erection of the
great athletic stadia at
The Yale Bowl New Haven and Prince-
and the ton is not among the

Palmer least notable architec-

Stadium. tural achievements of

the past year. It is
quite probable that some
future archaeologist in studying the archi-
tectural remains of the present period of
American architecture will consider these
great amphitheatres for athletic games as
among the most interesting products of
our time. The Yale Bowl is a more fin-
ished architectural design than the Palmer
Stadium. Architecturally, the latter does
not seem wholly satisfying, though in some
respects it has advantages over the Yale
Bowl. One has a little of the feeling that
one wishes it were a little bit more Gothic,
more Roman, or, frankly, more American
of the year 1914. On the other hand, rein-
forced concrete does not lend itself very
readily to Gothic architecture, and one can
readily understand the difficulty of produc-
ing a structure of this nature which would
he in keeping with the delightful Collegiate
Gothic of the Princeton University build-
ings. From the spectator's point of view,
the Palmer Stadium has a definite advan-
tage over the Bowl, in that, owing to its
shape, it is possible to bring the seats
closely to the side lines of the football
field. The same result is also obtained by
making the ranges steeper. Then, too,
there is something very delightful in hav-
ing the horseshoe open out to the sun and
to the very beautiful view to the south.
One cannot help but being impressed after
seeing these splendid structures with the
feeling that at last we have decided to
build not for today but for all time.

s**

j Jf

?UJ

•v

> C*^1

is.'/

•••

%2ii
Hi

RECORD May

A rOPY • PVRT.KHFn IM

First Cost

You cannot afford to consider first cost on an
item that means protection and future economy.
Generally speaking you desire to get as much for
your money as possible, but don't you think it is
false economy to cut down on an item that is to
be a decoration and a protection in one ?

The first cost of hollow steel doors and trim is slightly higher than doors
and trim of wood.

If you compare a ZAHNER HOLLOW METAL DOOR with an ordinary
wood door simply in terms of steel and wood, assuming that all other
things are equal, the additional expense appears to be uncalled for, but
if you have your building at heart and are far-sighted you will easily see:

that HOLLOW METAL DOORS AND TRIM constructed by the
ZAHNER METHOD insure absolute fire safety— they cannot burn,
whereas wood doors in any partitions — no matter how well the partition
may be fireproofed will disappear in flames;

that doors finished by the ZAHNER ENAMELING PROCESS have
a very hard surface, making impossible the secretion of bacteria,
whereas in wood doors the germs virtually soak in. This enamel finish
is artistic and everlasting and requires no attention. Wood doors on the
other hand require periodical rubbings, revarnishing or an entire refinish;

that ZAHNER HOLLOW METAL interiors reduce your insurance, and,

that they give every building where installed an advertising feature that is
of no small account and create a safe feeling that appeals very strongly to
tenants.

Every one of the above features should have your attention, whether your
new building is going to be the means of a disastrous fire and loss of life
or whether it is going to be a popular and paying proposition depends
largely on how cheap you make your first cost.

Give the ZAHNER AGENT in your City an opportunity to
show you how a ZAHNER installation pays regular div-
idends— or gel in touch with the home office direct.

THE ZAHNER METAL SASH & DOOR CO.

Successors to the Monarch Metal Manufacturing Co.

CANTON, OHIO

NHNULIIIIIIIItll

- -

VOL. XXXVII. No. 5

MAY, 1915

SERIAL NO. 200

THE

' ARCHITECTVRALM

sa RECORD

CONTEXTS

COVER-HOUSE DOOR AT OAK LODGE, Ardmore, Pa. :

Evans & Warner, Architects
Painting by Charles Lennox Wright

EXAMPLES OF THE WORK OF OTIS & CLARK

By Herbert Groly

THE HOUSE OF HOPE PRESBYTERIAN CHURCH, St. Paul, Minn.

Cram j& Ferguson, Architects

ROMAN ARCHITECTURE AND ITS CRITICS. Part I

By Prof. A. D. F. Hamlin, of Columbia University

COLOR IN ARCHITECTURE AT THE PANAMA-PACIFIC EXPOSITION 437
By Wm. L. Woollett

COLONIAL ARCHITECTURE IN CONNECTICUT. Part II

Page

385

410

425

Text and Measured Drawings by Wesley Sherwood Bessell

THE NEW GENERAL HOSPITAL AT CINCINNATI
By J. R. Schmidt

PORTFOLIO OF CURRENT ARCHITECTURE

RECENT BOOKS ON MEDIEVAL ARCHITECTURE. Part I
By Richard Franz Bach

NOTES AND COMMENTS - -

445

453

464

474

479

Editor -. MICHAEL A. MIKKELSEN. , Contributing Editor : HERBERT CROLY

Advertising Manager : AUSTIN L. BLACK
Yearly Subscription— United States $3.00 Entered May 22, 1902. as Second Copyright 1915 by The Architectural

— Foreign $4.00 — Single Copies 35 cents

Class Matter, at New York. N. Y.

Record Company — AH Rights Reserved

PUBLISHED MONTHLY BY

THE ARCHITECTURAL RECORD COMPANY

115-119 WEST FORTIETH STREET, NEW YORK

F. W. DODGE, President

F. T. MILLER, Secretary and Treasure.

STAIR HALL-RESIDENCE OF E. I. CUDAHY.
ESQ., CHICAGO. OTIS & CLARK, ARCHITECTS.

AKC

ITECTVRAL

FIECOFID

MAY, 1915

VOLVME XXXVII

NVMBER V

EXAMPLES OF THE WORK
OF OTIS OL, CLARK

^ CKO LY

A WELL known English critic re-
cently drew an interesting com-
parison between the general char-
acteristics of the English literary move-
ment of to-day and that of the Victorian
period. The comparison turned chiefly on
the absence of literary men of exception-
al ability in contemporary England, but
the presence of a very high average of
men of ability both in respect to prose
and verse. England has no novelists or
poets comparable to the great Victorians,
but she has an extraordinarily large num-
ber of writers who are abler than any
except the ablest of the Victorians, and
who maintain a high standard both in
form and substance. Genius is lacking,
but talent abounds.

The foregoing generalization applies,
it would seem, to other occupations be-
sides letters and to other countries be-
sides England ; England has no states-
men or orators who tower above their

contemporaries as did Gladstone, Dis-
raeli and John Bright. She has no scien-
tists whose eminence is comparable to
that of Huxley and Tyndall. At the same
time there is certainly a larger amount
of hard, sound work accomplished at the
present time both in politics and in science
than there was a generation ago. Ger-
many also seems to lack both politicians
and generals who measured up to the
standard of the founders of the Empire,
but the lack of very great men does not
prevent her from putting into action
what is apparently the most efficient ma-
chine for fighting a war and for amelior-
ating its unfortunate effects on her own
population which the world has ever
seen.

These analogues are worth some at-
tention, because something of the same
movement seems to be taking place in
American architecture. The modern ar-
chitectural revival in this country has

386

THE ARCHITECTURAL RECORD.

been profoundly influenced by the work
of a few men such as Hunt, Richardson,
McKim, White and Sullivan. At the
present time all but one of these men
are dead and he no longer possesses his
former influence. New designers have
been developed of equal ability, but they
do not stand out among their contempor-
aries as did the men named above, and
they are not copied to the same extent.
The place of Richardson and McKim
has been taken by a small army of young-
er architects of varying ability but of
generally high standard. All over the
country an extraordinary amount of
clever, well considered and interesting
work is being turned out. This work
frequently possesses a great deal of dis-
tinction ; but it has the distinction not
of originality or of force, but of ease,
competence and good manners.

Work such as that of Messrs. Otis and
Clark suggest the foregoing introductory
remarks. It is sound and; intelligent
work, which is well-informed without a
trace of pedantry, and which conforms
to conventions without being stiff. It
makes no pretense to originality, but its
want of originality does not prevent it
from being fresh and even lively in ap-
pearance. One feels that the architects
are at home in their work, that they are
getting through it without effort and on
the whole without very much friction.
Twenty years ago the ability to design
such houses as these, particularly in the
vicinity of Chicago, would have required
a large amount of originality, effort and
prestige. However much American ar-
chitecture may lack men of great indi-
vidual force, it certainly provides increas-

ing opportunities for the achievement of
diversified, agreeable and accomplished
work.

A very simple and attractive design is
that of the Indian Hill Club, at \Vin-
netka, 111. It consists essentially of a
long, low one and one-half story building
with a peaked roof, resembling an en-
larged New England farmhouse ; but this
long building has two wings of the same
height, and the space between the wings
is enclosed and made a one-story hall.
It remains as unpretentious as a New-
England farmhouse and it has the
same sort of charm. If a New England
farmer could have become affluent with-
out acquiring social presumption, he
would have built for himself this kind
of a residence. It does not even make
the comparatively modern claims of a
manor house. It belongs essentially to
a man who farms his own land, who cul-
tivates his own garden, and that is the
kind of man which an American ought
to be.

The members of the Indian Hill Club
are to be congratulated upon having a
home which has been kept so completely
domesticated.

An interesting variation on the same
general type is the residence of Mr.
Chas. M. Rank-in at Terre Haute, Ind.
This house consists of a two-story and
attic main building. On the entrance
side this main building is supplemented
by an extension, containing the kitchen,
the servants' rooms and the garage. This
extension joins the body of the house
at an angle, and the plan has enabled
the architects to make a very pleasant ar-
rangement for the approach to the build-

FIRST FLOOR PLAN-RESIDENCE OF E. I. CUDAHY, ESQ., CHICAGO.
Otis & Clark, Architects.

RESIDENCE OF E. I. CUDAHY, ESQ.
CHICAGO. OTIS & CLARK. ARCHITECTS.

5 w
II

fc K

390

THE ARCHITECTURAL RECORD.

FIRST FLOOR PLAN-INDIAN HILL CLUB, WINNETKA, ILL.
Otis & Clark, Architects.

FIRST FLOOR PLAN-RESIDENCE OF F. H. SCOTT, ESQ., HUBBARD WOODS, ILL.
Otis & Clark, Architects.

THE ARCHITECTURAL RECORD.

391

TERRACE OVERLOOKING LAKE MICHIGAN— RESIDENCE OF FREDERICK H. SCOTT, ESQ.,

AT HUBBARD WOODS, ILLINOIS.
Otis & Clark, Architects.

ing. The arrangement is unconventional
and effectual, while at the same time be-
ing compact and convenient. Although
the architectural style is not picturesque,
the effect of the design of the entrance
sjde is sufficiently irregular to have an
element of the picturesque in it, to which
the low, one-story garage, whose roof
runs into that of the extension, .contrib-
utes very much. The practice of incorpor-
ating the garage with the design of the
house is becoming more and more popu-
lar, particularly in the case of modest
suburban places. There is no real need
of removing it to a distance, as was
the case with a stable.

On the garden side of the Rankin place
the corner and garage extension almost
completely disappear from view. From
this aspect the dwelling looks like an
unusually large two-story farmhouse
seated on a terrace and provided with all
the modern conveniences. It is above all a
comfortable and homely kind of build-
ing, but with a homeliness that is not de-
void of refinement and good taste. What-
ever else may be said for American ar-

chitecture, it is certainly creating a more
appropriate and interesting type of house
for middle class people than is the archi-
tecture of any foreign country.

The most elaborate house designed by
Messrs. Otis and Clark is the Thorne
place, situated at Lake Forest, 111. A
residence of this kind is intended for
comparatively wealthy rather than for
moderately well-to-do people, and its de-
sign is, consequently, more largely de-
termined by the historical dwelling occu-
pied by similarly fortunate people of
other times and countries. This par-
ticular dwelling is a discreet and taste-
ful adaptation of a French chateau to
the needs of a contemoorary American
family. The entrance facade is particu-
larly successful and may partly be char-
acterized as one of the most sympathetic
and reticent attempts which has been
made in this country to domesticate in
the United States this particular style.
It is regular and formal without being
stiff, and it is handsome and stylish with-
out being ornate and ostentatious ; above
all, the architects have succeeded in

fe W <
OHJ

W .

u d

^^08
W W
Q

a** S3

w a H

394

THE ARCHITECTURAL RECORD.

FIRST FLOOR PLAN-RESIDENCE OF CHARLES M. RANKIN, ESQ., TERRE HAUTE, IND.

Otis & Clark, Architects.

RESIDENCE OF CHARLES M. RANKIN, ESQ., TERRE HAUTE, IND.
Otis & Clark, Architects.

J W

S3 «

w o

Jtf

400

THE ARCHITECTURAL RECORD.

DINING ROOM— RESIDENCE OF JAMES W. THORNE, ESQ., LAKE FOREST, ILL.
Otis & Clark, Architects,

avoiding the archaic appearance which
has been one of the most objectionable
aspects of so many American chateaus.
For all its conformity to a particular
style, it looks like a modern American
residence, though it would be difficult to
say just how the architects have suc-
ceeded in giving this modern accent to
the language of another century. The
one blemish in the design of this entrance
facade is the second story windows in the
extension. They are on the same level as
the windows in the main building, but,
inasmuch as the ceilings are lower, they
have been allowed to break through the
line of the roof in an extremely objec-
tionable way.

The other facade of the Thorne house,
is supplemented by a handsome terrace,
which forms the scenic background for
what is in reality a private outdoor
living room. This facade is less in-
teresting than the entrance frontage. The
architects were obliged to choose
between remaining true to the type
or of adapting the historic model
radically and frankly to modern
American needs. They quite prop-

erly chose the latter course. Their
adaptation amounts in this case almost
to a transformation. They sacrificed the
style to the needs and wishes of the
people who were to live in the building.
The terrace frontage has little of the
simplicity and the distinction of its
more public brother. It gives one
the impression of being chiefly win-
dows and awnings, and of course it looks
better on days when the awnings can be
rolled up. It remains true, none the less,
that the French chateau style needs for
its proper effect high unpierced wall
space and high repose. The terrace fa-
cade has been designed to meet a real need
for sunlight and other modern conveni-
ences, but like so many modern contri-
vances, it is restless just because it is
useful, and it lacks character. Neither
does the smaller frontage look very well
from the garden, which has been laid out
to the west of the house in an attractive
background of trees. •, Here again ap-
pearance has been somewhat sacrificed
to convenience. The spacious porch,
which leads to the garden, is excellent
in itself, but it was difficult to place

THE ARCHITECTURAL RECORD.

401

FIRST FLOOR PLAN-RESIDENCE OF JAMES W. THORNE, ESQ., LAKE FOREST, ILL.

Otis & Clark, Architects.

nnnn
nnnn
nnnn

G C. A 5 5 Tp£ D. R A C L

FIRST FLOOR PLAN-RESIDENCE OF WILLIAM S. MASON, ESQ., EVANSTON, ILL.

Otis & Clark, Architects.

ENTRANCE-RESIDENCE OF WILL-
IAM S. MASON, ESQ., EVANSTO.X,
ILL. OTIS & CLARK, ARCHITECTS.

THE ARCHITECTURAL RECORD.

RESIDENCE OF WILLIAM S. MASON, ESQ., EVANSTON, ILL.
Otis & Clark, Architects.

DINING ROOM-RESIDENCE OF WILLIAM S. MASON, ESQ., EVANSTON, ILL.
Otis & Clark, Architects.

404

THE ARCHITECTURAL RECORD.

VIEW AND FIRST FLOOR PLAN-RESIDENCE
OF JAMES FENTRESS, ESQ., HUBBARD WOODS,
ILL. OTIS &• CLARK. ARCHITECTS.

"* rt W
O £

O y (_)

W •< <
U iJ .

W ri«
Qw<

So w ri

w . .-

406

THE ARCHITECTURAL RECORD.

RESIDENCE OF WALTER R. KIRK, ESQ., LAKE FOREST, ILL.
Otis & Clark, Architects.

FIRST FLOOR PLAN-RESIDENCE OF WALTER R. KIRK, ESQ., LAKE FOREST. ILL.

Otis & Clark, Architects.

THE ARCHITECTURAL RECORD.

407

LIVING ROOM— RESIDENCE OF WALTER R. KIRK, ESQ., LAKE FOREST, ILL.
Otis & Clark, Architects.

DINING ROOM— RESIDENCE OF WALTER R. KIRK, ESQ., LAKE FOREST, ILL.
Otis & Clark, Architects.

fc-5

THE ARCHITECTURAL RECORD.

409

against the background of the body of
the house and make it look well. A great
deal of careful and successful study has
been devoted to the interior of this house.
The entrance hall and the dining room
are particularly good examples of the
simpler type of French panelled room.

Another of Messrs. Otis and Clark's
dwellings which belongs emphatically to
an historic type is the home of Walter
R. Kirk, at Lake Forest, 111. This house
is, of course, scrupulously and even
somewhat consciously Spanish in its ap-
pearance. Its Spanish character is un-
fortunately attenuated by the multiplic-
ity of its windows, which has prevented
the architects from obtaining the un-
broken stretches of wall surface which
added so much to the severe dignity of
Spanish domestic architecture. But it is
none the less a very interesting example
of the application of Spanish forms to
the needs of a modern American family.
Spanish buildings usually managed to
combine picturesqueness with great sim-
plicity in the composition of a building
and in the massing of its parts. The
Kirk house also is low; simple as the
elements of its composition and almost
devoid of ornament. Yet it is at the
same time picturesque; and its pictur-
esqueness is obtained almost entirely by
the projection of the roof. The effect of
a deep shadow of this kind is analogous
to the effect upon a man's face produced
by a broad-brimmed hat. If it is done
skillfully, it adds an element of mystery
to what is in other respects a wholly un-
mysterious facade of countenance. Was
it accidental that the Spaniard should
have used more than any other people
both the sombrero with its broad brim
and the shapely projecting roof?

The rooms of the Kirk house will
make a particularly strong appeal to
people who like extreme simplicity of in-
terior design. The living room, for in-

stance, is entirely devoid of ornament
except a mantelpiece and cornice. It is
merely a spacious room, finished in grey
plaster, hung with tapestries and entirely
free from incidental and "spotty"
furnishings. It would be too severe for
the ordinary American taste, which pre-
fers a much busier and fussier kind of
decorative finish, but its severity, in spite
of a flavor of sub-consciousness, is not
in the least ascetic. These bare Span-
ish rooms are refreshing in their cool-
ness, their economy and in their absence
of ornamental trivialities.

Messrs. Otis and Clark have de-
signed many other attractive houses, of
which perhaps the most interesting is
that of John A. Jameson at Hubbard
Woods, 111. It affords an indication of
their versatility, for it is a peculiarly suc-
cessful example of the half-timbered
house, which frequently looks particular-
ly well among the oak woods to the north
of Chicago. Mention should also be
made of the residence of Mr. William T.
Mason at Evanston, 111., which belongs
to a kind entirely different from that of
the Jameson or Kirk houses, but which
is also extremely good of its kind. The
cleverness of architects who can handle
so many different styles with so much
taste and with such a nice sense of the
idiom of each particular style is incon-
testable. It is to be hoped, however, that
soon they will settle down and special-
ize in a particular type of design. The
biggest successes in American architec-
ture have been made by firms whose
work was characterized less by versatil-
ity than by the mastery of one particular
style, which can only be derived by pa-
tient and varied experimentation with
its possibilities. Messrs. Otis and Clark
are sufficiently able to make their friends
hope that eventually they will settle down
and bestow on their work a more strong-
ly marked character.

mm. •

THE HOUSE OF HOPE PRESBYTE-
RIAN CHURCH, ST. PAUL. MINN.
CRAM & FERGUSON. ARCHITECTS.

THE House of Hope Church was
one of the first churches founded
in St. Paul, its traditions extend-
ing back to the beginnings of the State
of Minnesota, in the last century. The
original House of Hope was a Dutch
redoubt built in early Colonial times
on the trade route between Hartford and
Manhattan as a sort of halfway house
for protection against the red savages of
Connecticut. The founder of the church
knew of this old fort, and when he gath-
ered his small congregation in what was
then an Indian-beset wilderness, his
church seemed to him like the old ref-
uge house in the East, and he called it
the House of Hope. An edifice in the
lower town served the congregation until
the dedication of the new building in the
higher part of the city, on the bluff above
the Mississippi.

In consulting their architects the build-
ing committee laid down the principle
that, while the church was to be as con-
venient and practically useful as possi-
ble, it nevertheless was to be traditional
in spirit and dignified and religious in
expression. They thought a three-aisled
plan preferable on this account ; and it
may be remarked that, although the aisle
is not merely an ambulatory, but con-
tains pews, the number of dark seats is
small. There is the usual front vesti-
bule, with a gallery over it entered by
stairs from the church. The two tran-
septs have no galleries ; the left is formed
in the base of the tower, and only the
right transept is visible as such from the
outside. Back of the church proper is
a small chapel for small services, and
adjacent, at one side, are the Sunday
School building and Parish House.

The "system" adopted in the nave is
a sort of compromise between the usual

wide one-aisle interior with a hammer-
beam roof and the ordinary three-aisle
type without a clerestory. The crucial
difficulty in a wide span like that of the
House of Hope is in getting a proper
curve for the arches of the roof trusses
without unduly raising the height of the
roof or unduly depressing the arch. This
is here accomplished by springing the
truss arches, not from the top, but from
the base of the triforium above the
ground story arcade. The added height
makes possible a simple type of roof
truss without hammer beams. The dark
triforium is extremely effective and use-
ful acoustically. True flying buttresses
of concrete, under the roof, stiffen the
wall on centers of the trusses. The roof
of the chancel is a pointed segmental
barrel vault, ribbed and panelled. The
aisle ceilings are reinforced concrete slabs
with stone arches on the lines of the
columns.

The stone used throughout is Bedford
limestone. All the trim, exterior and in-
terior, is light buff stone, and the ex-
terior ashlar is buff and blue mixed. The
exterior walls are very good on account
of the variety in color made by the use
of the two grades of stone. All the tra-
cery is stone, rebated for double glass on
account of extremely cold winter
weather.. In the exterior of the large
Parish House chimney some red brick
are used to give color variety to the plain
mass. The roofs are of green slate.

In the interior of the church the floors
of the vestibule, aisles and chancel are
of specially made tile. Except in the
chancel, the quarries are largely plain red
with semi-glaze tiles in color, used in
spots and borders. In the chancel the
whole floor is glazed and is very beauti-
ful. The color of the ground tile is dull

412

THE ARCHITECTURAL RECORD.

THE HOUSE OF HOPE
PRESBYTERIAN CHURCH.
ST. PAUL, MINN. CRAM &
FERGUSON, ARCHITECTS.

yellow, with blue, gold and iridescent me-
tallic glazes in the figured spots.

The woodwork is of fumed oak with
a dull and rather light finish. In the
panelling at the back of the chancel are
set five large panels of brocade, which

give an effective focus to the whole in-
terior. The arrangement of this chancel
reverts to older Scotch precedent, and is
unlike that in many Presbyterian
churches. The pulpit and lectern are at
the sides, with the communion table in

THE ARCHITECTURAL RECORD.

413

the center and clergy stalls behind it.
There are lateral benches for the choir
and organist; the organ console is in a
shallow niche in the wall on the pulpit
side. In the desks for the pulpit and
lectern are concealed transmitters for
a telephone system for deaf parishioners.

The lighting fixtures of the church
proper are perhaps the most unusual fea-
tures of the whole group. The motive
was suggested by the name of the church.
Man's "House of Hope" is the church,
the Light of the World; in the fixtures
the general forms were suggested by
the images used in Revelation and else-
where, where the New Jerusalem is seen
by St. John in the form of a fortified
city, and the companies of the Faithful
throughout the world are conceived of as
being in 3 continual state of siege by the
world at large. The motives are there-
fore taken from mediaeval architecture,
civil and religious. The lantern at the
main entrance of the church, the vesti-
bule fixtures and the wall brackets are
in the form of small defensive fortifi-
cations, typifying the small bands of
faithful people who throughout the
world in different ways are sustaining
their part in the conflict. The nave fix-
tures, in the shape of small churches,
represent the* Visible Church in the
world, divided, but united by one mis-
sion. The large corona at the crossing
is a symbol of the Church Triumphant,
the Holy City, the New Jerusalem. It is
a temple encircled by a wall which is
pierced by twelve gates, typifying the
twelve tribes of Israel of the old dispen-
sation and the twelve Apostles of the
new. The symbols of the Apostles are
placed on the shields hung from the gates
and above the temple are the dove and
two crowns hanging, symbolizing the
Trinity.

As to the actual fixtures, the most im-
portant are of course the nave chande-
liers and the corona. In the former,
which are hung low, it was necessary to
avoid the possibility of direct light shin-
ing into the eyes of the congregation.
The lighting bulbs have been placed
above glass, which diffuses the light
and prevents concentration below the

fixture. The openings in the sides of
the fixture are glazed with bits of col-
ored glass which give a most interest-
ing effect of color when the lights are
lighted. The corona is hung much
higher, with all the lights exposed. The
fixtures are hand wrought iron through-
out, decorated in gold and color.

All the carving and other ornament in
the church was designed to have its prop-
er symbolic relation to Christian and lo-
cal tradition. The anchor of hope, again
referring to the name of the church, and
the sword of St. Paul, the quasi-patron
saint of the city, are constantly used.
In the vestibule are four shields, typify-
ing in the arms of their native cities the
four great Protestant reformers, Edin-
burg for Knox, Geneva for Calvin, Zu-
rich for Zwingli, and Wittenberg for Lu-
ther. The corbels under the nave trusses
are carved with scenes from the life of
St. Paul ; the chancel arch is carved with
a vine pattern, representing the human
family. Among its roots at one side are
the Creation of Man, at the other the
Birth of Christ, thus representing man
begun in Adam and perfected in Christ.
The chancel ceiling is painted and gilt,
the shields bearing the arms of the
United States, Scotland, Connecticut and
St. Paul. Besides these are used the
star, the crown of thorns, the rose and
the triangle.

A considerable amount of permanent
stained glass has been already installed.
The subjects for all the windows were
decided on beforehand, and laid out ac-
cording to the traditional scheme. On
the left side of the nave will be the Old
Testament stories, on the right New
Testament, in the right transept pre-
Reformation, and in the left post-Ref-
ormation worthies. The great chancel
window is composed of scenes from the
Passion, and the window over the main
entrance will show the Apocalypse. The
chancel window, the right transept win-
dows and the three aisle windows are
already in place ; if the standard of these
is maintained in future gifts, the glass
in this church promises to be noteworthy
as an example of the best work of Ameri-
can designers.

EAST SIDE OF NAVE-THE HOUSE OF HOPE
PRESBYTERIAN CHURCH, ST. PAUL, MINN.
CRAM . & FERGUSON, ARCHITECTS.

EAST SIDE OF NAVE— THE HOUSE OF HOPE
PRESBYTERIAN CHURCH, ST. PAUL, MINN.
CRAM & FERGUSON. ARCHITECTS.

CHANCEL - THE HOUSE OF HOPE
PRESBYTERIAN CHURCH, ST. PAUL,
MINN. CRAM & FERGUSON, ARCHITECTS.

f'1.

NAVE AND CHANCEL-THE HOUSE OF
HOPE PRESBYTERIAN CHURCH, ST. PAUL,
MINN. CRAM & FERGUSON, ARCHITECTS.

REAR OF NAVE, SHOWING EAST STAIRS TO GALLERY
-THE HOUSE OF HOPE PRESBYTERIAN CHURCH,
ST. PAUL, MINN. CRAM & FERGUSON, ARCHITECTS.

EAST TRANSEPT, FROM CHANCEL— THE HOUSE
OF HOPE PRESBYTERIAN CHURCH, ST. PAUL,
MINN. CRAM & FERGUSON, ARCHITECTS.

ELIZABETH CHAPEL — THE HOUSE OF
HOPE PRESBYTERIAN CHURCH, ST. PAUL.
MINN. CRAM & FERGUSON. ARCHITECTS.

ROMAN ARCHITECTVRE
AND ITS CRITICS

^TA.D.F.HAMLIN

PART \-me CRITICS tf She INDICTMENT

THE increase in the output of archi-
tectural books in English within
the last few years has been ac-
companied by a general broadening of
taste, both in the public and in those
who write for its instruction. Dogmatic
criticism and narrow partisanship in the
discussion of styles and periods are less
conspicuous than formerly ; there is more
catholicity of appreciation, and critical
judgments are founded upon a better un-
derstanding of the fundamentals of archi-
tecture and a fuller knowledge of its his-
tory. There are, however, certain dog-
mas of the old-time criticism which have
persisted in the face of larger knowledge,
which are so erroneous, so contrary to
the evidence of the monuments them-
selves, that they deserve to be examined
with great care, in order that the reader
may understand both why they are so
plausible and persistent, and what are
the errors which vitiate them. It is high
time that both writers and readers should
be put on their guard against perpetuat-
ing these errors.

It is worth noting that much of this
popular literature on architecture has
been the work, not of practising archi-
tects, but of studious laymen. Ruskin,
whose "Seven Lamps of Architecture"
and "Stones of Venice" have been more
widely read than any other books on
architecture in English, was a painter, a
professor of art and a literary man, never
an architect either by training or practice.
Sir James Fergusson, whose "History of
Architecture in All Countries" was for
many years the only important work in
English on the subject, was an accom-
plished scholar and traveler, but not a
practicing architect except for one short
period early in his career, during which
he produced no work of any importance.

Among present-day writers Mr. Charles
Herbert Moore, the author of "Develop-
ment and Character of Gothic Architec-
ture," "The Character of Renaissance
Architecture," and "Mediaeval Church
Architecture of England," was for many
years Professor of Drawing at Harvard
University; an enthusiastic student of
medieval architecture and a writer and il-
lustrator of more than ordinary force and
ability, but not an architect. The late
Montgomery Schuyler, author of "Amer-
ican Architecture" ; Mr. Arthur Kingsley
Porter, author of two large volumes on
"Medieval Architecture," and of a valu-
able little book on "Vaulting" ; and Pro-
fessor W. H. Goodyear, author of "Greek
Refinements" and of many articles in the
architectural periodicals, have distin-
guished themselves in various fields of
scholarly investigation connected with
architecture, but none of them is an archi-
tect. Even the most widely known of
American writers on architecture, the late
Mr. Russell Sturgis, although trained for
the profession and known as the designer
of the Marquand Chapel at Yale and of a
few other buildings, was always by pref-
erence a student and dilletante in his pro-
fession rather than an active practitioner.
It would be unreasonable to claim that
none but practising architects should at-
tempt to write about architecture, that
they alone are qualified to criticize archi-
tecture. There is a wide field of literary
activity open to non-practising students
of architecture, and within certain fairly
broad limits the layman may qualify him-
self, by study and observation, not only
to popularize the history and archeology
of the arts of building, and the funda-
mental principles on which they are based,
but also to pronounce critical judgments
on buildings and styles. One of the best

426

THE ARCHITECTURAL RECORD.

books on English Cathedrals is the work
of a non-professional — an American lady,
Mrs. M. G. Van Rensselaer. Neverthe-
less, in this field the amateur stands on
somewhat dangerous ground. Every
one, of course, can express his own per-
sonal judgment of a building or style.
But when he addresses the general pub-
lic— and all the more if he speak with a
certain authority based upon his reputa-
tion as a writer or scholar — any mistake
he may make in his verdicts is disastrous
in its effects precisely in proportion to
that reputation. The error is popular-
ized and accepted, and unless controvert-
ed by some one who can speak to the same
audience with equal authority, it becomes
in time a part of the established traditions
of popular taste and judgment. This ex-
plains the wide currency of the miscon-
ceptions and mis judgments to which these
papers will seek to call attention.

The reason why even the scholarly
amateur or the accomplished dilletante
is in constant danger of critical misjudg-
ments, lies in the fact that one entire side
of the art he deals with is for him an un-
explored country ; the side of practical,
creative design. A whole array of con-
siderations that enter into the production
of even the simplest architectural design,
first on paper and then in the material
building, can be fully appreciated only by
one who has toiled over the drawing-
board, dealt with questions of feet and
inches, calculated strains, watched the ex-
cavation, the piling of the masonry, the
details of the finishing, and solved the
countless minor problems that arise in the
working out and execution of the design.
The translation of an abstract architec-
tural conception into the concrete form
of the completed building is a part of the
architect's work which should form an
important factor to be considered in judg-
ing the work. No layman can judge a
plan with the appreciative fairness of the
man who has created many plans, and to
whom a plan is not merely a diagram of
internal arrangements, but a key to and
revelation of the entire structure. The
purely theoretic and transcendental criti-
cism of architecture can never do full jus-
tice, because it ignores the inner proc-
esses of architectural creation, the amount

and nature and importance of many ele-
ments and forces which the designer of
the work under criticism was compelled
to consider and deal with. And it is pre-
cisely here that even broadminded and
scholarly literary critics often fail.

Nor are the architects themselves quite
blameless in their critical estimates.
They are liable, however, to err in a dif-
ferent direction. Through inadequacy
of historical scholarship, they sometimes
fail to take broad views, they become
partisans of this or that "style" or set of
forms, and intolerant of methods of de-
sign different from their own, — as when
one of them recently wrote to the au-
thor of these papers that there were but
three legitimate styles of rural house de-
sign proper for Americans to employ,
the Georgian or Colonial, the Swiss and
the English! Valid architectural criti-
cism must be based first of all on broad
historical scholarship ; it must look
through, and around, behind and beneath
all the styles and their products, to dis-
cover the hidden as well as the obvious
factors that shaped them, the point of
view of the designers and their method
of approach to the problem. It must
take account of forms and details as re-
sults, not causes, and seek for the reason
of their adoption. The critic must con-
sider alike the plan and the construction,
the composition and the decoration ; note
what is fundamental and what is super-
ficial ; what is essential and what secon-
dary. He must learn to distinguish be-
tween mere personal predilections and
sober and matured judgments based on
sound reasoning from established prem-
ises. It is not fair or valid criticism to
judge the style and products of one age,
period or people by the principles and
standards of another age or period or
people. It is of course fair, and indeed
instructive, to compare and contrast dif-
ferent styles and periods, but in the crit-
ical estimate of each, the critic is bound
in fairness to frame his judgment in the
light of the conditions, the circumstances,
the culture and the needs of its own time
and environment. The capacity for sym-
pathetic appreciation of widely differing
styles is rare, but it is essential for really
valid criticism. For the critic should not

t* w «
0£<!

428

THE ARCHITECTURAL RECORD.

FIG. 2. STRUCTURAL SYSTEM OF THE COLOSSEUM AT ROME, FROM DRAWING BY THE
LATE PROF. JULIEN GUADET. PARIS.

be like a special paid advocate of one side
against another, presenting that side in
the most favorable light and disparaging
to the utmost the other; but rather like
an upright judge who, with full knowl-
edge of the law, sums up in perfect fair-
ness the pros and cons of both sides, that
the jury — the public — may draw its own
conclusions ; himself pronouncing a .final

verdict pro or con only when the evidence
that way is convincing to himself, and
such as should carry conviction to fair
minds generally.

The treatment accorded the architec-
ture of imperial Rome by the majority
of modern writers in English is an inter-
esting illustration of ready-made tradi-

THE ARCHITECTURAL RECORD.

429

tional criticism. Early in the last cen-
tury interest in Greek art received a pro-
digious impulse from the explorations in
classic lands which followed the publica-
tion of Stuart and Revett's "Antiquities
of Athens," the bringing of the Elgin
marbles to London and the achievement
of independence by the Greeks in 1829.
The poetry of Byron was in favor in
the fashionable world and the ancient
glories of Greece were a prolific theme
of conversation and literature. The per-
fection of Greek architecture and sculp-
ture was universally recognized, and to
praise Greek art was accepted as an evi-
dence of culture. The new enthusiasm
was largely literary and scholastic in
England and Germany, where it chiefly
prevailed, and later in America, where
every English movement found its echo.
Few of those who wrote and declaimed
on the supremacy of Greek art had any
real and profound knowledge of their
subject, at least any first-hand personal
acquaintance with its monuments. But
Greek was compared with Roman art, al-
ways to the disparagement of the latter,
and to decry Roman architecture as in
every way inferior to the Greek became
an accepted mark of superior taste and
artistic discrimination. Creative power
in design had sunk in England well nigh
to its lowest depths, and the revival of
architecture was sought in the substitu-
tion of Greek for Roman details. So far
as this tended towards refinement of de-
tail, the result was beneficial, but Eng-
lish architecture gained nothing in inven-
tion ; it became largely an art of facing
indifferently planned buildings with im-
posing Greek colonnades. At the same
time, another school of reformers was
developing the Gothic revival, as a pro-
test against all classic "pagan" forms,'
and its apostles were declaiming with
equal vehemence against Greek temples,
Roman Pantheons and all the works of
the irreligious Renaissance. At the hands
of these various reformers, hardly one of
whom was a really capable architect, if
an architect at all, the Romans fared very
badly. They were pagans — coarse, vulgar
conquerors, destitute of taste, mere copy-
ists and imitators of the Greeks, and bad
ones at that ; and though they produced

a few rather fine buildings they were the
first corrupters of architecture and the
prime authors of all the falsehood, sham,
plagiarism, confusion and bad taste that
have cursed architecture ever since the
decline of Greece; except during those
blessed middle ages, in which the Gothic
church-builders for a few centuries re-
vived and maintained a true art on sound
principles.

This is not a travesty of the nineteenth
century attitude towards Roman archi-
tecture ; it is based on the actual language
of reputable writers, from Pugin to our
own time. For the critical verdicts of
the Hellenic and Gothic enthusiasts of
the first half of the nineteenth century
have been almost blindly accepted and re-
iterated by so many of the writers of the
last fifty years, as to have entered into
the established tradition of architectural
criticism. The persistent repetition of
disparaging phrases and the utterance of
sweeping characterizations in strong and
picturesque language, are much easier
than patient, impartial investigation lead-
ing to independent judgments. Those
who appreciate the noble and virile qual-
ities of Roman design are somewhat to
blame, no doubt, for this prevalence of
hostile and condemnatory criticism, in
that they have never seriously under-
taken to reply to it. I am not familiar
with any systematic study of Roman ar-
chitecture that has taken notice of this
persistent and widespread depreciatory
criticism and attempted to meet it.
in.

The chief counts of the indictment
drawn up by the hostile critics of Roman
architecture may be summarized some-
what as follows:

1. Roman architecture lacks the higher
qualities of design — purity, refinement
and good taste, and substitutes for these
a pompous grandeur and a specious mag-
nificence. It is coarse, vulgar, preten-
tious.

2. The Romans were plagiarists, not
originators; they appropriated, copied,
travestied and misapplied the forms of
Greek architecture.

3. While displaying great engineering
skill in massive constructions, the archi-
tecture the Romans evolved was on the

« w

<55

P W

« [n

fe O

O H
55 55
W <

a 3

432

THE ARCHITECTURAL RECORD.

plastic side illogical and inartistic in that
it converted borrowed structural forms
into a mere decorative apparel. Particu-
larly objectionable was the Roman com-
bination of the arch with engaged col-
umns and entablatures.

4. By the adoption of this vesture of
sham columnar forms, the Romans intro-
duced into architecture an element of
falsity which has wrought disastrous con-
sequences in the Renaissance and modern
times.

5. By nature inartistic, the Romans
substituted repetitive or conventional or-
nament for the sculptural decoration of
which they were incapable and thus de-
graded the art; while by reducing the
Greek orders to an arbitrary system of
mathematical formulae, they put a me-
chanical stamp on all their work and sac-
rificed the last vestige of excuse for using
the Greek orders. In consequence of
this, Roman architecture is everywhere
monotonous and uninspired.

This is a pretty severe indictment ! The
visitor to classic lands is warned against
allowing himself to be betrayed into any-
thing like admiration by the wanton lure
of such corrupt and pernicious works as
the Pantheon or the Arch of Titus at
Rome, the House of the Vettii at Pom-
peii, or the Maison Carree at Nimes. He
might otherwise allow an unguarded ex-
clamation of delight to escape him on see-
ing a restoration of the order of the Tem-
ple of Castor and Pollux or of Faustina.
He might discover exquisite delicacy in
the stucco reliefs of the Baths, of the
Forum of Pompeii, of certain tombs on
the Via Latina, or fragments in the Mu-
seo delle Terme at Rome. As an Archi-
tect he might in a forgetful moment de-
clare that the planning of the great Ro-
man Thermae, or of the Forum of Trajan,
or of the Basilica of Constantine, seemed
to him superb in its originality, ingenuity,
artistic effectiveness and grasp of the
.problem. He might even — horrible
thought! — express delight and admira-
tion in the contemplation of the Colos-
seum, or even of the Hexagonal Court at
Baalbec. Having been, however, prop-
erly instructed by the critics, he would
repress his uncultured enthusiasm, and
shaking his head at the aesthetic deprav-

ity of the Romans, restrain his emotions
until he could let them loose before the
ruins of the Parthenon or of Melrose Ab-
bey.

IV.

Let us rehearse briefly the charges of
the critics under the first count — lack of
taste and refinement, coarseness, vulgar-
ity, pretentious magnificence in place of
fine and pure design.

Fergusson, in his "History of Archi-
tecture" (I, 294), says of the Roman
buildings "in every city from the Eu-
phrates to the Tagus" : "In all cases they
display far more evidence of wealth and
power than of taste and refinement.
Whenever ornament is attempted their
bad taste comes out" (p. 324). The
Colosseum "does not possess one detail
which is not open to criticism and indeed
to positive blame" (p. 326). "The taste
displayed in them" (triumphal arches)
"is more than questionable" (p. 340).

Burn, in his "Rome and the Cam-
pagna," remarks that "in all attempts to
create ornamental structures they" (the
Romans) "failed to produce anything
more than gigantic and grotesque imita-
tions of Greek art. ( !) From an artistic
point of view, therefore, the study of
their buildings is barren." Here we have
the verdict of a blind and unreasoning
Hellenist, to whom even the Pantheon
and the Colosseum are "imitations of
Greek art!"

Ruskin considers that the Greek Doric
capital was spoiled "by the Romans in
endeavors to mend it," and that the Ro-
man modillion (cornice-bracket) was
"barbarous and effeminate." In a recent
and generally excellent one-volume "His-
tory of Architecture," Mr. H. H. Stat-
ham pronounces the Ionic cap of the
Temple of Fortuna Virilis "with its small
feeble volutes a poor cast-iron looking
affair." Reber condemns the Roman
four-sided Ionic capital (the "Scamozzi
Ionic" type) as an inartistic invention
which destroyed the character of the cap-
ital. But it is A. K. Porter, who, in the
first volume of his "Mediaeval Architec-
ture," deals the most stalwart blows
against the artistic claims of Roman
architecture. "Under Rome," he says,
"magnificence was substituted for refine-

THE ARCHITECTURAL RECORD.

433

merit" ; "for refinement and delicacy was
(sic) substituted coarseness and display."
It is the "depraved taste" of modern
times which has perpetuated the Roman
combination of arch and order. The
Corinthian order is said to have "crowd-
ed out the less blatant* orders." "Capi-
tals and mouldings seems to be machine
made." "The effect of the whole, for all
its blatancy, is inexpressibly dreary and
monotonous." And again : "When our
eyes have been refreshed by the study of
the purer forms of Greek or mediaeval
architecture, the Roman designs at once
appear in their true vulgarity." (Chap-
ter I, passim.)

These quotations by no means exhaust
the allegations of the critics as to the.
tastelessness and inherent artistic poverty
of the defendant, but they suffice to show
their general attitude. Regarding the sec-
ond count — that of plagiarism and mis-
use of the Greek forms — the critics are
quite as severe. "This Greek architec-
ture," says Ruskin, "was clumsily copied
and varied by the Romans, with no par-
ticular result . . . except only that the
Doric capital was spoiled," etc. To Rus-
kin, indeed, all classic "orders" are con-
temptible. In the "Stones of Venice" he
expresses his belief that "a single invent-
ive soul could create a thousand orders
in an hour" — probably the greatest com-
pliment ever paid by a transcendental
critic to the creative powers of the soul !
With modern mechanical ingenuity and
the rules of Vitruvius, Ruskin was quite
confident that a machine could be made
"to furnish pillars and friezes to the size
ordered, of any of the five orders, on the
most perfect Greek models in any quan-
tity," which any bricklayer could set up
at their proper distances, "so that we may
dispense with our architects altogether."
(Vol. 3, ii, XC.) The Ionic he calls a
"ram's order," which could easily be
made an "ibex order" or an "ass's or-
der." The Roman Tuscan and Doric
orders are "among the most stupid vari-
ations ever invented upon forms already
known" (ibid, i, App. 7). Mr. Porter,
in the chapter already quoted from, de-
clares that "Roman art lacks originality,
and is in fact, little more than an adapta-

*The italics are ours.

tion of Greek models to suit the pompos-
ity and vulgarity of Roman taste." And
Mr. Sturgis, commenting on the great
Temple of Venus and Rome, considers
that "the Romans have little claim to
originality as builders or as makers of
plans ; what they knew best was how to
appropriate the ideas, as they appropri-
ated the wealth, of the Mediterranean
world." "The pure ornament of the
Romans was as nearly a reproduction of
the Greek as they could make it," says
Porter. And, lest one should unduly
magnify the importance and originality
of the Roman invention of the modillion-
cornice, he explains it by the airy re-
mark that "it occurred to some genius to
clap both dentils and modillions upon the
same entablature." "The forms of de-
based late Greek art the Romans fixed
into a cut-and-dried canon from which
minor variations were possible, but no
real progress" : this is Mr. Porter's final
verdict on Roman originality.

The third and fourth counts are sup-
ported in part by the passages quoted
above, and by many others. They al-
lege, in brief, the illogical application to
Roman arcaded and vaulted construction
in brick and concrete, of the forms filched
from Greek architecture and converted
or diverted from their original structural
function to that of mere decoration — a
false and pretentious veneer of misused
detail. Particularly to be condemned is
the marriage of the arch with the col-
umnar system. This detestable alliance,
parent of specious villainies through the
last five centuries, thanks to the "de-
praved modern taste," receives the special
castigation of the critics. Of these, Fer-
gusson is by far the most moderate, find-
ing that the two systems, the columnar
. and the arcuated, "although not without
a certain richness of effect" are "too dis-
tinctly dissimilar to be pleasing." Mr.
Sturgis characterizes the columnar ap-
parel of the Colosseum and like struc-
tures as "this outer decoration, the sham
columns, the make-believe entablatures,
the whole imitative structure built up
with the real mass behind" (Hist, of
Arch., i, 304). In his earlier work
"European Architecture," he calls it
"this decoration by means of real arches

THEATKE DE MAKCELLVS

ELEVATION • PROFILS -GENERAVX- ET-PLAN -AV- XL

SECTION

SVR L'AXE D'VNE ARCADE

SECTION

SVR LAXE DVNE COLONNE

FIG. 5. ARCADED ORDERS OF THE
THEATRE OF MARCELLUS, ROME. FROM
A FRENCH DRAWING (GUILLAUME).

•I

FIG. 6. ARCH OF TITUS, ROME.

436

THE ARCHITECTURAL RECORD.

and imposts flanked and framed by a
make-believe post-and-lintel architec-
ture." He admits its popularity and even
ascribes to it elements of beauty, seren-
ity and stateliness, but thinks it appeals
most to people "not very sensitive to the
delicacies of fine art" (pp. 95, 96). Of
the arches of triumph, Reber says that
in them we have "a mass of masonry en-
closed in columns and entablatures which
were merely ornamental features with-
out structural significance." Mr. Stat-
ham describes the Roman design of
arch and order as a "planting" of half-
columns "all around the exterior, appear-
ing to carry entablatures which were
really carried by the arches between the
order" (sic) ; and calls these orders
"only a kind of scenery planted onto a
building with which they had no real
structural relation" (History of Archi-
tecture, pp. 144, 145). Further on he
says that this mistake "has left a long
legacy of falsehood to architecture: a
falsehood revived at the Renaissance and
still frequently perpetrated in obedience
to the tyranny of custom." Mr. Porter
is, of course, very severe in his animad-
versions on the Roman orders in general.
Reproducing a beautiful drawing of the
Doric order of the Basilica Julia, he
considers it a "sufficient commentary on
the decline of Roman art." The use of
the pedestal in Roman architecture he
calls "a gratuitous addition," which the
tone of the context indicates is intended
as a condemnation. While the Greek
columns consistently combined ornamen-
tal and constructive functions, "the Ro-
mans made them almost wholly decora-
tive." After their buildings were built,
he declares, "the Romans applied the col-
umns as a surface decoration, either in
the form of freestanding porticoes or
peristyles, or more frequently as an en-
gaged order built into the wall." This
was certainly a singular method of pro-
cedure, of which the authorities have
hitherto been strangely ignorant !

The fifth count deals with the charge
of stereotyped rules of design. Many
of the quotations already made bear
upon this point. Mr. Statham thinks
that the Romans looked upon the em-
ployment of the orders as constituting

in itself the art of architecture, so that
the latter became little more than the
planting of the orders on all sorts of
buildings. This is a surprising judg-
ment to be uttered by an architect so
well-informed in general as Mr. Stat-
ham. Mr. Porter pronounces Roman
capitals and mouldings to be "machine-
made," and declares that "the effect of
the whole, for all its blatancy, is inex-
pressibly dreary and monotonous."
"From the Persian Gulf to the Firth of
Forth, from the Baths of Caracalla to
Constantine, Roman art shows a lack of
variation absolutely without a parallel in
history" (Med. Arch., i, 32). Mr. Stur-
gis, in the comments on the Temple of
Venus and Rome already referred to
(ante, p. 433), says that "all this, except
the building in mortar-masonry and the
idea of a vault, might ha^'e occurred to a
Creek" (the italics are ours), and that
"the Romans have little claim to origin-
ality" even "as builders and makers of
plans." Reber, more generous, notes that
their borrowings of foreign features were
confined to the external apparel, while he
credits the Romans with supplying the
general disposition and constructive
forms of their buildings.

This mass of hostile criticism has been
culled from a few books only, but they
are all books which have been put forth
with certain claims to authoritative teach-
ing, and their judgments are typical of a
much larger mass of similar verdicts to
be found in textbooks on architecture,
books of travel and magazine articles by
English and American writers. The vol-
ume of this testimony and the unity of
spirit that pervades it are impressive,
and either convincing or suspicious ac-
cording to the way we seek to account for
them. The testimony certainly seems
convincing to the average reader who has
no means of testing its validity. It puts
Roman architecture on the defensive ;
and those who, in the face of this indict-
ment are brave enough to admire the
defendant, must stand up and show cause
why the verdict of condemnation should
not be pronounced on all the counts. The
case for the prosecution is apt to look
very serious until the testimony and ar-
guments for the defense are presented.

COLOR, IN ARCHITECTURE
AT THE PANAMA^PACIFIC
EXPOSITION

BY W2. L.WOOLLETT

EXPOSITION architecture would
not ordinarily be considered, on
account of its evanescent charac-
ter, a proper subject or example for elu-
cidating principles of architecture. Ex-
position architecture, as we commonly
know it, in the ultimate, must appear to
be unreal. It is palpably a colossal
Dream City, and must be appraised in
terms peculiar to itself. And yef in the
realization of such a "dream" the aesthetic
point of view should be somewhat simi-
lar to that obtaining in architecture under
normal conditions. The architectural
scheme, even of an exposition, requires
conformity to recognized standards with-
in certain limits ; i.e., the peg of reason on
which we hang the emotional appeal, the
form and structure or implied structure
of an exposition building, bears a similar
relation to the color scheme as in ordi-
nary conditions. In the instance of the
Panama-Pacific International Exposition,
at San Francisco, the element of color
is so pronounced a feature, and the
use of color has been hailed with so
much of popular acclaim, that there ap-
pears to be here a special opportunity
to learn something of the meaning of
"Color in Architecture."

In the panorama of this exposition we
may in our imagination see in sumptuous
array of color, vast bundles of oriental
stuffs, vistas of palaces and temples and
arcaded halls, and the gardens of Baby-
lon and visions of Atalanta come true
near the cobalt waters of the Pacific. We
Tiay sprinkle this oriental melee of color
with the gems of the Indus, whilst the
galleys of victorious fleets laden with
captured splendors vie with each other
for landing space at the steps of the
Great Water Gate. Or we may in cold
analysis ask of our reason, why this? or
why that ? and in the process lose perhaps
some of the wild joy of abandonment.

Viewed as a serious attempt to do
something beautiful, this work, in order
to lay claim to excellence, must qualify
not only in its color appeal but in form
and abstract values as well.

The essence of a work of art, accord-
ing to common consent, resides in an ex-
pression of personality. Without the in-
dividual spark there is no such thing as
art. Two men cannot paint a portrait,
write a poem or a symphony, or produce
a piece of architecture. Accordingly
Jules Guerin, greatest of our architect-
ural colorists, was intrusted with the
commission of advising the Board of
Architects of the Panama-Pacific Inter-
national Exposition, in order that the
whole scheme might be the harmonious
expression of one personality in color.

In a critical view of a work of this
sort it is desirable to bear in mind that
it is easier to criticise than to create —
and easier to improve than to improvise.
However, the work of these builders of
the exposition, who have been pioneers
in many respects, seems to emphasize
that such a work is more easily created
in parts by a group of artists than it can
be satisfactorily made as a whole to a
single critic. And it remains to be proven
that this assemblage of beautiful bits of
architecture, bound together in a har-
mony of color, is necessarily a work of
art.

The general color of the exposition is
exotic, Eastern. A great emotional poem
in color reverberates and pulses for our
delectation under the lazy blue of the
sky and beside the rippling blue of the
waters. From masses of warm walls of
Travertine and the warmer tones in the
roof areas, opalescent, greenish domes lift
their curves of scintillant light into the
heaven of California days. Jeweled tow-
ers vie with the stars and the sheen of
the ocean, and at the first sight of the

438

THE ARCHITECTURAL RECORD.

spectacle the heart and mind are tingled
into expectancy. Clothed in a vast man-
tel of soft grey colors, refulgent with
unseen lights, blooms a vista of color
gardens. Like a spirited horse tethered,
the mind strains to be off on the wings
of exploration of this panoply of light.
Here the radiance of a cashmere shawl
greets the eye, there th£ soft tone of
the Ottoman's saddle bag, then the domi-
nant note of some old Sienna rug, or the
gleam of a Saracen blade. A thousand
minor notes of the dominant color
scores greet the eye. A vast puls-
ing mosaic of color, a palette of unrivaled
beauty, stirs and for a moment enslaves
the imagination. And then, after the
first flush of expectancy, of exultant emo-
tion tricked into an overwhelming im-
pulse through {he magic of color, comes
analysis.

To the searcher for abstract beauty,
to him who comes with the mind of the
Occident as well as with the soul of the
Orient, the Exposition City has told its
best in the first "mad moment" of beauty.
Here the story ends. A tragedy appar-
ently ; but no, I say "ends" with a pur-
pose, for in thus speaking broadly we
free ourselves to pass to detailed analysis
of a very interesting architectural situa-
tion, having in unqualified terms given
honor where honor is unquestionably
due.

In a work of this magnitude there are,
of course, two points of view : One, the
consideration of ensemble, of mass, and
the like, and the other, consideration of
details.

In matters of detail the use of colored
pigments is probably the most noteworthy
phase of the architectural scheme. Every-
thing which the eye rests upon, whether
of wood, iron or plaster, has been paint-
ed. The dominant note is the walls of
imitation Travertine stone, which is in
reality colored plaster with a special tex-
ture.

In the handling of architectural detail,
in the doorways, sculptured groups, and
other details which are best examined
near at hand, there are gems of archi-
tectural beauty and harmonious color.
The portals of Faville, for instance,
foiled by the studied calm of cliff-like

walls, are rich beyond comparison, mel-
low to the point of antique delight and
juicy with time-worn color, a dream for
the artist's fancy. However, taken in con-
junction with the masses of the buildings
of which they form a part, and viewed
from a point where the ensemble is pos-
sible, these spots of transcendent interest
are reduced to smudges of color. Be-
cause the architecture was composed
aside from the colorist's conception, these
gems of ornament have lost, to a degree
at least, their capacity to convey the true
subtlety of the artist's thought. The ap-
plication of pigment has softened and de-
tracted from the values. Frequently
there remains little of thought directing
quality. However, there is as a residue
a delightful texture, a rug like quality, if
you please, due to the juxtaposition of a
variety of nicely balanced color values.
But the structure, the static quality, the
thought directing element, all these have
been depleted or have disappeared in a
subdued pastel sketch effect. Viewed as
specimens of detailed decoration near at
hand they are poems of ornament.

A consequence of this loss of thought-
directing detail is an absence of scale.
You feel that you are looking at one of
Jules Guerin's prints ; whether a real live
water color drawing or a reprint — one
ponders.

The Tower of Jewels is a most in-
teresting example of this submerging of
the architectural interest in color domi-
nance. Here a superb pile of richly
formed, elegantly proportioned masses
has been denuded of its original vitality.
The various and strongly colored parts
have become detached, the sense of unity
is gone, and as a result the composition
is without appeal as to its colossal size.
In the Tower of Jewels the details, such
as the eagles, equestrian statues, etc.,
have been reduced by an all-over coat of
color to mere lumps whose form and
character lines are so unannounced that
there is nothing by which the mind can
gauge the quality or estimate the rela-
tion to the whole. One intuitively feels
that the designer had his matter well
in hand, that he knew where his chief
darks should come. There is an in-
trinsic fine balance and lilt and lift

THE ARCHITECTURAL RECORD.

439

to the composition as a whole, due to
the nice distribution of values. The ap-
plied pigment has readjusted and mis-
placed the original color values so that
the real "kick," as determined in the de-
signing architect's mind, is gone. The
color "kick" has resulted in making this
feature heavy as a mass, whereas its
place in the composition demanded
lightness, effervescence, billowing, fluffy,
cloudlike, puffy exuberance, a gathering
together into one giant "parfait" of all
the lightness and daintiness of the Mc-
Kim court. In the soffit of the big: cof-
fered arch the coloring of the panels has
flattened the effect and turned the mag-
nificent Travertine stone into paper. The
red-colored coffered ceiling: gives a chalk-
like effect to the stunning murals which
flame with wonderful color when seen
without the accompaniment of "archi-
tectural" paint. • The sense of reality, of
permanence and stability, is preserved in
the lower part of the tower. The treat-
ment of the main cornice of this portion
is a dream of color and in no way de-
tracts from the stone effect evidently
desired.

The Court of the Sun, Moon and
Stars, by McKim, Mead and White, a
composition of which the Tower of Jew-
els forms the crowning member, is the
architectural piece de resistance of the
exposition. This magnificent architect-
ural spectacle, composed with delicate
•fancy and rich accompaniment of con-
ventional ornament and bas relief, has
been but slightly jarred from its original
supine calm. The deterrent color notes
and groups of too assertive statuary can
hardly be said to mar the effect as a
whole. The stirring groups of statuary
which surmount the main architectural
features, and which are supposed to an-
nounce themselves as the concentrated
essence of the thought as proclaimed in
the court as a whole, have been colored
a light brown. This simply has the ef-
fect of relieving the pedestal of their
weight. One wonders, how far back?
It is quite theatrical, this shifting of
"scenes," of planes.

The floor of the court is "furnished"
with statues and fountains, whose bulb-
ous forms by their proboscis-like effront-

ery push to insignificance the gentle grace
of the inclosing colonnades. These sweep-
ing colonnades, like a picket fence, inclose
great colossal, recumbent figures which
oppose their giant limbs athwart each
vista of the eye, and shrivel to an inglori-
ous dissonance that which would other-
wise be an architectural symphony. The
interest originally attaching to the ele-
gantly modeled frieze has, through the
use of a delightful color magic, shifted to
the cornices and openings. The color de-
tail one must pronounce as being at once
elegant, naive, and satisfying. The pris-
tine glories of classic lines and classic fig-
ures which, in fine repose, are set to en-
rich and enliven the friezes, are dulled
by comparison with the yellow statues,
nearby, which, like giant incrustations,
flatten themselves against the walls.
Painted pilasters skip up and down the
dignity of Travertine stone piers.

The glorious sculptured group by Isi-
dore Konti about the pedestal of the great
column on the axis of the court is stolen
from the view by a "smashing" bit of
colored kiosk-like band stand, which,
like an apple woman in Broadway, un-
profitably obstructs the traffic of the eye.

No greater Roman holiday was ever
made than this. Shades of Stanford
White stalk nightly in this wonder place,
where the gemmed star maidens look
down on dusky sisters clothed in Ori-
ental sepia. The dead spleen of Vitru-
vius should gather grit to see so lordly
a scheme go through the color pots.
Yellow domes atop these classic piles
proclaim against the cerulean blue in un-
mistakable paean, "Who did this thing?"
Undoubtedly a paint pot flew into the
sky.

And yet the color glories of the whole
proclaim a pace so spent for beaut \ that
one halts to ponder. "If this could have
been done at its best, it would have out-
done itself and placed a b?. u on future
accomplishment."

In pleasing contrast tp the evident loss
of scale and force in the supposedly
crowning feature of the architectural
composition is Mullgardt's superb court
— the Court of Creation. This work was
originally intended for a riot of color.
The application of pigment has been

440

THE ARCHITECTURAL RECORD.

eliminated. The result is that the work of
the artist is left in its unrivaled beauty.
This court is a true dream in exposition
architecture. The detail counts for all
that it may; the architect's thoughts as
expressed in mass, line, detail, announce
themselves in unmistakable terms, un-
foiled by deterrent color.

In any architectural composition there
must be some reposeful element, some
undetermined zone of emotion from
which the thought-directing element must
spring or be evolved. The unbroken
wall surfaces, whose texture and sub-
stance are left to the imagination, carry
in forceful, purposeful manner their just
weight in the composition.

In the court of Mullgardt the pure
undivided over-grey of walls and orna-
ment alike holds in solution the domi-
nant thought. A delicate tracery of de-
tail, which by its disposition and its
charm of form leads the imagination
on, is pregnant with the abstract thought
in the artist's mind. This court, of
all the work in the exposition, ex-
presses most definitely perhaps the un-
trammcled vital spark of originality. In
the modeling of the architectural orna-
ment one intuitively feels the influence
of the architect's master hand. The
sculpture, however, particularly the main
tower groups, lacks contact with the
architecture. This sculpture is less col-
orful, less dynamic than the adjacent
architectural ornament. It also lacks
subtlety, fineness and refinement, and
fails decidedly to express the same sup-
pressed electric grotesque quality which
is announced with such good effect in
some of the less important groups. The
sculpture, though plainly less vocal than
the architecture, is decidedly interesting,
well composed and powerful. It might
well be deemed a crime to mention this
lack of correspondence, for there is evi-
dent sincerity of effort and a much great-
er correspondence than we find in many
works of greater prominence. The lack
of a certain kindred spirit, which only a
Mullgardt sculptor could evolve, is hard-
ly a reasonable lament.

The central fountain by Aiken in this
court is well worth while, considered by
itself, being rich in imagery and beauti-

fully composed, but too large in scale and
in mass for its place in the composition.
Its effect is to dw^arf the court as a
whole. Only when this note is out of the
line of vision does the full beauty of the
place appear.

The wall decorations by Brangwyn at
the ends of the corridors are masterpieces
of wall decoration, fit counterpart of this
gloriously vivid individual work. The
color of these glows like burning coals.
They serve to vivify the idea that from
subterranean fires where colors leap and
play ; from the earth and air and sky and
sea where eternal forces are locked in
titanic struggle to be free, the Court of
the Universe comes forth to greet the eye
in a festoon of tempered, controlled,
vitriolic lava, formed and fashioned into
a bit of architecture lurid with a soul's
delight in creation.

The superb handling of the murals in
Mullgardt's court suggests a word in
general as to the relation of murals to
this matter of "Color in Architecture."
A mural painting should be what the term
implies — "on the wall." As in the work
of Puvis de Chavannes, one should
feel more of wall than of color, more of
structure behind than of forms repre-
sented. In the color scheme of the whole
a mural may or may not count as a domi-
nant note, but at all times should be sub-
servient to the wall feeling and in har-
mony with the general color scheme.
In Brangwyn's painting one could con-
sciously feel a desire to know the jointing
of the stone work in the wall, in spite of
the rich tonal effects, so flat, so second-
ary is the plane or perspective element.

The mural decorations of the exposi-
tion are in the main alive and graceful,
teeming with rich imagery and full of
clear color. But in the color scheme
they count merely as jewels, resplendent
with color, like ripening fruit ; they are
not (with exceptions of course) murals,
on walls ; they are merely bits of bright
color, little eLfinlike butterfly bits of color
in a pageantry of blatant color which as-
serts itself in blobs and chunks. For in
this color composition huge areas, heavy
with color and in values which dominate,
stride like giants beside the sea and throw
themselves into the air. Dank with the

Copyrighted, Panama- Pacific International Exposition Co.

THE TOWER OF JEWELS, PANAMA- PACIFIC EXPOSITION, SAN FRANCISCO.

"DANCING THE GRAPES"— PANEL BY FRANK BRANGWYN,
PANAMA- PACIFIC EXPOSITION.

"THE FRUIT PICKERS"— PANEL BY FRANK BRANGWYN,
PANAMA- PACIFIC EXPOSITION.

THE PALACE OF HORTICULTURE, PAN AM A- PACIFIC EXPOSITION, SAN FRANCISCO.

NICHE IN COURT OF FOUR SEASONS, PANAMA -PACIFIC EXPOSITION, SAN FRANCISCO.

THE ARCHITECTURAL RECORD.

441

stress of the painter's palate and mellow
with the age that obliterates even a sem-
blance of the thought behind the forms,
this blazing beauty of color is rampant,
a carnival of the "Painted Desert," a
morass of voluptuous symphonies of
color, the expression of a mind drunk
with color. What a powerful pile
this would be were there an architecture
to hold it, bind it together, hammer it
down, "put it over."

However we may be impressed with
the effect of color in architecture, it still
remains that architecture is fundament-
ally a structural vehicle. The color ele-
ment as an emotional impulse must be
subservient to the thought directing ele-
ment as expressed in the architectural
form. Where the color element is pow-
erful, the form element must be still more
powerful, else we have, as in the charac-
teristic work of the futurist, dominant
emotional impressions, unknowable ef-
florescence in color.

Taken as a whole the exposition must
be deemed an expression in color, with-
out adequate architectural accompani-
ment. The details of beauty which crowd
upon the eye at each step do not affect
the general value of this statement.

As an instance of a happy detail we
note the Horticultural Building. This
work of Bakewell and Brown's is a tour
de force in exposition architecture. It is
without exception the most electric, the
most expressive, effervescent playful bit
of joyous architecture. In the main it
expresses, in its color, a most wonderful
and delightful restrained exuberance, and
the atmospheric quality is charming ; but
the color imposed has in places converted
the detail to a lavalike deposit of un-
meaning forms. The choice detail — the
fanciful lines, the luxurious efflorescence,
particularly of the lower portions — is
swallowed up in the pastel vapors of
a too dominant color fancy. In this
building the dominant note is the great
glass areas, which reflect in opalescent
bluish tones the prevailing moods of the
day and night. The architectural forms
are handled with a suggestion of the jew-
eler's art. The construction and the set-
ting of the various parts in adequate
structural relation are graceful and free.

Here the structural aesthetic values of
architecture are rightly subservient to
purely decorative features, the structure
being implied. Yet so cleverly is the
whole conceived in the spirit of glass
and iron and ornamental paste that the
mind is satisfied, while the emotional ap-
peal is more than satisfactory — it is a
joy. Viewed from the portals of Bacon's
court, this building is a jewel of jewels,
the quintessence of voluptuous, sump-
tuous, contained joy.

The primary relations of structural
aesthetics, even in exposition architecture,
are dominant factors. A more or less
close following of reasonable structural
values is necessary. As an illustration of
misapplication of values, we note the
great even-toned greenish domes, which
are a dominant minor chord in the
scheme. These domes top perforated
drums whose wall surfaces are treated
with color in a broken design. Here we
have a case of syncopation in values.
The even color of the dome suggests
a monolithic construction ; the drums,
broken up by bands of scintillant mosaic
color areas, suggest a wall of a purely
decorative character. To have pre-
served the effect of solidity of the wall
and broken the roof, would have been a
way of handling the situation more in
accord with the common understanding
of the likely structural condition. Or if
the solid character of the dome was an
important note to be preserved, why sup-
port it on a member which by its treat-
ment suggests a more transient type of
construction? Under the present ar-
rangement we see the strong shadows of
the perforations entirely surrounded with
opalescent color conditions, resulting thus
in an unexplained structure. The effect
is of spots of dark hanging unsupported
in the air; the color values of walls and
dome being commensurate with the sky
values.

Turning to more prosaic details, one's
eye lifts to wide expanses of livid orna-
ment, suspended like giant tapestries be-
fore the walls of towers which flank the
Court of Flowers. Here we confess our-
selves ignorant of the meaning, and our
pov/ers grow faint before the wizardry,
the "wine of wizardry," of the painter's

442

THE ARCHITECTURAL RECORD.

palette. Here it is difficult to arrive at
the point of view of the colorist. A few
questions will elucidate. Why, for in-
stance, has color been applied on stone,
on exterior wall surfaces, particularly in
a diaper pattern, in a way that suggests
oilcloth or a brick texture? Great ex-
pense and care and skill have been ex-
ercised in imitating a stone texture ; and
are these not stone forms which are em-
ployed in adjacent ornament? Why
have these suggested surfaces of stone
been destroyed as such by the coloring
of supposedly stone details ? Why has the
illusion of stone, of permanency, of sta-
bility, been frustrated? Is it more im-
portant that a composition be colored
than that it be true to itself ?

A natural sequence of thought in archi-
tectural composition demands that the
voids find expression in terms corres-
ponding to the wall structure. When
this is not done a manifest confusion in
the abstract idea results. Why are the
ornamental openings colored so that they
suggest beautiful masses of terra cotta
or brick or plaster, and the wall areas
next treated to suggest Travertine stone?

The value of a wall surface, either ex-
pressed in flat unbroken areas or in its
extreme phase of fenestration, a colon-
nade, must ultimately reside in static
qualities, its capacity to carry. Why
paint a stone wall pink? Are there any
pink, real pink, face-powder pink, stone
walls anywhere? And, if there are, do
we need them here ?

Whatever of decoration in color is
used on a wall, the quality of stability
and permanence should manifestly not be
abased. And the detail in color should
synchronize in character with the sup-
posed wall material. A stenciled dec-
oration on a plaster wall which has the
texture and color of stone, and is sup-
posed to look like stone, should be sten-
ciled, if at all, to recall some sort of stone
decoration, and not in imitation of the
texture of a brick wall or of a plastered
surface.

A wall is primarily the reposeful ele-
ment in an architectural composition.
When a decorative effect is desired in a
wall, the wall surfaces should still indi-
cate more of repose than the local dec-

oration of the voids. A highly decorated
wall surface having a high key of color
value must fail in its structural value as
a wall, i. e., a carrying member, unless it
is subservient to still more colorful active
interest producing elements at the open-
ings. The openings should be accented
with ornament, powerful, impelling,
thought-directing, of sufficient force to
dominate the color condition in the wall.

Because the architecture of the expo-
sition has been designed by men for the
most part necessarily without the super-
lative color sense of a Guerin, the archi-
tectural forms express less of activity
and power than the color phase. In gen-
eral, the main architectural lines of the
buildings and the minor forms and the
details have, through the juxtaposition of
the color of applied pigments, dwindled,
shrunken and become enfeebled by the
contrasts thus imposed upon them. The
abstract message of the architecture is
submerged in the emotional power of the
color values with which they are sur-
feited.

This brings us to the idea of the true
relation of color to architecture. Color
in architecture is not the end; it is the
beginning of an architectural composi-
tion. Color is the reservoir, the ocean,
the garden, from which must spring the
bud and flower of the architect's thought ;
just as in literature the thought is more
important than the verbiage with which
the thought is clothed; as in music the
theme is more important than the ren-
dering of the tone values ; and as in
sculpture the abstract quality is more
important than the vehicle.

Color in architecture signifies not so
much the covering of architectural forms
with pigment, or the use of highly col-
ored materials, as it means that fine ad-
justment of shade and shadow which
suggests color. To him who is sensitive
to color a work of architecture is an ar-
rangement of color values under any
circumstances.

Comparative views of the buildings
taken when they were in the Travertine
stone and afterward, when ornamented
with color, are, of course, only sugges-
tions of the true condition. However,
they serve to show that the application of

THE ARCHITECTURAL RECORD.

443

pigments which darken the general effect
tend to destroy the direction and force
of architectural detail. It would, there-
fore, appear that the colorist should be
the architect, or vice versa, in order that
the color values should be nicely adjusted
to the architectural forms.

Paul Bartlett, the sculptor, once said
in one of his classes, "A great artist
could make a thing of beauty of an ele-
phant, even though he had never seen
an elephant and knew nothing of its an-
atomy," illustrating that the poise and
swing of line, the balance and power of
composition, were aesthetic powers with-
in the scope of the sculptor and superior
as elements of expression to mere de-
tails of fact in anatomy. And undoubt-
edly a master in color, such as this mag-
nificent spectacle proves Guerin to be,
may have the power to compose a won-
derful composition in color, using as his
canvas the buildings and entourage of an
international exposition, without a spe-
cific knowledge of architecture. But are
we not entitled to expect more than a
color composition, just as in an eques-
trian statue we expect the saddle girts to
be in place, no matter what the charm
of rendering otherwise? In short, we
should expect to find not only color in all
its glories, but an unrivaled display of
fine aesthetic values of line and form as
well. And we are justified in looking for
a harmony of these various elements,
which, combined, constitute the art of
architecture. That we do not find this
balance is explained only by the fact that
no one personality was available who
combined all the qualities of an architect.

In the results before our eyes not a sin-
gle titanic form announces itself, not a
line in electric, elastic vehemence cleaves
the sky without deterrent color accom-
paniment. No profile as such feels its-
way into the mind as a line of beauty, no
group of statuary pulls itself into vol-
canic activity to acclaim its sculptured
message — all is under the exotic pall of
color. The charmed curves of Corin-
thian capital and the stately fluted
columns stand rank on rank, flattened
like colored paper strips set against other
colored paper backgrounds.

There are exceptions to this general

sacrifice of architecture on the altar of
color. In the Court of Seasons whilst
looking out toward the sea between Ba-
con's titan columns, which in solemn
grandeur proclaim the dignity and benefi-
cence of nature's bounty, one notes the
lilt and lift of the graceful statue of Miss
Longman in splendid joyous abandon — a
bit of beautiful line in silhouette against
the sky. The contrast of this statue with
the vistas of advancing ranks of the col-
umns on either side is altogether fine.
Here is a picture of classic repose, unde-
filed by more gorgeous counterpart than
that given by earth and sky and sea. This
Court of the Seasons, its pavements un-
broken save by the level waters of a
green bordered pool, stands alone as be-
ing free from unsympathetic treatments
of its garden areas. Except for the great
central apsidal feature on the main axis,
which protrudes a foreign note where
Faville's door and apse form the enclos-
ing feature of the great central arch, the
court stands complete as its architect con-
ceived it. Here the Travertine stone
dominates the color scheme. Occasion-
ally where color has been applied, as on
the ornamental wreaths, giving an effect
of stencil or intaglio, the values of the
architect have been frustrated. The
sculptured groups of this court are in
harmony with the solid dignity of the
architectural forms. Many will feel that
this court is more nearly a complete ex-
pression of mature classical thought and
feeling than anything in the exposition.
Certainly it has repose and dignity, and
great charm — beautiful proportions and
the absence of unfriendly color domi-
nance.

One other line of pure delight there is
which, like the statue in Bacon's Court,
must live in the memory. It is the en-
tasis of the columns in the colonnaded
porches of the Pennsylvania building.
We met this line just after passing
through the fiery furnace of color which
encompasses the Art Palace. We had
just said "good bye" to the lovely Greek
ladies, who turn classic backs upon our
upturned faces, and to the cool, refresh-
ing, satisfying walls of the California
Building, when looking past the elegant
refinement and opulence of New York,

444

THE ARCHITECTURAL RECORD.

we met some old friends — Indepen-
dence Hall, the New Jersey Building,
and the State House of Boston, and
others. Greetings, ye gentle reminders
of the Colonial age! The fine grace of
these simple lines, these forms unafraid
to dare the blue of Western skies in the
garb of ancient renown, greets our eyes
now surfeited with color. Like a sweet
message of ancestral days these delight-
fully frank architectural fragments bring
a realization of our real self. These de-
clare our time and temperament ; these,
our race and religion, our birthright,
and perhaps our future. The exotic ful-
minate of riotous Roman architecture
and "Cairo" coloring possess us no more.
We pass as in a dream into the calm reali-
zation of the old gold dome of the Boston
State House, and we ask the question, Is
it the ideals of Patrick Henry and of
Hamilton and of the Adams family and
of Franklin, or is it the lure of the Occi-
dent, the voluptuary, the sensualist, the
ocultist, and the seers and precepts of
the East — the "line" or the "color"-
which holds us truest to our ideals? Go
and sit beside the fires of Brangwyn's
pictures amid the calm of Creation's
Court, and think a while, then out by the
sea, alone beside these landmarks of your
ancient home. The tides that wash on
Pacific shores wet now the feet of the Pil-
grims' sons. Are the eyes of these sons
lifted to the prismatic colors of the Ori-
ent or are they stayed by the subtle
beauties of restraint? Or do we look
for a future day when into the old
shall have been breathed the breath of
the new, when these Eastern fires shall
have been tempered, when these exotic
flashings of emotional energy shall have
been curbed by the steeled minds of the
West, and chilled into finely wrought ex-
pressions of a superman.

Return again to the Court of Creation
and there you will see more nearly than
elsewhere in this forest of pageantry a

realization of a dream come true —
Brangwyn's pictures and Mullgardt's
court. Here, a true blending of Eastern
spirit with Western restraint, of South-
ern color with Northern lights, a med-
ley vocal with the churning together of
rival races, of strident woes, a light from
the burning torch of progress.

For this alone the entire effort of the
exposition is worth while, for this work
signals a spiritual growth, an aspirational
force, a capacity for expression in the ab-
stract.

Of the work of Jules Guerin it may
truly be said that, whilst his work has
been Goliath-like in that he has brought
the temples of beauty down about our
heads, he has nevertheless given the
world the greatest demonstration of the
uses of color in exposition architecture
with which our time has been favored.
All the compliment which word could
convey for the boldness and sincerity and
harmony of his work is due.

The structural aesthetics of color, still
veiled and sphinx-like, awaits the advent
of architects who are colorists. Stanford
White thought in color, by the way, and
his work is the proof.

However immaterial and irrelevant
criticism of a work so generally lovely
may appear, we are bound to recognize
in each advance step in art a stepping
stone to something greater. This work
in color at the exposition seems to pres-
age not only a wider appreciation of
color in its application to architectural
problems, but a demand on the part of
• the public for a more precise knowledge
of the use of color by architects.

The day is not far distant, we feel,
when the architect shall be required to
know not only the law of the forms
which he employs but the law of color
harmony as well, when, like Michael
Angelo, he shall be required to wield the
brush and the sculptor's chisel as well as
the builder's square.

THE NORTON HOUSE, GOSHEN, CONN. AN EXCELLENT TYPE OF COLONIAL WORK.

COLONIAL QAR.CHITECTVR.E
IN COHHECTICVT

Text and Measured Drawings
<£herwood Bessell

PART II.

THE Norton house at Goshen was
built when Colonial architecture
was at the height of its refinement,
a circumstance reflected in the quality
of its mouldings. The house stands upon
a knoll overlooking the valleys in all di-
rections, and was probably erected when
Goshen expected to become the county
seat instead of Litchfield. The country
about it still retains the quiet of a primi-
tive settlement.

The bricks for the house were evident-
ly made on the ground. Their colors are
exquisite, running from light salmon to
rich dark reds, from straw color to dark
golden browns, from light blue tints to
dark purple and brown. The time has

gone by for such hand-made bricks, and
we can hope only to approximate their
beauty in our machine made product.

The cornice of the house is well pro-
portioned, and very carefully ornamented
by means of slight sinkages and cutouts.

The treatment, in relation to the house,
of the living porch, with its row of two-
story columns and stone flooring, cannot
be too highly commended. Why not
try something of this character to-day
instead of our weak solution of this prob-
lem? Modern porches never seem to be
a part of the house, but an afterthought.

The two houses at Litchfield, the But-
ler and the Tallmadge house, also show
the way for a quaint and honest handling

446

THE ARCHITECTURAL RECORD.

THE TALLMADGE HOUSE, BUILT IN 1775, LITCHFIELD, CONN. THE FRONT DOOR IS OF

LATER DATE.

of the question ; their porches are a part
of the house, a part of the whole design,
and are very pleasing in appearance. In
both instances the porches were added
after the house had been built. Col. Tall-
madge erected his after a visit to Wash-
ington at Mt. Vernon ; the porch on the
south end was built first, later the north
one was added. The south one contains
three columns on the side and is of a
greater depth than the north one, which
has only two columns. The space saved
gave more room inside for a closet which
contained a small stairway to the tipper
room, the opening and markings still be-
ing traceable.

The Tallmadge house was at one time
a tavern, and the south end was the of-
fice. One large room upstairs was used
as a ballroom, running through the house
on the north side. It has since been
changed into two rooms of a goodly size.
Unfortunately, the present front door is
not the original one, but it is said to have
been similar to the one shown in the
drawing of this house published on page
360 in the April number of the Architec-

tural Record. The handling of the roofs
of these additions in connection with the
main house is unique, and worth study-
ing, as is also the balustrade on the roof.

The Butler house likewise solved in a
very pleasing manner the question of the
porch, which also is a later addition. The
deliberate manner of placement relative
to the main house is much to be admired.
We are afraid to do a thing of this kind
to-day, simply because of some biased
criticism ; we lack the moral courage of
our convictions, and, I am convinced, al-
low many charming ideas to go by. Here
the face of the columns extends beyond
the face of the main building, and the
cornice is let die into the old house at
will. The detail is refined, and shows
that careful study was given to the exe-
cution of the work. The house proper
was built in 1792 by Charles Butler, and
the addition early in the nineteenth cen-
tury.

On this same street and in the same
town of Litchfield may be found numer-
ous old Colonial homes. Just above the
Tallmadge house is the old Sheldon Tav-

THE ARCHITECTURAL RECORD.

447

ern, now a private residence. Entirely
different from the houses mentioned
above, it was built in 1760 and shows de-
cided earmarks of English influence ; but
it is more refined in detail than the ma-
jority of houses in which English ascen-
dency is felt. It was built by Elisha
Sheldon, and it was not until the next
generation that it became a tavern, run
by the son. Later here also lived Gen-
eral Uriah Tracey, and still later Judge
James Gould, famous for his work
known as "Gould's Pleading." The
mouldings of the cornice are coarse and
heavy and out of scale with other details
on the house, but here we have those
charming dormers of an attenuated feel-
ing so seldom seen, the jambs being only
of a width necessary for construction.
The roof line shows a marked change
from the general type, but still is rather
desired than otherwise for the balance of
the design.

Almost opposite is the Julius Deming
house, built in 1793, and designed by
Wm. Spratt, a Scotch architect, wrong-
ly thought to be a Hessian. This house

is similar in design to the Sheldon, but
decidedly coarser in detail.

A very good and simply designed
house is the Seymour homestead, built in
1807 for Ozias Seymour, and one could
ask to-day for nothing more desirable ;
with the application of a more delicate
or refined balustrade and cornice this
house has a quality not to be lightly
passed by.

The Reeves house, built in 1773 by
Tapping Reeves, brother-in-law of Aaron
Burr, shows another treatment of the
roof problem very seldom seen. We can-
not say it is good, but there is the very
excellent treatment of a wood grill in
the frieze of the main cornice, used as
windows and ventilators for the attic
floor. The porch and addition on the side
are of a later date, and, as before stated,
it is difficult to obtain a picture of the
house as originally designed.

The bank building at Litchfield is of
merit. By a close study of the cornice
and pediment one notes the alternating
circular and rectangular raised panels
between the triglyphs, also the very in-

THE BUTLER HOUSE, BUILT IN 1792, LITCHFIELD, CONN. A FINE EXAMPLE
WHICH SURVIVES IN ITS ORIGINAL STATE.

44S

THE ARCHITECTURAL RECORD.

THE SHELDON HOUSE, BUILT-IN 1760, LITCHFIELD, CONN. AT THE SIDE IS A "WITCH" DOOR.

THE SEYMOUR HOMESTEAD, BUILT IN 1807, LITCHFIELD, CONN.

THE ARCHITECTURAL RECORD.

449

THE REEVES HOUSE, BUILT IN 1773, LITCHFIELD, CONN., OFTEN VISITED BY AARON BURR.

THE BANK, BUILT EARLY IN THE NINETEENTH CENTURY, LITCHFIELD, CONN.

450

THE ARCHITECTURAL RECORD.

-WINDOW-IN-THL-

OLIVta-WOLCOTT-

H0 U 5 E.-LJTCH FIELD-CON N-

D ETA1 L- 0P-H EAD-AT-A -

'-A-

I/. 4* 4* .

•DETAIL- X

-or- - -f

•SILL- -^

-AT-B- •

DLTAILOF
WINDOW-HEAD-ON-THt-
WOOD BUFF* HOU/E-UTCH FIELD-

CONN:

'^SECTION.

DETAIL OF-
. I -BLIND 5LAT5'

MEASURED AND DRAWN BY WESLEY SHERWOOD BESSELL.

teresting motive used in the pediment for
a frieze, the ornamented oval window
frame and the peculiar panelling below
the first story windows. Before the ad-
dition on the side was made, a quaint
outside spiral iron stairway led from the
ground to the second floor.

Another form of construction and de-
sign is shown by the house at Windsor,
the doorway reproducing the pediment of
the house, but still retaining the greatest
interest. This is an exquisite door, and,
.together with the windows, exceptional-
ly well placed on the facade. The fence
is of a typical Colonial design, and, with-
out the porch at the side, this composition
would be well worth a reproduction to-
day.

The Cowles house at Farmington is a
large house, designed for one of apparent
wealth, and yet not over pretentious. It

shows a tendency toward the southern
type of Colonial architecture, something
unexpected and unlocked for in Connec-
ticut. The sloping ground gave occasion
for an interesting porch treatment. The
brick arches of a single brick header
shows that it supports only a porch floor,
the crown of the arch being almost level
with the floor. The five columns are of
brownstone, procured probably from the
old brownstone quarries at Portland, not
far distant from Farmington. The brick
is at present covered with a light paint.
A peculiar feature is the column in the
center of the pediment, with the Paladian
window treatment over this column, a
treatment very seldom seen. The Pala-
dian window is decidedly poor, but, taken
as a whole, the design is good, especially
the front, with a very odd but pleasing
front door.

W
< M

D W

OT ,J

w w

452

THE ARCHITECTURAL RECORD.

A HOUSE AT WINDSOR, CONN.

The construction and design of win-
dows varied much ; there are some with
.a full pediment at the head, some
with the broken pediment, others with a
-full cornice treatment, and still others
with just a few crown mouldings. The
; sashes never hung by weights, but were
•caught by pins let through the sash into
the jamb; sashes were of the small light
type, and all muntins rather delicate
than coarse or heavy. Sometimes a stiff
metal was used in the very small mun-
tins. The rails were generally an inch to
an inch and a half in width, the sashes
themselves usually being one and one-
.half inches thick.

The detail drawings show three types
'of these window heads, and also the typi-
cal blind construction. The blind hard-
'ware varied and was often made by
•the village blacksmith.

Windows never were placed in double
or triple formation, except as a Paladian
motive, and bay windows were not used
as a means of exterior or interior fea-
ture. These two facts show clearly why
everything was so very simple. Limited
to just single windows and a door, there
would be no reason to expect anything
but severity of design ; but to these add
bay windows and large window open-
ings, and immediately the thing is lost
so far as pure Colonial design is
concerned. They belong to our English
cousins' beautiful, rambling farm cot-
tages and manor houses.

The blinds of a house add the final
color touch and finish. Unfortunately,
one seldom sees this feature on a modern
adaptation of the Colonial doorways, and
here is just where to obtain that naive
quality which we have lost.

THE

UEL HANMAFOIHD

BEFORE plans were drawn for the
new General Hospital, just opened
in Cincinnati, Ohio, a commission
of specialists inspected all the notable
modern hospitals in the United States
and Europe, with the result that the
group of buildings comprising this in-
stitution, for which the city has spent
nearly four millions of dollars, embod-
ies the very 'latest and most approved
methods of hospital construction and
management. The General Hospital is
a municipal hospital for the city's poor.
It contains forty-two wards, employs
more than 600 persons, and is situated
on a tract of sixty-five acres in the sub-
urb of Mt. Auburn, on a high plateau
removed from the smoky downtown
business district, but lying almost in the
center of the territory bounded by the
corporation line. The buildings which
have been already erected are so built
that the future expansion of the institu-
tion is taken care of ; additional buildings
may be connected up with the power
plant and other common utilities as the
future growth of the city demands.

The buildings already occupied are
the administration building, the receiv-
ing ward, the outdoor clinic, seven ward
buildings, the operating pavilion, the
kitchen, the dining hall, the men's dor-
mitory, the detention ward, the power
plant, the laundry, the garage, the staj
ble, the female dormitory, the nurses'
home, and the pathological building.

To the northwest of this main group
is a smaller group of six buildings, a
separate hospital in itself, where all con-
tagious diseases are treated. In this
group is an administration building, a
nurses' home, a detention ward building,
and three ward buildings. There is also

under way a special building where spe-
cial contagious diseases, such as small-
pox, will be treated.

The natural and graded slope of the
land is such that the more important
ward and administration buildings oc-
cupy the higher part of the site, which
has about a one per cent, slope; thus, in
time, the power plant, stables and gar-
ages and the like may be almost entirely-
screened from view from the main build-
ings, by proper parking and planting.

The highest point in the tract is at
Burnet avenue, upon which the more
important of the buildings front. It is
about fifty feet higher than the west
boundary, yet each building is connected
with the others by an underground tun-
nel, so that it is possible to pass from
one to another without going outdoors..

The buildings, though plain, are well
proportioned and dignified. The very-
best of construction has been employed.
All buildings are as nearly fireproof as
it was possible to make them. Founda-
tions are of concrete, waterproofed and"
underdrained. The exterior walls are
of brick, faced on the outside with a
warm, brown-toned impervious pressed
brick, thoroughly waterproofed. The
trimmings are of white Bedford stone..
Floor and roof constructions are of rein-
forced concrete, and most of the floors;
are finished in tile, with bases of ter-
razzo. The details of the interior fin-
ish in every part have been carefully
studied. All angles are rounded, and
everything has been done to make the
buildings easily cleanable. There is no.
interior window trim or finish around'
doors and windows. The base and door
frames are set flush with the finished
plaster faces of the walls. Door frames;

454

THE ARCHITECTURAL RECORD.

A V E./1 V

LWAB.D "tk ] ^ >""«—[

— LJ^ J "Kovwq

VIEW AND GROUP PLAN OF THE NEW
GENERAL HOSPITAL, CINCINNATI, OHIO.

THE ARCHITECTURAL RECORD.

455

are of steel, and all passageways are
provided with steel guard plates set
flush with the plastering.

A hot water system of heating is em-
ployed, with direct radiation. Ventila-
tion is provided in all ward buildings
by means of fans, one for supply and
one for exhaust in each ward. The air
is thoroughly screened, washed and hu-
midified before being distributed in the
wards.

Plumbing fixtures were made of spe-
cial design. All the pipe work is of
brass,- and everything is so constructed
that it can easily be cleaned and re-
paired. Plumbing fixtures are of vitre-
ous ware, with nickel trimmings.

Realizing that fresh air is of the ut-
most importance in the treatment of the
sick, each ward building has on its roof
an open ward, where patients may live
in the open. These open roof wards are
provided with awnings for protection
against rain and sun. They are also
provided with toilet rooms and ward
kitchens. All the roof wards, porches
and covered ways are paved with red
quarry tile; flashings and sheet metal
work throughout are of copper.

The main administration building
faces on Burnet avenue. In it are the
offices of the Superintendent and his as-
sistants, the main business offices, the
record rooms and the quarters for the
staff of physicians and internes. At the
south end, on the first floor, is a large
library, in which will be housed a very
valuable collection of reference books.
At the north end of the building is a
lecture room, in which medical societies
will hold their meetings. In this build-
ing also are the central telephone ex-
change and switchboard for signal ser-
vice, which connects with every bed in the
various wards, so that at all times the
condition of each patient can be imme-
diately telautographed to headquarters.
Besides having this wonderful system of
telautography, all buildings, wards, and
departments are connected with inter-
communicating telephones.

On the upper floors of the adminis-
tration building will be sleeping rooms
for internes and house physicians. At
the south end of the second floor is a

suite set aside for the Superintendent.
Recreation and sitting rooms are also
provided for physicians and internes on
this floor. The central portion of this
building is three stories in height, while
the north and south wings are two
stories, with roof gardens over them for
the use of the occupants of the building.

One unusual thing about all the ele-
vators in ward buildings is that they are
placed in separate towers, isolated from
each other and from each floor, so that
there is no direct connection between
wards that are placed one above the
other. This feature is carried out in all
the buildings, in order to prevent any
possible chance of cross-infection. The
idea is also applied to all clothes chutes.

The buildings in the contagious group
lie to the northwest of the main group.
They differ in construction, insomuch
that they are only two stories high; the
wards also are somewhat smaller, hav-
ing a capacity of sixteen beds each.

The operating pavilion lies west of
the receiving ward. It has five operat-
ing rooms, two on the first floor and
three on the second. These are connect-
ed with the etherizing and sterilizing
rooms, the nurses' workrooms, etc. In
the basement of the building is the big
drug-room and storeroom for drugs. A
complete X-ray department, with photo-
graphic dark-rooms, is also in this base-
ment. A large amphitheater is located
in the east end of the building. It is to
be used as a lecture and demonstration
room. It contains very large and spe-
cially built moving picture and lantern
projection machines. The amphitheater
is cut off from the operating portion of
the pavilion, there being no communica-
tion between the two.

Immediately behind the operating pa-
vilion is the kitchen building. This
structure stands almost in the center of
the group of ward buildings, where all
wards may be served most conveniently.
The big kitchen occupies the first and
main floor. The basement contains an
ice plant, cold storage warerooms, and
a large space for sterilization of food
boxes used by the oatients.

In the power building are now located
six of a battery of twelve water tube

456

THE ARCHITECTURAL RECORD.

ADMINISTRATION BUILDING-NEW GENERAL HOSPITAL, CINCINNATI. OHIO.
Samuel Hannaford & Sons, Architects.

WARD BUILDING "A"— THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

THE ARCHITECTURAL RECORD.

457

WARD BUILDINGS "C" AND "B"-THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

WARD BUILDINGS "H" AND "J"-THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

458

THE ARCHITECTURAL RECORD.

REAR VIEW, WARD BUILDINGS "J" AND "K"-THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.

Samuel Hannaford & Sons, Architects.

OPEN-AIR WARD. ON ROOF OF EACH WARD BUILDING-THE NEW GENERAL HOSPITAL,

CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

THE ARCHITECTURAL RECORD.

459

INTERIOR OF ONE OF THE WARD BUILDINGS— THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.

Samuel Hannaford & Sons, Architects.

ONE OF THE OPERATING ROOMS— THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

460

THE ARCHITECTURAL RECORD.

ONE OF THE OPERATING PAVILIONS-THE NEW GENERAL HOSPITAL, CINCINNATI. OHIO.
Samuel Hannaford & Sons, Architects.

NURSES' HOME BUILDING-THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

THE ARCHITECTURAL RECORD.

461

COVERED ROOF-GARDEN ON NURSES' HOME BUILDING-THE NEW GENERAL HOSPITAL,

CINCINNATI, OHIO.
Samuel Hannaforcl & Sons, Architects.

KITCHEN BUILDING-THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

462

THE ARCHITECTURAL RECORD.

KITCHEN-THE NEW GENERAL HOSPITAL, CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

:ONTAGIOUS DISEASES GROUP-THE NEW GENERAL HOSPITAL. CINCINNATI, OHIO.
Samuel Hannaford & Sons, Architects.

THE ARCHITECTURAL RECORD.

463

boilers of 260 horsepower capacity each.
The engine room is in another building
adjoining. The equipment of this room
consists of three units of high-speed en-
gines, directly connected with 250 K. W.
generators. In this room are also the
switchboard, the air compressor, and the
refrigerating machinery. Electric cur-
rent is used throughout all the buildings
for light and power.

In the second story of the power
house is the laundry. One-half is for
the care of the patients' clothing, while
the other half is for the care of the
clothing of the employees of the institu-
tion. The laundry is equipped with the
best of laundry machinery, modern in
every respect. On the second floor of
the boiler house are the machine, car-
penter, and paint shops, all of which are
properly equipped with machinery and
supplies to care for the repair and main-
tenance of the buildings and equipment.

The research building lies in the rear
of the contagious group and is a five-
story struct' re housing the chapel, re-
search laboratories, a large amphithea-
ter where students go for instruction,
operating rooms for vivisection pur-
poses, etc. This work will be of the
greatest scientific value and will be in
charge of Dr. Paul G. Woolley.

Away from the noise of traffic on the
main thoroughfares is the nurses' home.
It has a basement, four stories and a
roof garden. It is connected with all
the other buildings in the group by the
underground tunnel. Every convenience
has been added to make the home a
place of rest for tired nurses. On the
first floor are a library, several rooms
for educational purposes, reading rooms,

rest rooms and a laboratory for the teach-
ing of special work. The second, third
and fourth floors have sleeping rooms
for the nurses. Each room has its
private bath and toilet. On each of
these floors is set aside a little tea room
and kitchen for the use of the nurses as
they see fit in preparing light lunches
for themselves. There is a roof garden
with a large inclosed shelter house over
the central portion. Here it will be pos-
sible for the nurses to take recreation
in the open air at any time. Provision
has also been made for those who de-
sire to sleep out in the open air.

A female dormitory is located in the
rear of the nurses' home. All female
employees of the institution will be
housed there, excepting the nurses, who
are taken care of in the nurses' home.
The main features of the nurses' home
apply to this building, but it does not
contain a separate dining-room, the oc-
cupants taking their meals in the general
dining-room for employees.

The equipment of this new hospital is
of the highest possible type. No other
hospital is so modern, so well equipped
in every detail. World renowned physi-
cians have helped to make it the best
possible hospital. The city of Cincin-
nati owes the success of this institution
to Dr. C. R. Holmes, who spent years
in the study of hospitals everywhere be-
fore imparting the information gathered
to Samuel Hannaford & Sons, of Cin-
cinnati, the architects of the institution.

The entire project of building this
new hospital was placed with the hos-
pital commission, consisting of Dr. C.
R. Holmes, Mr. Harry L. Laws, Dr. J
M. Withrow and Mr. Louis S. Levi.

GARDENS— RESIDENCE OF C. F.
PERRY, ESQ., HOLLYWOOD. CAL.
B. COOPER CORBETT, ARCHITECT.

CVR.R.ENT AR.CHITE CTVB.E

DETAIL— RESIDENCE OF MRS. LOUISE

A. DENKER, LOS ANGELES, CAL.

B. COOPER CORBETT, ARCHITECT.

466

THE ARCHITECTURAL RECORD.

RESIDENCE OF CHARLES SHARP, ESQ., LOS ANGELES, CAL.
B. Cooper Corbett, Architect.

RESIDENCE OF C. F. PERRY, ESQ., HOLLYWOOD, CAL.
B. Cooper Corbett, Architect.

THE ARCHITECTURAL RECORD.

467

RESIDENCE OF MRS. LOUISE A. DENKER, LOS ANGELES, CAL.
B. Cooper C'orbett, Architect.

RESIDENCE OF C. WESLEY ROBERTS, ESQ., LOS ANGELES, CAL.
B. Cooper Corbett, Architect.

468

THE ARCHITECTURAL RECORD.

* *

THE ARCHITECTURAL RECORD.

4H9

Q ^r
o **

C/2 >H O

a J u

£H hJ 4>

I O §•

2 a 8

< o

-j

THE ARCHITECTURAL RECORD.

471

<«
P4 "'

Si
<2

u «
w !rt

O £

PQ .•=
< B

U u

472

THE ARCHITECTURAL RECORD.

BUILDING OF BURKE & JAMES, CHICAGO.
Hill & Woltersdorf, Architects.

BUILDING OF THE MEYER-BOTH COMPANY, CHICAGO.
Hill & Woltersdorf, Architects.

THE ARCHITECTURAL RECORD.

473

ABORATORY OF THUS. J. DEE & CO., CHICAGO.
Hill & Woltersdorf, Architects.

ONTARIO STREET ANNEX-TREE STUDIOS, CHICAGO.
Hill & Woltersdorf, Architects.

*,'•• iK- .,/:•'> i-- .^ -_.,^ , y- .=•-•;•: - « -..-• -.• ..^•j- -,- . *•>.••-,• ..-' -• *.<Vfca*

ARCHITECT'S

fj^-- • •-• • •

BOOKS ON MEDIEVAL ARCHITECTURE

By RICHARD FRANZ BACH

Curator, School of Architecture, Columbia University
PART I.

AT a time when the uncertainty of
international conflict hovers over
many a medieval building, an addi-
tional stimulus enlivens our interest in
the great formative period that preceded
the Renaissance. The writers, respond-
ing faithfully to the demand, have pro-
duced a number of new works and new
translations and editions of recognized
works of standard value, which should
aid in no small degree in rendering in-
telligible the architectural significance of
the stupendous struggle that has already
so extensively laid its toll upon the ves-
tiges of a splendid past in Europe.

Of great interest, though slightly be-
yond the present troubled area, is the
volume by Henry Adams entitled Mont-
Saint-Michel and Chartrcs (Houghton,
Mifflin Company, Boston and New York,
quarto, pp. xiv-401, ill., $6). Ralph
Adams Cram, arch-apostle of things
Gothic in this country, writes a brief in-
troduction for the work ; not to introduce
it necessarily, but in reality to make pub-
lic apology to the author because his
notably meritorious volume — so long hid-
den from students as a private publica-
tion— has only now been given to the

world. Mr. Cram calls this "one of the
most distinguished contributions to lit-
erature and one of the most valuable ad-
juncts to the study of medievalism
America thus far has produced." Nor
has he grossly exaggerated the worth of
Mr. Adams' book. It is a readable and
flowing series of chapters covering not
only Mont Saint Michel, a pioneer in
six-part vaulting, and the cathedral of
Chartres, a pioneer in the use of the
oblong vaulting bay, but also Coutances
cathedral and the "Abbaye aux Dames,"
Queen Matilda's church at Caen. It fol-
lows into many channels the develop-
ments of stained glass and of apsidal
plans, of towers and of portals, not to
mention the fine chapters on Abelard,
the Miracles of Notre Dame, the story of
Nicolette and Marion, and on the three
important queens of the Gothic period in
France, Eleanor, Mary and Blanche. In
these chapters Mr. Adams' ability is at
the full, although the genteel manner of
the causerie runs through the whole vol-
ume without at any point lacking the
foundation of facts and of architectural
understanding. We should wish for other
volumes equally flowing in their treat-

THE ARCHITECTURAL RECORD.

475

ment; the monuments of the Middle
Ages, splendidly set in a unified life and
reflecting it in a thousand brilliant facets,
lend themselves readily to the graceful
and subtly informing style of which the
author well understands the beauties.
Our technical historical discussions are
many and accurate, too many of our
pages bristle with argument on the fine
points of attribution and of origin, but
they are on our shelves until needed ;
they rarely appear on our library tables,
and we do not often open their covers
unless searching for information immedi-
ately required. This volume on Mont
Saint Michel, on the other hand, is both
technical and attractively written ; its
place is assuredly within the reach of the
architect who is always "too busy to
read," chiefly because too many books
are written with undisguised purpose
"at" instead of "for" the architect. An
added recommendation of the work is
its publication by authority of the Amer-
ican Institute of Architects, of which
body Mr. Adams has recently been made
an honorary member "as one who has
rendered distinguished services" to archi-
tecture.

A book of entirely different character,
though attempting a similar vein, is that
on Cathedrals and Cloisters of Northern
France, by Elise Whitlock Rose, with il-
lustrations from original photographs by
Vida Hunt Francis. (G. P. Putnam's
Sons, New York ; two 'volumes, octavo,
pp. xvii-297 and pp. x-345, ill., $5.)
This forms the concluding part of a se-
ries of four two-volume works on the
cathedrals and cloisters of France, others
having covered Midland France, South
of France and the Isle of France. All
the volumes are profusely illustrated
with fresh material — there are no less
than two hundred and fifty views in the
present set — and for this reason especial-
ly useful for the architect and present
day traveler; while the text is the com-
pound result of much research and ex-
tensive personal contact with the build-
ings, which have bred an appreciative un-
derstanding of medieval architecture
and clerical life, fitly conveyed in a brisk,
somewhat business-like style. This man-
ner of writing cannot, of course, be con-

sidered a detriment; rather, for a work
of this kind, a decided benefit. The area
covered by the volumes in hand demands
so many illustrations that the text can be
but a running comment at best, if the
whole story shall be told ; yet Miss Rose
has been particularly successful in avoid-
ing the guide-book descriptive manner.
Long chapters are assigned respectively
to Alsace-Lorraine, Champagne, The
Nivernai-s, Maine, Anjou and Laval ; of
these the first and second are notably well
written. Miss Francis' photographs are
of exceptional quality and the point of
view is essentially that of a trained me-
dievalist. In fact, the authors seem to
have struck the happy mean of give and
take which makes enjoyable the other-
wise diplomatic task of collaboration.
The present book, like the other pairs
of volumes preceding it in the series, is
well bound in attractive covers ; the type
is large; in general the work will stand
a credit to both authors and publishers
as a reliable reference book on the dio-
cesan buildings of northern France.

By far the best of the recent works
on medieval art in France is the large
volume entitled Religious Art in France;
Thirteenth Century; a Study of Medie-
val Iconography and Its Sources of In-
spiration, by Emile Male, translated from
the third edition, revised and enlarged,
by Dora Nussey. (E. P. Button and
Company, New York ; quarto, pp. xxiv-
415, ill., $6.) This is a masterly treatise
with a broad foundation in symbolism
and the didactic quality of Gothic art.
dealing with medieval Christianity as a
fluid, mobile and living thing, and prop-
erly collating the art with life, thought
and theology to form a splendid Chris-
tian unity.

M. Male's first words are : "The Mid-
dle Ages had a passion for order." A
thorough medievalist, his book partakes
of the orderliness he lauds. He begins
with an analytical chapter entitled "Gen-
eral Characteristics of Medieval Iconog-
raphy," in which he sets forth that me-
dieval art is characterized notably as a
script or sacred writing, as a calculus or
sacred mathematics, and as a symbolic
code. We have been prone to grant too
little importance to the symbolic qualitv

476

THE ARCHITECTURAL RECORD.

of Gothic art; a true understanding of
this would long since have indicated the
single thread of harmony that runs
through all things medieval. The unify-
ing current of symbolism permeated the
life of the thirteenth century as thor-
oughly in France, as our so-called "busi-
ness instinct" dominates the life of the
twentieth century in this country.

But it will require more than a sim-
ple appreciation of the symbolic element
in medieval ornament fully to convey the
fact that the designers of the time "or-
ganized art as they organized dogma.
The artistic representation of sacred sub-
jects was a science governed by fixed
laws which could not be broken by the
dictates of individual imagination."

In the first place, the art of the Mid-
dle Ages developed — as must any art
when general education is at a low ebb —
a kind of hieratic language which indi-
cated to the plcbs Dei all that it needed to
know of the religion which was life.
This sacred script acquired a great com-
plexity but never lost a rigid regularity
and sameness of meaning, however the
individual forms may have been em-
ployed or manipulated. The result was
an ecclesiastic grammar, in which the
relation of parts was utterly organic and
therefore always intelligible when prop-
erly used. Misuse of symbols was tanta-
mount to heresy. Each artist had, there-
fore, to learn an ecclesiastic alphabet of
forms, for by the very forms did his
record take shape. There is no need in
such didactic forms for great depth or
beauty in the abstract or aesthetic under-
standing on which we pride ourselves and
which inflicts upon art an aloofness
which it never properly possessed nor
desired to convey. We spend much time
seeking modern beauties in medieval art,
projecting temperamental or sentimental
significance into motives which speak an
obvious language that escapes us because
if is so direct and plain spoken. Yet the
emotional was not eliminated ; that could
not be the case at such a time of fervid,
often ascetic, Christianity.

But apart from the symbolism of use
which dictated bare feet here and aureole
there, we must give importance also to
position, grouping, symmetry and num-

ber in medieval iconography ; for by vir-
tue of its observance of these qualities
the emblematic story of the Middle Ages
developed a sort of sacred mathematics,
subject to formulae scientifically as rig-
orous. In this connection must be noted
the orientation of buildings, the relative
positions of symbols, the comparative
significance of different parts of
churches, the interrelation of figures in
religious history being closely paralleled
in their carved, painted or stained glass
counterparts. Thus the more gloomy
northern transept arm, for instance, was
decorated with motives from the Old
Testament, the warmer southern transept
with those chosen from the New Testa-
ment. The symmetry which signified in-
ner harmony appears in the balancing of
the twelve ancient patriarchs or the
twelve prophets against the twelve Apos-
tles of Christ ; and in the same fashion
other groups were disposed according to
a sort of biblical equation. The Virtues
and Liberal Arts, in equal numbers, are
similarly balanced, e. g., in opposite win-
dows or in opposite or parallel recessed
doorways. The meaning of numbers in
this connection may be better understood
by an actual passage from M. Male re-
ferring, by way of example, to the ritu-
alistic interpretations of the numbers
twelve and seven : "Twelve is the number
of the universal Church, and it was for
profound reasons that Jesus willed the
number of His apostles should be twelve.
Now twelve is the product of three by
four. Three, which is the number of the
Trinity and by consequence of the soul
made in the image of the Trinity, con-
notes all spiritual things. Four, the num-
ber of the elements, is the symbol of ma-
terial things — the body and the world —
which result from combinations of the
four elements. To multiply three by four
is in the mystic sense to infuse matter
with spirit, to proclaim the truths of the
faith to the world, to establish the uni-
versal Church of which the apostles are
the symbol." The computation involv-
ing the number seven is yet more ingeni-
ous; it reaches a real grandeur. "The
number seven, regarded by the Fathers
as mysterious above all others, intoxi-
cated the medieval mystic. It was ob-

THE ARCHITECTURAL RECORD.

477

served first of all that seven — composed
of four, the number of the body, and of
three, the number of the soul — is pre-
eminently the number of humanity, and
expresses the union of man's double na-
ture. All that relates to him is ordered
in series of sevens. Human life is di-
vided into seven ages with each of which
is associated the practice of one of the
seven virtues. The grace necessary for
the practice of these seven virtues is
gained by addressing to God the seven
petitions of the Paternoster. The seven
sacraments sustain man in the exercise
of the seven virtues, and guard him from
falling into the seven deadly sins. The
number seven thus expresses the har-
mony of man's nature, but it also ex-
presses the harmonious relation of man
to the universe. The seven planets gov-
ern human destiny, for each of the seven
ages is under the influence of one of
them." On this point witness the carv-
ings of the seven ages of man on the
capitals of the Doge's Palace at Ven-
ice and the frescoes of the Chapel of
the Eremitani at Padua ; the tradition is
undoubtedly to be led back to classical
times. "Thus seven invisible threads
connect man with the scheme of the uni-
verse. Now the beautiful symphony
made by man and the world will last for
seven periods of time . . of which
six have already passed. By creating the
world in seven days God gave man the
key to these mysteries, and the Church
celebrates the sublimity of the Creator's
plan when she sings His praises seven
times a day."

Finally we have the manifestation of
medieval art as a symbolic code, on the
basis of which definite ideas are given
a figurative expression, and therewith a
quickening spirit. It is an art of inten-
tions, as well as of actualities. Thus the
four rivers of Paradise are not only what
they seem pictorially, but represent also
the four Evangelists pouring their benefi-
cent doctrine in a flood over the world.
The liturgy itself contains a myriad of
hidden meanings, and each stage of the
mass is a step in the unfolding of the
great story of life, death and salvation.
Thus the long neglected works of the
medieval liturgiologists must be exalted

to a new dignity, equal to that accorded
to splendid figures like Hugh of St.
Victor, Rhabanus Maurus, Gulielmus
Durandus, Thomas Aquinas and Vincent
of Beauvais himself. In the same fash-
ion we might follow this figurative
expression in its multiple applications
in clerical vestments., in illuminated
manuscripts or in portable church
utensils. Nor is it fair to consider the
extent and intricacy of this symbolic
system the result of a play of fancy,
devising by devious means far fetched
connotations or befuddling numerical
puzzles. The fervor of the medieval
Christian is not to be denied, and what-
ever his failings as zealot and devotee,
he was a good churchman, the sole teach-
er of the people, and in that sense at least
thoroughly religious. In his ecclesiastic
art we can therefore expect a sincerity
and uniformity of purpose and in his all
embracing symbolism an amplification of
the only ready means of access to the
minds of the masses for the truth they
so much needed.

The main body of M. Male's book
carries out the threefold interpretation
promised in the introduction, and the au-
thor arranges his task in accordance with
the subdivision laid down by Vincent of
Beauvais, the Ubrorum helluo or devour-
er of books, the most comprehensive
thinker of the Middle Ages, in his Mir-
ror. This was one of a large number
of works, called variously speculum,
summa, or imago mundi, in the encyclo-
pedic thirteenth century. Believing thor-
oughly in the fitness of things, M. Male
has chosen the Speculum Majus of Vin-
cent of Beauvais as a model, for, says
he, we may not without danger of error
project our modern categories into the
work of the Middjes Ages and expect
the latter to order itself according to
an alien mode of classification and
thought. Vincent adopts "the very plan
of God as it appears in the Scriptures"
and divides his stupendous work into
four major parts, each called a Mirror,
as follows : the Mirror of Nature, the
Mirror of Instruction, the Mirror of
Morals, and the Mirror of History. The
four Mirrors are logically connected,
more or less as a cumulative develop-

478

THE ARCHITECTURAL RECORD.

ment. We begin with Nature and the
truth of Creation, culminating in the
sixth day's achievement and the appear-
ance of man upon earth. The Mirror of
Instruction recites the eternal question or
"riddle of the universe;" it treats of the
fall of man, and his endeavor to rise
again — through knowledge which gives
power — by beginning the work of his re-
demption with the labor of his hands
in the mechanical arts. Since the end of
life is not only "to know but to act,"
since knowledge is the key to virtue, we
are led naturally to the Mirror of Mor-
als, wherein the virtues and vices are
carefully classified. Having thus ana-
lyzed and laid bare the substance of man,
it behooves us to note his ability in shift-
ing for himself, in unwinding the course
of his life under the unseen guidance of
God; this is the Mirror of History. To
Vincent, the Churchman, the only true
history is of course the history of the
universal or Catholic Church. Pagan life
has a mere synchronic value, incidental
to the brilliant course of Catholicism
with its eminently coherent sequence of
Old and New Testament saints.

In this quartet of Mirrors Vincent of
Beauvais gathered together the sum and
substance of the Middle Ages, an eternal
pandect or synopsis. No less funda-
mental a transformation than the Renais-
sance itself was necessary to add to its
information. It portrays vividly the lead-
ing conceptions that inspired thirteenth
century art ; "the same genius disposed
the chapters of the Mirror and the sculp-
ture of the Cathedral. It is legitimate
to seek in one the meaning of the other."

M. Male's system then is that of Vin-
cent of Beauvais throughout, and his
thoroughness not a jot less. He runs the
gamut of sculpture and stained glass, of
capitals and corbels, of floral motives and
monsters, of lunettes and lintel bands of
painted walls, pinnacle and carved por-
tals. He cites chapter and verse for
every assertion with a methodical direct-
ness that is little short of perfect in its

command of literary as well as monu-
mental sources. The porches of Chartres
live again and we find its figures moving
to a sort of churchly music of the spheres
which permeates the Middle Ages and
imparts to them a oneness that brooked
but few exceptions. We travel from
Laon to Amiens, from Bourges to
Poitiers, and the truths are always the
same ; solid homogeneity and order de-
mand that the same story be taught in
the same way throughout Christendom.

M. Male is a medievalist second to
none, and his sincerity strikes a quick
note of accord in the reader. But he
is not a preacher for the modern. That
is not his chosen province ; he simply
takes the fine Gothic time when the flow-
er is full blown. and unfolds its hidden
beauties to eyes that had thought to see
all its truths, but that soon appreciate
the shallowness of usual study and be-
gin to sound a new depth. He does not
point Gothic lessons for the present ; nor
does he advocate the resurrection of an
artistic mode of speech hopelessly be-
yond reach. He attempts only to indicate
the manly conviction and ingrained faith
which dominated one of the golden ages
of art.

The book is somewhat heavy, but the
number of illustrations — there are one
hundred and ninety — is largely responsi-
ble for that. The "make-up" of the vol-
ume deserves particular mention. The
many necessary references are gathered
in easily legible footnotes, so that fre-
quent place names may not clutter the
text. There is an appendix giving a list
of the chief works devoted to the life
of Christ, appearing in the churches of
the end of the twelfth, the thirteenth and
the fourteenth centuries. Finally there
is also an exhaustive bibliography, an
index of works of art classified by char-
acter or subject, location and building.
We are glad to congratulate both M.
Male and the E. P. Button Company
upon an authoritative publication, thor-
oughly successful in every particular.

NOTES

AND
COMMENTS

A Seashore
Cottage at
Nantucket.

Small country houses
are so seldom designed
by architects of any real
ability that every in-
stance of a good and
original design in this
field deserves notice.
The little house at Nan-
tucket, herewith illustrated, is one of the
most attractive that has recently come to
our attention. It is the property of Miss
Alice M. Corse, and was planned by her
brother, Mr. Henry T. Corse, Jr., of New
York.

The house faces
directly on the
ocean, with its back
to the road. The
entrance, from the
rear, leads to a
small stair hall, and
thence to the main
living-room, with an
alcove giving direct-
ly on the beach. Ad-
jacent is a porch of
comfortable size,
and back of this the
dining-room. The
service is located in
the wing toward the
road, on the right of
the entrance. Up-
stairs are four mas-
t e r s ' bed-rooms,
maid's room and
bath.

In a construction

HOUSE OF MISS ALICE M. CORSE.

NANTUCKET, MASS.
Henry T. Corse, Jr., Architect.

of this size, elaborate architecture would
be out of place, and Mr. Corse, very
properly, has treated the building with
the greatest possible simplicity. The
entire house is shingled; the porch col-
umns are simple, square wooden posts;

the chimneys are of the plainest de-
scription. Interest is given, however, by
the effective grouping of the windows and
their subdivision, and by the unusual lines
of the roof. On the main front the roof has
been carried down in a long slope over the
porch, with the three domes to add variety
to its surface, while the hip on the sides
is cut off so as to give a vertical wall up
to the tops of the second story windows.
On the rear the same scheme is logically
carried out, the symmetry of the sides de-
termining the treatment of each portion of
the roof. The only questionable feature is
the gable over the
stairs, as it seems
that a hip roof at
this point might
have composed more
harmoniously with
the general arrange-
ment. But the de-
sign as it exists is
good enough to be
cause for self-con-
gratulation both to
the architect and to
the casual visitor.

In view of its un-
doubted architectur-
al merit, the low
cost of this house is
quite remarkable.
Those who con-
sider an archi-
tect as an ex-
pensive and un-
necessary luxury
knowing that the

may be interested in

total cost, including the land, was less than
five thousand dollars. Even the omission
of a cellar, according to the local custom,
makes this economy none the less note-
worthy.

480

THE ARCHITECTURAL RECORD.

The Continental Amer-
ican Bank, the latest of
A Bank, the great buildings erected

Monumental in Chicago by the office of
and the late Daniel H. Burn-

Beautiful, ham, is a tremendous pro-

duction. It occupies an
entire block, approxi-
mately 600 feet in length by 200 feet in
width, and it is twenty-five stories in height.
The exterior is massive in scale and simple
in composition. The detail is not of special
interest aside from the great colonnade
of red granite columns
which extends the entire
length of the basement
and first story on the
principal front. Above
the basement and first
story the building is
built in a hollow square
which permits of the
first story being lighted
by a vast skylight, many
thousands of square feet
in area. It is this first
story which is the most
interesting and success-
ful feature of the great
building. It is occupied
by the important bank-
ing institution which
gives the building its
name. The dimensions
of this first story are so
tremendous and the scale
which has been employed
in its architectural treat-
ment so immense that
although the height of
the basement is sufficient
to afford a story of suf-
ficient height to provide
quarters for another
great bank, the stairs
which lead at each end
of the block from the en-
trance and elevator lobby
to the main banking floor

A Layman

on
Builders

and
Planning.

HOUSE OF MISS ALICE M. CORSE.

NANTUCKET, MASS.
Henry T. Corse, Jr., Architect.

seem absolutely inconsiderable and give one
the feeling of being not more than three or
four risers in height. The floor of the bank-
ing room itself is that of a great Grecian
temple, with triple rows of columns down
each side. The bank screens have all been
placed behind the second row of columns
and their material and detail as well as
that of all the other features of the room
have been kept low in tone and are beauti-
ful and well studied in detail.

This many a day we
have waited for the
small but effective voice
out of the wilderness
that would indicate the
opinion of the world as
to the case of architect
versus builder. To most
of us' the idea of competition between these
gentlemen is ridiculous, yet the stern real-
ity is forced upon us as soon as we leave
the cities and observe the activity of build-
ers in communities smaller. In such impor-
tant matters we some-
times hear the keynote
struck in the enemy's
camp, as it were, and for
that reason we are not
greatly surprised to
come upon the follow-
ing, which is an excerpt
from the letter of a cor-
respondent of the Chris-
tian World: "The worst
is that there are duffers
in the architectural pro-
fession. An architect
wants choosing. But the
right kind of architect is
a man who is very sel-
dom overpaid for his
work." What truths are
these! The duffers we
are anxious to ostracise
after the manner of the
ancient Greeks, for it is
they who render the
choosing necessary. But,
architecturally, the word
overpaid does not exist.
"He . . . ensures
that . . .. the builder
does precisely what he
has engaged to do . . .
and ... as a usual
thing the architect is
able to produce, in co-
operation with the build-
er, a much more attrac-
the builder would have
After all.

tive house than
produced on his own account,
the work of the builder is building, no:
planning." And this last sentence the edi-
torial writer of The Builder calls the Kim-
berly diamond found in the blue clay, and
he adds with relish: ". . . When the aver-
age man discovers that the work of the
builder is building, not planning, the archi-
tects may make a joyful sound and put
crowns upon their heads."

i tv^ i • i

ORCHID
2ECOI8

PVBLl/HEDjNNEV

TRAND"

No Bolts

No Screws

No Rivets

Steel Doors and Other
Interior Trim

Are built under a Patented Construction
which makes them more durable and more
efficient than any others.
They contain the least possible number of
units, and every joint is

WELDED BY ELECTRICITY

That's why Zahner products were selected
for the M on ward Realty Co.'s office build-
ing, St. Louis (Eames & Young, Archts.,
James Stewart & Co., Contractors).
Write for estimates — samples of construction
and finish information. In fact any desired.

and Door Co.

MBuraBi

Successors
to The Monarch
Metal Mfg. Co.

Agents in All
Principal Cities

!! nil' <">"

IHII n n n n n H Him

n n n n n n n n n n n ii
ii ii 11 n n n n ii ir riiio
'"""""Pnnr mi"

VOL. XXXVIL No. 6

JUNE, 1915

SERIAL NO. 201

ARCHITECTVRAL
v RECORD

COVER-ENTRANCE TO GLYNDE, ENGLAND Page

By G- Matlack Price

THE NEW HOME OF JOHNS HOPKINS UNIVERSITY * * .481

By John Martin Hammond

ROMAN ARCHITECTURE AND ITS CRITICS. Part II - - 493

By Prof. A. D. F. Hamlin, of Columbia University

TWO DENTAL BUILDINGS IN PHILADELPHIA AND BOSTON . 516

By Harold D. Eberlein

CERTAIN PHASES OF SPANISH COLONIAL ARCHITECTURE - 535

By Marrion Wilcox

COLONIAL ARCHITECTURE IN CONNECTICUT. Part III . 547

Text and Measured Drawings by Wesley Sherwood Bessell

PORTFOLIO OF CURRENT ARCHITECTURE • - - - - 557

RECENT BOOKS ON MEDIEVAL ARCHITECTURE. Part II k- , 563

By Richard Franz Bach

NOTES AND COMMENTS - 567

INDEX FOR JANUARY TO JUNE > 569

Editor : MICHAEL A. MIKKELSEN. Contributing Editor : HERBERT CROLY

Advertising Manager : AUSTIN L. BLACK

PUBLISHED MONTHLY BY

THE ARCHITECTURAL RECORD COMPANY

115-119 WEST FORTIETH STREET. NEW YORK

F. W. DODGE, President

F. T. MILLER, Secretary and Treasurer

PORTICO AND CLOCK TOWER— ACADEMIC BUILD-
ING, JOHNS HOPKINS UNIVERSITY, BALTIMORE.
PARKER, THOMAS & RICE, ARCHITECTS.

AKC

THE .

ITECTVKAL

FIECOKD

JVNE, 1915

VOLVME XXXVII

NVMBER VI

NEW HOME OF

JOHNS HOPKINS

VNIVER.SITY

<3y Jofjn y/(artin 3fammorid~

THE development of the city in the
neighborhood of the present build-
ings of the Johns Hopkins Uni-
versity and the growth of the under-
graduate department rendered necessary,
a decade and more ago, the creation of a
new home for the institution ; and the
movement which resulted from a recog-
nition of this need has taken definite
shape in "Homewood," the new seat of
the school. The beautiful tract of wood-
land which was selected as the site for
the university has been surveyed and
graded, and five of the units of the
projected university group, including
Oilman Hall, the principal building, have
been completed, so that the architects and
planners of the establishment are fully
committed to their plans. The university
expects to be in operation at Homewood
in the fall of this year. It is safe to as-
sert that in general beauty and charm the
grounds and buildings of Homewood

have rarely been equalled and the disposi-
tion of the buildings with regard-to each
other and their individual arrangement
present features of novelty, ingenuity and
practicality of construction of absorbing
interest to architect and layman.

Anyone familiar with Baltimore, or
who will look at a map of the city, will
know that the present situation of Johns
Hopkins University is in the business
center of the city. The new site is about
two miles due north of the old, within the
city limits, and in the choicest part of a
section toward which the tide of fine resi-
dence building of the city has of late
years most consistently set. It consists
of one hundred and fifty acres of land,
fifteen of which is held back temporarily
from the university as a life trust in an
estate, and was presented to the univer-
sity largely through the generosity of the
late William Wvman, a public-spirited
citizen of Baltimore. The tract which

482

THE ARCHITECTURAL RECORD.

he donated has been enlarged by various
individuals, notably William Keyser,
Samuel Keyser, Francis M. Jencks, Will-
iam H. Buckler and Julian LeRoy White,
— names long associated with Hopkins
development.

It is a beautiful rolling stretch of land
containing many fine forest trees and the
entire western and southern boundary
has been developed by the city, with an
appreciation of the coming of the uni-
versity, as a public park known as Wy-
man Park. The eastern and most im-
portant boundary of the tract is Charles
street, Baltimore's most historic thor-
oughfare, and the northern boundary is
the "Boulevard," the city's newest and
most elegant suburban artery. Charles

pointed, consisting of Walter Cook, of
New York; Frederic Law Olmsted, of
Boston, and J. B. Noel Wyatt, of Balti-
more, and under its guidance all of the
initial work of the university was done.
During the progress of the preliminary
planning Messrs. Wyatt and Cook had
become executive architects, so, in 1911,
the advisory board was reorganized to
consist of Messrs. Frank Miles Day, of
Philadelphia ; Grosvenor Atterbury, of
New York, and Frederic Law Olmsted,
of Boston, and this is its present com-
position.

To this board has been entrusted the
important task of general supervision
and of preserving harmony in the build-
ings through the course of the years.

GENERAL VIEW OF HOMEWOOD, THE NEW SEAT OF JOHNS HOPKINS UNIVERSITY.

BALTIMORE.

street, also, has been widened and parked
and on this street at the entrance to
Homewood has been placed a "circle."
Roughly, the whole tract is in the shape
of an elongated hexagon of approxi-
mately equal angles, Charles street oc-
cupying the lengthened eastern side, the
"Boulevard" the adjacent shorter side to
the north, and Wyman Park all of the
rest of the figure.

'We find, then, that in 1902 the uni-
versity fathers possessed this beautiful
and ideally located tract of land. On it
was standing Homewood, the old Car-
roll homestead, one of the most delight-
ful of Maryland's survivals of the
Georgian period of building. The work
of development commenced. An ad-
visory board of architects was ap-

Under the guidance of their advisers
the university authorities in 1904 opened
a competition to five well-known firms of
architects, and the plan of- development
submitted by Messrs. Parker and Thom-
as, of Baltimore — now the firm of Park-
er, Thomas and Rice, of Baltimore and
Boston — was approved as best and ac-
cepted. This plan had as its structural
motif the design of Homewood, the old
building from which the estate took its
name ; and it was felt that not only was
Georgian architecture peculiarly ap-
propriate to the site of the university, but
lent itself extraordinarily well to the de-
velopment of a university group of
buildings.

The advantages of the Georgian for
a university group, as conceived by the

THE ARCHITECTURAL RECORD.

483

VIEW FROM HOPKINS OVAL, JOHNS HOPKINS UNIVERSITY, HOMEWOOD, BALTIMORE.

university authorities and advisory arch-
itects, may be summed up briefly as fol-
lows: It is beautiful, it is dignified and
restful; it lends itself well to combina-
tion with other buildings of the same
character; it gives square rooms and
no loss of floor space; it provides for
ventilation and lighting ; and, last of all,
it is cheap and durable from the stand-
point of construction.

The proportions and decoration of
Homewood — the building — were careful-
ly studied and preserved as far as pos-
sible in the plans of the new buildings,
the proportion of window space to floor
space only being changed so as to give
ample light. The windows of the new
buildings of Hopkins bear a constant re-
lation to the floor space of one to six.
So carefully have the interesting exterior
features of Homewood — the building —
been preserved that the main entrance
of Oilman Hall, the principal building
of the group, is an enlarged version
drawn to scale of the portico and en-
trance to the old home. So much for the
spirit of the new Johns Hopkins group.

The years of planning were not with-
out work of constructive emphasis. A
careful topographical survey of the
grounds was made which was the base
of a map of a scale of 40 feet to an inch.

with one foot contours, in which the
location of trees was closely indicated.
The fine old woodlands of the estate
were carefully studied by F. W. Besley,
State Forester of Maryland, and many
of the unhealthy, old and unsightly trees
were removed to make way for a healthy
young stand. With the accurate loca-
tion of the sites of the various projected
buildings of the school such landscape
gardening as was conceived to be neces-
sary was undertaken, with the idea in
mind of endeavoring to develop the nat-
ural beauties of the grounds, and as far
as possible to keep them in a state of
nature. There has been little effort to-
ward formal landscape gardening.

The requirements of the university in
buildings were carefully set forth in the
specifications which the university au-
thorities adopted, after anxious consid-
eration, and promulgated when asking for
submission of plans, and it is instructive
to know what these buildings were, and
to consider how they were disposed with
regard to each other in the architectural
arrangement which at last won the ap-
proval of the authorities.

First of all, the requirements of the
university in buildings were conceived
to be as follows : 1, An academic building,
Oilman Hall ; 2, a chemical laboratory ; 3,.

INTERIOR OF MAIN COURT, LOOKING TOWARD ACADEMIC BUILDING, JOHNS HOPKINS
UNIVERSITY, HOMEWOOD, BALTIMORE.

486

THE ARCHITECTURAL RECORD.

a geological laboratory; 4, a biological
laboratory ; 5, a physical laboratory ; 6, a
heat, light and power plant ; 7 and 8, dor-
mitories and a dining hall ; 9, a mechan-
ical and electrical engineering building;
10, a civil and mining engineering build-
ing; 11, a gymnasium ; 12, a student hall ;
13, a classroom building; 14, a memorial
building and chapel; 15, a president's
house; 16, a faculty club; 17, an assem-
bly hall ; 18, an administration building ;
19, an astronomical observatory.

Now, how were the conditions im-
plied in this list met
and developed into
an acceptable plan?
First of all, the en-
trance to the uni-
versity grounds was
fixed on Charles
street, about mid-
way up the eastern
side of the grounds.
Here stood Home-
wood, the tonal key
of the new group,
on a little eminence
of ground about fif-
teen feet above the
level of the street.
At this point, then,
was established a
graded semi - circle,
"The Bowl," as it
has come to be
known in Baltimore, with Home-
wood on the right of the rim. Op-
posite Homewood is to be built the
president's residence, a structure similar
in exterior detail to the former, which is
to be used probably as the Faculty Club.
Between the two is planned the Adminis-
tration Building, with an arched gateway
in the middle, giving access to the main
•quadrangle. Connecting the Administra-
tion Building and the two structures ad-
jacent to it are colonnades set on the
edge of The Bowl.

Standing at the entrance of the main
quadrangle to-day one sees directly ahead
over the level turf the springy, beautiful
facade of Oilman Hall, in which are to
be housed the library and the "human-
itarian," or non-laboratory, apartments
of the university. The quadrangle is
flanked by four Laboratory Buildings ;

DETAIL— ACADEMIC BUILDING, JOHNS
HOPKINS UNIVERSITY.

Physics and Geology, on the left ; Chem-
istry and Biology, on the right. All of
the buildings of this quadrangle are- con-
nected by tunnels and arcades, which are
particularly effective architecturally and
which allow passage from one to anoth-
er without exposure to the weather.

Between the Laboratory Buildings on
either side of the quadrangle are broad
brick and marble colonial stairs, which
lead to quadrangles of lower level than
the first. Standing at the head of the
steps, which lead to the southern, or left,
of these subsidiary
quadrangles, one
finds one's self gaz-
ing upon the Engi-
neering Buildings of
the university. Upon
the small quad-
rangle, to the north,
are to be found un-
dergraduate build-
ings, the vista being
closed by a student
hall.

To the rear of Oil-
man Hall, but not
discernible from the
main quadrangle,
are situated the Bo-
tanical Laboratories
and garden, the lat-
ter in a fine state of
cultivation.
The heat, light and power plant of the
group has been placed back of the Me-
chanical Engineering Building.

In the extreme northern corner of the
grounds is the athletic field, and near it
to the south is planned the gymnasium.
The dormitories are to lie between the
athletic field and the main group of
buildings, but distributed parallel to, and
not far from, Charles street, which is
their most convenient exit from the
school. In the scheme of architecture
the dormitories form a connecting link
between the group of buildings planned
for work and the recreation group —
including the gymnasium and athletic
field.

The axes of the university plan are
parallel with and perpendicular to
Charles street.

Passing from a consideration of the

THE ARCHITECTURAL RECORD.

487

general plan to individual developments
thereof, it may be said that a visitor to
Homewood at this time would find much
accomplished, much under way, and
much still in the void. The grading has
practically all been done. The general
progress of the whole development may
be briefly summarized as follows :
Homewood completed one hundred
years ago ; the Academic Building, Gil-
man Hall (library and seminaries) fin-
ished and to be occupied probably next
term — the library to be moved to its
new home probably during the summer
months, Chemical Laboratory, site pre-
pared and plans ready for bids ; Geolog-
ical Laboratory, site prepared and pre-
liminary plans ready ; Biological Labora-
tory, to be started ; Physical Laboratory,
site cleared and bids soon to be invited;
Mechanical and Electrical Engineering
Building, completed and in use since last
October ; Civil-Mining Engineering Build-
ing, ground broken for construction, ex-
pected to be completed during this year ;
heat, light and power plant, completed
and in use ; botanical laboratory and gar-
dens, completed in 1908 and in use since
then ; athletic field and stands, completed
and in use for several years. All of the
rest of the program of the school has
yet to be accomplished, but the ground
work in all has been done.

A visit to Gilman Hall, the dominant
member of the principal group, reveals
many ingenuities of construction and
novelties of design in addition to beauty
and simplicity of exterior. Its aspect at
the head of the quadrangle, which one
faces when entering the grounds of the
new university, has been aptly summed
up by M. Llewellyn Raney, librarian of
Johns Hopkins : "Here is the Carroll
mansion's prophecy come to fulfilment.
Homelike, simple, dignified, preserving
the old portico multiplied by two, it is
at once marked as the capitol of the
campus by the clock-tower, which rises
120 feet from the ground level, inevitably
carrying one's mind back to Independence
Hall." '

It is an ample and logical development
of the theme of the whole university
group.

In cubic feet Gilman Hall is three

BOTANICAL LABORATORY FROM NORTH COL-
ONNADE OF ACADEMIC BUILDING.

times the size of one of its laboratory
neighbors and about one-half again as
large as McCoy Hall, the member of
the old university group whose1 place it
is destined to fill. Its great bulk, how-
ever, is effectively concealed in front
by having one story and a half buried
and both corners recessed to a width and
depth of 20 feet, except for one story
stair-halls. Thus, though the falling
ground to the rear gives the service of
four floors, the front elevation appears

GLIMPSE THROUGH SOUTH COLONNADE
OF ACADEMIC BUILDING.

488

THE ARCHITECTURAL RECORD.

DETAIL— MAIN READING ROOM, ACADEMIC BUILDING, JOHNS HOPKINS UNIVERSITY.

HOMEWOOD, BALTIMORE.
Parker, Thomas & Rice, Architects.

NORTH WING OF MAIN READING ROOM, JOHNS HOPKINS UNIVERSITY, HOMEWOOD,

BALTIMORE.
Parker, Thomas & Rice, Architects.

THE ARCHITECTURAL RECORD.

489

to be that of a two-and-a-half-story
structure. It takes but a judicious plant-
ing of trees to give an apparent front-
age of 164 feet (which is almost exactly
the depth of the building) as against the
wing-to-wing measurement of 204 feet.

The general arrangement is that of a
hollow square with additions to every
side — portico in front, shallow wings to
north and south, and semi-circle at the
rear. The lowering of the facade has
had the further advantage of having
made the main entrance to what is prac-
tically the second floor of the building,
so that one need ascend or descend but
one flight of stairs to reach the other two
floors.

Entering the building from the front,
the square vestibule leads directly to a
chamber 28 feet by 59 feet, the decora-
tive entrance room of the building —
probably to be furnished as the Daniel
C. Oilman Memorial Room. With win-
dows overlooking the court, a fireplace
on either side, this room offers excellent
opportunity. Over the fireplace to the
left is to be placed a large portrait plaque
in low relief of President Oilman, Hop-
kins' first chief executive, for whom the
building is named.

A generous corridor with niches for
busts and sides free for display or deco-
ration leads across the court to the read-
ing room. Stretching the full width of
the rear of the building, this room has a
floor area of more than 6,000 square feet.
Its odd proportion, great length and shal-
low depth, is saved from object-ion by the
fact that it falls into three parts, the two
end portions having another story above
them, but the central portion, not thus
affected, being covered with an arched
roof. It expands westward into a semi-
circle overlooking the botanical garden.
The windows are set high above the
floor to facilitate the disposition of the
shelves and the radiators are recessed.
There is shelf space in the room for
15,000 volumes of ordinary proportion
and 500 periodicals. In the center is the
desk for the attendant and two doors di-
rectly under his observation lead to the
stack rooms.

The stack rooms can be completely
isolated from the rest of the building

by means of fire-doors, easily swung to,
thus giving this part of the building as
nearly as possible the qualities of a fire-
proof vault. This does not mean that
if Oilman Hall were to be completely
consumed the books would not suf-
fer, but it does mean that as far as hu-
man ingenuity can provide they would
be protected. The stack rooms are built
on their own foundations, from the
ground up, thus insuring solidity to the
frame-work of the shelves, which is of
steel and of continuous piece from the
foundations.

An unique feature of the Hopkins
library has been its' system of depart-
mental libraries. These are cozy corners,
cubby-holes in the library which can be
secluded and in which books of one de-
partment are kept, — "segregated" as the
students have it. This plan has been pre-
served and developed in the new library.
An inspection of the floor plans of the
building will show that the stack rooms
are flanked by corridors, on the far side
of which are class-rooms and professors'
offices. Very well, then, on the library
side of the corridor have been arranged
the books which the corresponding classes
use in their work. It is a very simple
matter for the classes to pass across the
corridor through departmental doors to
the privacy of the room provided for
them by their own stacks. All other en-
trances to the stack rooms are arranged
so that they can be controlled from a
single desk on the first floor. One librar-
ian, therefore, can control all of the
stacks in use.

Measurement disclosed the fact that
there were five miles of shelving in Mc-
Coy Hall, — the old library home. In
Homewood ten miles of shelving have
been provided.

The distribution of space to the class-
rooms has been equally generous. There
are twice as many undergraduate class-
rooms at Homewood as in the old quar-
ters and these range in size from 240 to
1,200 square feet floor area. There is a
550 square foot seminar room for each
graduate department, — and, in four
cases, two of them. There is a 12 feet
by 20 feet office for every officer and
instructor.

490

THE ARCHITECTURAL RECORD.

m >,,

M-, |J l^'yg^_

GEOLOGICAL LABORATORY, JOHNS HOPKINS UNIVERSITY, HOMEWOOD, BALTIMORE.
Walter Cook and Winthrop A. Welch, Architects.

The floor of the main reading-room
has been laid with cork, but the floors
throughout the rest of this part of the
building and of the book decks are
formed of terrazzo, which is durable,
reasonably quiet and exceedingly solid
to the feet.

The most frequently used entrances to
Oilman Hall are expected to be those at
the northeast and southeast corners of
the building, approached along the sides
of the quadrangle. Teams, of course,
will not be allowed in the quadrangle, so
an entrance for them has been made from
the rear and through a tunnel in the front
of the building which will make possible
the delivery of supplies at a point where
they can be distributed quickly and with a
minimum of effort to any department.

From the rear of Gilman Hall and to

the north may be seen the botanical la-
boratory and garden, the former a long,
low glass building of no unusual features
but carrying out in its aspect the general
theme of the university buildings. The
garden is a square of ground one hundred
yards on a side set unsymmetrically to the
axes of the grounds. In its plan it differs
from most botanical gardens in that it is
quite formal, this arrangement being
thoroughly in harmony with the Georgian
spirit. The outline of the garden as a
whole is marked by hedges of hemlock.
It contains seventeen beds bordered with
myrtle and separated one from another
by well-kept cinder walks. The compact
plan gives a large amount of bedding
space in which there is accommodation
for over 2,000 shrubs or1 clumps of her-
baceous plants.

PHYSICAL LABORATORY, JOHNS HOPKINS UNIVERSITY, HOMEWOOD, BALTIMORE.

Wyatt & Nolting, Architects.

THE ARCHITECTURAL RECORD.

491

CHEMICAL LABORATORY, JOHNS HOPKINS UNIVERSITY, HOMEWOOD, BALTIMORE.
Carrere & Hastings, Architects.

Passing from Oilman Hall to the Me-
chanical and Electrical Engineering
Building one finds the same careful plan-
ning that marks the former structure.
The Engineering Building, it may be well
to note, is one of two buildings to be
built by State of Maryland appropriation
and forming part of a new department
(or, more exactly, a revived department)
of the university.

The shop-room is a large and airy
enclosure, running the whole width of
the rear of the building, with steel skele-
ton windows and 200-ton travelling
crane. Its walls are faced with semi-
glazed brick which will not absorb
grease and which will reflect light in all
directions. The concrete floor is pro-
vided with channel irons to which pieces
of apparatus can be fixed, thus doing
away with the necessity for tearing up
the concrete floor to provide a firm base
every time a fixture is moved to a new
location. This is all in accordance with
modern shop practice.

In the heat, light and power plant,
visited next, the perplexing heating and
lighting problems which confronted the
designers of the Homewood group have
been attacked and the building contains
many additional small features of design
not ordinarily associated with structures
of this character. As an instance of this
latter feature, several different types of
engine have been installed in the dynamo
room, though all do the same work, in

order that students in the engineering
department may have opportunity to ob-
serve these different types of engine at
work. The smoke stack has had built
upon it at different levels two platforms
with observation tubes through the stack
so that students may be able to make
smoke and other tests. All of the water
used in the boilers may be passed over
scales so that its quantity can be accurate-
ly determined, and it comes from the con-
densers to other scales so that it may be
once more measured. It is hoped that
much illuminating research work may be
done in the power building while it serves
its own humble purpose of keeping the
other buildings warm and lighted.

One of the engineering features in con-
nection with this part of the university
that will attract attention is the concrete
tunnel going from this plant to every part
of the grounds and conveying the steam
pipes and electric wires which will carry
heat, power and light to the various build-
ings. This tunnel is of sufficient height
for two men to comfortably walk through
it abreast at any point ; the wires, tubes,
and pipes which it contains are always ac-
cessible and there will never be necessity
for tearing up the grounds to reach some
hidden leak or trouble.

At the far northern corner of the
Homewood tract is the athletic field
which contains a quarter mile track and a
220 yard straightaway, a lacrosse or foot-
ball ground, base-ball diamond and tennis

492

THE ARCHITECTURAL RECORD.

MECHANICAL AND ELECTRICAL ENGINEERING BUILDING, JOHNS HOPKINS UNIVERSITY,

HOME WOOD, BALTIMORE.
J. E. Sperry, Architect.

courts, in addition to the customary
dressing rooms. Two large concrete
stands for spectators have been erected
and a site has been arranged for a third
if these should prove incapable of ac-
commodating the crowds.

The dormitories have been planned on
the individual unit system, with accom-
modations for 250 students in a unit.

In addition to having established the
key for the university group and having
made the general ground plan of develop-
ment, Parker, Thomas and Rice designed
Oilman Hall, the heat, light and power
plant and are developing the plans for the
Administration Building; the Chemical
Laboratory was designed by Carrere and
Hastings, of New York, an unique fea-
ture of this building being a system of
open drains and individual hood exhausts

over the separate chemical desks ; the
Physical Laboratory by Wyatt and Nolt-
ing, of Baltimore ; the Geological Labora-
tory, by Walter Cook and Winthrop A.
Welch, of New York ; and the Engineer-
ing Buildings by J. E. Sperry, of Balti-
more.

In the development of the Homewood
group its architects seem to have found
a peculiarly congenial theme and the ani-
mation and interest which they have
shown therein is evident in their work as
now physically set forth. The future de-
velopment of this fine group will go on
with more or less speed as the finances of
the institution are plethoric or lean and
empty. At all events, the right note has
been clearly struck and Hopkins has laid
out a work thoroughly consonant with
her high ideal and inheritance.

Ifj

ROMAN ARCHITECTVRE
AND ITS CRITICS

^rA.D.F.HAMLlN

PART II — &he DEFENCE

IN a previous paper I have set forth the
counts of the indictment which certain
critics have brought in against Ro-
man architecture. I propose in this paper
to present the defense. I shall first of
all demur to the indictment as being
based not on sound reasoning from the
facts, but on prejudice and mere tradi-
tions. Secondly, I shall endeavor to ex-
pose the contradictions in the testimony
of the critics. I shall then, thirdly, an-
swer to each of the five counts of the in-
dictment, and shall close by presenting
what I believe to be a fair and unpreju-
diced estimate of Roman architecture as
a whole.

Prejudice, in architectural criticism, is
not the mere preference of one style over
another. That is in itself both natural
and legitimate. When, however, the
preference is based on inadequate data,
and takes on an intensity of hostility that
blinds the critic to the real merits of the
less-esteemed or disesteemed style, it de-
generates into, as it springs from, unrea-
soning prejudice. It betrays itself in vio-
lence of language, in the refusal to con-
cede merits which are conspicuous to the
impartial observer, or at least in the re-
jection of the favorable conclusions
which one might infer from the praise
which they grudgingly bestpw upon un-
deniable excellences. All these evidences
of prejudice appear in the critics of both
the ultra-Hellenic and the ultra-Gothic
groups ; violent language, in many of the
passages I have quoted ; blindness to ob-
vious merit, as I shall later show ; refusal
to recognize the significance of their own
grudging praise, as will appear in the
contradictions between their own testi-
monies in the next section.

That this prejudice, this hostility to all

Roman forms of artistic expression, this
reluctance to concede to Roman architec-
ture any of the higher qualities, spring
largely from a mere tradition of criticism,
any careful reader must, I think, conclude
who studies the literature of the Greek
and Gothic revivals in England. I have
already pointed out that these move-
ments were intellectual and sentimental
rather than artistic movements. During
the first half of the nineteenth century
the habit became general of disparaging
Roman architecture as compared with
the Greek and the Gothic; but that the
Greek revival was hardly the spontaneous
expression of a deeply esthetic spirit let
the British Museum and the "National
Monument" at Edinburgh testify! That
the early Gothic revivalists came no near-
er to a true artistic inspiration is wit-
nessed by the distressing inanities to
which they gave being. Yet the Gothicists
of that day disparaged the "pagan" archi-
tecture of Rome by comparison with their
own petty ideals of the Gothic, even more
contemptuously than did the Hellenists
by comparison with their inadequate con-
ceptions of Greek architecture. The truth
is that in those days there were few or
none who possessed any deep under-
standing of architecture itself, and it is
very clear that few of them had grasped
the real significance and inner spirit and
content even of the styles which they
praised. It is this Early Victorian tradi-
tion of depreciation of Roman art which
the anti-Roman critics of our own day
have inherited and perpetuated, ignoring
all the wider and better knowledge we
now possess of the Roman achievement,
and refusing to yield to the testimony of
the monuments themselves. Today there
are broader views and a better under-
standing of what architecture really is
than was the case fifty years ago. Books

THE ARCHITECTURAL RECORD.

495

and photographs and travel have made
us better acquainted with the works of
all the styles. Is it not time that intelli-
gent persons who write on architecture
should open their minds to all this new
light? Can we not discard the outworn
apparatus of Early and Mid- Victorian
criticism, and form our judgments upon
the evidence that is spread before us?

The critics whom I have quoted re-
peatedly contradict their own adverse
judgments. The virility, majesty and
daring originality of many Roman works,
and the exquisite beauty of some of
them, extort praise which is all the more
sincere and certainly the more significant
for being so reluctant. Fergusson, after
declaring that the Roman "haste to en-
joy" seems incompatible with the produc-
tion of great architecture, confesses that
"there is a greatness in the mass, a gran-
deur in the conception, and a certain ex-
pression of power in all these Roman re-
mains, which never fail to strike the be-
holder with awe, and force admiration
from him despite his better judgment."
But why "despite his better judgment"?
Why is it a worse judgment to yield to
the natural and inevitable emotion kin-
dled by these works? Before the huge
mass of the Roman ruins unadorned in
naked grandeur "criticism is disarmed,"
he says, "and the spectator stands awe-
struck at its majesty."* Of the Coliseum
he says, "It is worthy of all or nearly all
the admiration of which it has been the
object," and produces "an effect against
which the critic struggles in vain."f Poor
struggling critic — but why struggle?
Why not drop the shackles of a narrow
tradition and yield ungrudgingly to the
enthusiasm which that mighty work in-
spires,? Again, on page 296 of the same
work we read of the Pantheon and Tem-
ple of Peace (by which the author means
the Basilica of Constantine) that they
"are to this hour unsurpassed for bold-
ness of conception and justness of ap-
preciation of the manner in which the
new method ought to be applied."

•History of Architecture in All Countries, Vol.
I 294
'fOp.' cit. I, 326.

Mr. Sturgis indulges less than some
modern critics in hostile animadversions
on Roman art; but he frequently alludes
to "bad taste," "clumsy arrangement,"
"deliberate copying and imitation of
Greek models" and the "sham architec-
ture" of the Roman columnar arcade.
Nevertheless he is compelled to admit, in
specific cases, careful design and finish,
conscientious execution, elegance and
beauty of detail. The round temple at
Tivoli "must have been the work of a de-
signer possessed of great independence
of spirit." The interior of the Pantheon
has "an ineffable charm," "there is no
interior in the world more impressive;"
and its entire design and scale seem to
justify that decorative use of the columns
and entablatures which in other places the
author decries or condemns. In his His-
tory of Architecture (Vol. I, p. 382) he
admits that "men of truly artistic and
truly refined sense of design" admire the
Roman achievement of vastness, grandeur
and splendor in the service of utility even
when it lacks the delicacy and refinement
of Greek design. The Roman stucco-
decorations "are so marvelous that it is
worthy of a special study to examine,
date and classify them." Chapter VII of
this volume is chiefly devoted to these
works, which are praised for "the sur-
passing excellence of the modeling and
the artistic conception," "for their effec-
tive simple decoration" and like quali-
ties. He declares that the relief sculpture
of the Romans, from Augustus to Trajan,
"reached an approximate perfection re-
minding us of Greek work of a good pe-
riod," and that "the very refinement of
curve and the delicacy of relief which
we fancy foreign to ancient Roman ideas
of splendor are, after all, of imperial
Roman origin" (p. 425). Mr. Statham,
in spite of his severe strictures upon
many features of Roman architecture and
his assertions of its inferior taste and de-
ficient originality, recognizes. the exceed-
ing beauty of the Corinthian order and
the majesty and excellent planning of
the great works of the Romans. And
even Mr. Porter, for whom the adjectives
vulgar, dreary, pretentious, blatant and
cut-and-dried, and the nouns sham,
coarseness, pomposity and blatancy hard-

FIG. 9. TEMPLE OF VENUS, POMPEII. DETAIL
OF ORDERS. FROM A FRENCH DRAWING.

FIG. 8. CORINTHIAN ORDER OF TEMPLE OF
CASTOR AND POLLUX. FROM CAST IN WILLARD
COLLECTION, METROPOLITAN MUSEUM OF ART.

THE ARCHITECTURAL RECORD.

499

ly suffice for his characterizations of
Roman architecture, is constrained to
acknowledge some good in it. To the
imitation of Greek models, he says, "the
Roman genius added certain new and
original features of its own." "Architec-
tural construction the practical Roman
developed to a point far ahead of any-
thing that had hitherto been reached."
In another passage he declares that the
Roman groined vault was the parent of
medieval architecture, and that no other
structural invention of any age can out-
reach it in importance. Reber considers
that "in Roman architecture are found
great intelligence in the solution of the
constructive problem involved in the en-
closing of large spaces, great independ-
ence in the development of technical per-
fection, and a masterly conformity to the
purpose of the structure."

Thus not only the judicious critics and
the mildly hostile, but even the most
rabidly anti-Roman are compelled, reluct-
antly sometimes, "struggling" and "in
spite of their better judgment" to admit
in Roman architecture substantial merits,
fundamental excellences of a very high
order, in the light of which the violence
and satirical hostility of their language in
other passages appear quite uncalled for.
When a critic on one page calls the
Corinthian order the "most blatant" of
all the orders, but on another implies that
the Corinthian capital is the most beauti-
ful.of all capitals, what are we to think
of his fair-mindedness or his consistency ?
Another, who insists repeatedly on the
utter lack of originality of the Romans,
can only say in support of this contention
when brought face to face with the su-
perb double temple of Venus and Rome :
"All this, except the building in mortar-
masonry and the idea of a vault" — rather
important exceptions, one is tempted to
remark — "might have occurred to a
Greek. Perhaps it did occur to some of
the engineers employed by the successors
of Alexander." "Might have occurred,"
"perhaps did occur." What sort of criti-
cal reasoning is this ? By similar reason-
ing applied to Hamlet any one may ef-
fectually dispose of all claim to originality
in any of Shakespeare's works. I could
multiply instances of similar contradic-
tions and inconsistencies. It would seem

to the simple-minded reader who has not
been brought up, on a diet of traditional
Early and Mid- Victorian criticism, to re-
gard everything Greek as supremely per-
fect, and everything post-Hellenic and
pre-Gothic as debased and vulgar — it
would seem as though such important
admissions by the witnesses for the prose-
cution tended to invalidate fundamentally
a large part of their hostile contentions.

in.

Let us now take up seriatim the counts
of their indictment.

The first of these* alleges the absence
of the higher qualities of design — purity,
refinement and good taste, and the preva-
lence in their stead of vulgarity, coarse-
ness and pompous grandeur.

This charge is partly true and mostly
false. It is one of those sweeping asser-
tions which uncritical critics delight in
making, and which have just that modi-
cum of foundation in fact that makes
them plausible to the unwary reader.
Some of the special and particular refine-
ments characteristic of Greek architec-
ture at its best are not characteristic of
the Roman work even at its best, at least
in the same degree. The profiles of the
Roman moldings are less subtle than the
Greek, and optical refinements like those
of the Parthenon are less frequent and
less highly developed in Roman than in
Greek work. But no one who makes a
careful study of Roman architecture as a
whole, or of its details, will allow this ad-
mission to be stretched to the denial of
refinement and good taste in a large part
of the really notable works of the Roman
builders. Indeed, one may go so far as to
assert that one of the evidences of their
good taste is the very fact of their modi-
fication of the subtle curves of the Greek
molding profiles to adapt them to the
very different types of design in which
they are used by the Romans. Most of
the Roman moldings are enriched by
carving, in which subtilities of profile be-
come less important or disappear ; the
strong, full curves of the Roman profiles
are far better suited to such enrichment,
and to the particular combinations in
which they occur, and to those effects of
power and grandeur and scale which are

*See Architectural Record for last month.

FIG. 11. DETAIL OF ONE OF THE NICHES
IN THE PANTHEON, ROME. SHOWING
ALSO TOMB OF VICTOR EMANUEL.

THE ARCHITECTURAL RECORD.

501

the glory as they were the aim of the
Roman designers, than the Greek profiles.
For nearly two thousand years architects
have been designing moldings, cornices,
archivolts, bases, capitals and entabla-
tures, without being able to improve in
any great degree on the Roman combina-
tions and sequences of moldings. The
medieval moldings, which are neither
Greek nor Roman, we may omit from
present consideration because they be-
long to a fundamentally different style,
and would be equally out of place on
buildings of the Greek and of the Ro-
man type.

Moreover, there are important cate-
gories of Roman design in which a very
Hellenic sort of refinement is notably
present. In much of the Pompeiian work,
which is, like so many of the Greek build-
ings, modest in scale, there is observable
a remarkable delicacy of design, a sen-
sitive feeling for profile, for detail, for
relief and for color, which impart to it
a peculiar charm. All the buildings of
the like class and date (with a few ex-
ceptions) in Rome itself have perished,
and we can judge of their quality only
by the "House of Livia," on the Palatine,
some tombs on the Via Latina, and some
stucco reliefs in the Museo delle Terme
and the Baths of Titus. But as these
show the same qualities as the Pom-
peiian examples in even higher degree,
we may infer that in their buildings of
more modest purpose and dimensions the
Romans displayed everywhere many of
those higher qualities of taste and refine-
ment which they are so often declared to
lack. I have already quoted Mr. Sturgis'
enthusiastic characterizations of the
Roman stuccoes, and admission of
the Hellenic beauty of many of the
Roman decorative reliefs. I believe an
appeal to the monuments, could we only
see them as they once stood, complete in
their original environment, would con-
vince every impartial reader that in
even the grandest, the most pompous,
ostentatious and majestic of them, the
Temoles of the Sun. of Venus and Rome,
of Castor and Pollux, there is to be
found an element of high refinement, and
evidence of a true and pure taste, which
the critics often have refused to concede.
A "rendered" elevation of an entablature

gives little real conception of its true
qualities; and most of the literary and
Hellenistic critics appear to have studied
only drawings on paper and not the
buildings themselves. That is to say,
they have, through lack of trained imag-
ination, been unable to reconstitute the
building mentally from the drawings and,
placing it in its proper environment, to
judge it as one judges an extant building
to-day. Let one study even the cast of
the capital and entablature of the Temple
of Castor and Pollux in the Metropoli-
tan Museum at New York,* where that
fragment is lifted to its proper height
from the floor, and one discovers that
this composition which, seen in draw-
ings is called "overloaded" with orna-
ment, is really enriched with a most deli-
cately beautiful frosting of carved detail.
Its "magnificent," "pompous," "blatant"
capital and cornice, seen in their proper
place, become exquisite in the perfection
and refinement of their design. What
must the whole temple have been ! and
what the Forum and the whole group of
fora, with their temples, arches, basilicas
and statues ! The more one studies the
Roman detail, the Roman handling of
scale, the Roman conceptions of design,
the more one is impressed with the ab-
surdity of the idea that refinement and
good taste cannot coexist with grandeur,
splendor and even an overwhelming mag-
nificence. The Pantheon, bereft of the
finer adornments of the huge coffers of
its mighty dome, remodeled, undoubtedly
to its detriment in the eighteenth cen-
tury in its upper portions, still offers the
eternal refutation of that idea. One of
the noblest of all interiors, almost over-
whelming in its majesty, it is beautiful
with a subtle charm of quiet refinement
and faultless dignity which no artistically
sensitive soul can deny. The Maison
Carree at Nimes — the only other monu-
ment of Roman architecture in Europe
which remains to our day in tolerable
preservation — is one of the loveliest be-
quests of classical antiquity, and is rightly
the admiration and delight of artistic
souls by reason of those very qualities of
refinement which attract them in Greek
art.

*See Fig. 8, on page 497.

FIG. 12. CORINTHIAN ORDER, TEMPLE
OF THE SIBYL ("VESTA") AT TIVOLI.
FROM A FRENCH DRAWING (A. THOMAS).

THE ARCHITECTURAL RECORD.

503

Moreover, Roman architecture displays
in an eminent degree three distinguishing
qualities of the highest aesthetic value,
possible only to designers possessed of
keen artistic sensibilities : the qualities of
perfect scale, proportion and relief.
Every architect learns in the trying school
of experience how subtle and elusive a
thing scale is, that adjustment of dimen-
sions in every member and detail to the
dimensions of the whole, which shall
produce the desired total impression
without sacrifice of any of the parts. The
Roman designers knew how to make
such colossal compositions as the Pan-
theon and the vast halls of the thermae
or of the Basilica of Maxentius and the
Ulpian Basilica count to the full value
of their imposing dimensions, by the scale
of all their subordinate parts. Insepar-
able from this skilful handling of scale,
in the second place, and equally remark-
able in successful achievement, is the
Roman treatment of proportion, the
spacing of columns, the proportioning of
superposed orders, the form and pitch of
pediments, the relation of height to width
of arches, and the still more important
determination of the relative height,
width and length of each part of their
vast interiors. They very seldom erred
in these relations ; a very little experimen-
tation will show any one who tries it how
hard it is to improve any important
Roman building by altering its propor-
tions. And, thirdly, in the matter of
carved ornament, it was the Romans, not
the Greeks, who discovered and taught
the world the secret of "varied relief,"
by which the subordinate features of a
decorative composition are made less
prominent than its more important parts,
and minor elements of the design almost
melt into the background, so that the gen-
eral movement of the design asserts it-
self to the spectator at a distance by its
strongly massed lights and shades, while
as he approaches nearer and nearer, the
smaller details become successively vis-
ible. Beside the strong, sharp, hard re-
lief of the Greek carving, as seen at its
best in the Ere^heion, for example, the
tenderness ai.^ delicacy of much of the
Roman carved ornament are particularly
noticeable. This is seen not only in the

exquisitely modeled stucco reliefs of the
houses and tombs, but as well in the
carved friezes, pilasters and panels of
buildings of monumental size.

Of all these refinements the critics we
are discussing take no note. The arch-
itecture they contemn is an architecture
on paper, an architecture of lithographs
and line engravings, not the architecture
of Roman actuality.

IV.

The second count in the indictment
alleges against the Roman architecture a
plagiarism which travesties the forms of
Greek architecture and misapplies them,
thereby demonstrating a total lack of
originality. This is based, of course,
solely on the Roman "orders :" not even
the most hardened anti-Roman Hellenist
ventures to assert that either the planning
or the construction of Roman buildings
was copied from the Greek. The Romans
are said to have adopted the Greek orders
and then to have spoiled them by in-
artistic alterations and illogical applica-
tions of them to new uses. Those who
reason thus are curiously blind to the
absurdity of claiming that forms funda-
mentally altered are mere copies, and of
charging lack of originality in the same
breath with the allegation of radical mod-
ifications and entirely novel applications
of the original types. The student of
Roman architecture has good grounds for
retorting that in nothing are the inde-
pendence and creative power of the
Roman genius more conclusively dis-
played than in the use they made of their
orders, which they converted into vital
constituent elements of a wholly new,
progressive and marvelously flexible
architectural system. .As a matter of
fact the only order they borrowed from
the Greeks was the Ionic, which they
used but sparingly. The Tuscan was the
national Etruscan order, in common use
long before the Greek conquests had
familiarized the Romans with Greek
columnar architecture. The Roman
Doric column was not derived from
Greece. It is singular that the traditional
assertion that it was should have so long
persisted. The typical Roman "Doric"
column resembles the Greek in no single
feature, but is plainly an elaborated ver-

FIG. 13. THE ARCH OF CONSTANTINE.
ROME. FROM MODEL IN WILLARD COLLEC-
TION, METROPOLITAN MUSEUM OF ART.

THE ARCHITECTURAL RECORD.

505

sion of the national Tuscan column. The
triglyphs and mutules of the Doric en-
tablature may, however, have been de-
rived from Greece ; but the appearance of
triglyphs on the cenotaph of L. Scipio
Barbatus, who died about 290 B. C., sug-
gests the probability that they had been
long known to the Etruscans, who derived
not a few elements of their architecture
from ancient traditions common to them
and to the Greeks. The Corinthian order
was almost wholly a Roman creation,
based on a Greek original, it is true. But
the Greek Corinthian was not a distinct
order ; it was a mere variant of the Ionic,
from which it differed only in its high,
bell-shaped and foliated capital. The
base and the entablature which the
Greeks used with it were purely Ionic.
The capital had not been perfected into a
permanent type by the Greeks; it was
the Romans who gave it its final form,
recognized by even captious critics as the
most beautiful type of capital ever de-
vised. The Romans designed for this
column a new and distinctive base, and
completed the order by the invention of
the modillion cornice, for which Greek
architecture offered no precedent what-
ever. The modillion comes as near being
an outright invention as any architectural
detail in the history of the art. It is one
of the most brilliant innovations in
history,* and the Corinthian cornice
in the beauty and splendor of its effect, is
the noblest possible crown for a building
of classical design. In two thousand years
it would seem that no one has ever de-
signed anything finer for its purpose.

In their applications of the orders the
Romans made striking innovations upon
the Greek practice, by which they vastly
increased the flexibility of the orders
themselves, and the range of architectural
design generally. By the superposition
of the orders they made possible impres-
sive compositions in several stories.
Greek architecture is almost exclusively
an architecture of one story. By the use
of monolithic shafts of polished granite
and marble they produced superb effects
of chromatic decoration in noble materials

*A. K. Porter says of this epoch-making inven-
tion : "It occurred to some genius to clap both
dentils and modillions on the same entablature."
Yes, and so it occurred to a Genoese genius to sail
West till he reached America.

without the use of perishable paint. By
the introduction of pedestals they were
enabled to keep the parts of an order to
a given scale with an increased total
height. They coupled columns with pil-
asters in their triumphal arches and
forum walls, making the pilaster serve as
a wall-respond, and thereby gained
superb effects of light and shade other-
wise unattainable. By these means, all
of them original with the Romans, they
produced an entirely new architecture
different from the Greek in fundamental
character, not merely in detail. To call
this architecture a "copying" of Greek
originals is as absurd as to call it a
"travesty" of Greek forms. The arch-
itecture is neither copied nor a travesty.
Even the porticoes, in which the columns
are used for the same purpose as in
Greek architecture, are as widely differ-
ent from Greek porticoes as two col-
umnar designs can ever be.

But the Hellenists and Gothicists who
are not broadminded enough to admit the
posibility that two styles of architecture
which proceed by divergent paths
toward diverse ideals are equally entitled
to respect and admiration, now ad-
vance the third count of their indict-
ment. "We will admit," they say, "that
the Romans invented new applications
of the column and entablature, but these
applications are illogical and artistically
improper. Engaged columns and en-
tablatures applied to walls are a solecism,
they are thereby diverted from their
true structural function and made into
mere ornaments ; and of all these misap-
plications the least defensible is the
marriage of the column and entablature
with the arch. The combination of such
heterogeneous forms, belonging to two
distinct systems of construction, is
wholly indefensible."

This sounds plausible ; it has been so
constantly repeated, so dogmatically in-
sisted on, that the most intelligent lay-
man is persuaded it must be true. Few
have been the modern writers bold
enough to try to breast the tide of hos-
tility to this invention of the Roman
designers, but protesting voices have
begun to make themselves heard, at

•< OT

H H

THE ARCHITECTURAL RECORD.

507

least in England. Professor F. M. Simp-
son in his History of Architectural De-
velopment (vol. I, p. Ill), and Sir T. G.
Jackson in his recent work, Byzantine
and Romanesque Architecture (vol. I,
p. 10, 11), have each a good word for the
Roman combination of arch and column ;
but what are they, rari nantes in gurgite
vasto, among so many of the contrary
opinion? The predominance of disap-
provalof this combination, among those
who write about architecture, is all the
more remarkable when one considers the
equally strong predominance of approval
among those who make architecture. In
spite of the critics they persist in using it,
as they have persisted in doing for at
least six hundred years. The critics meet
this fact only by a sweeping accusation
of persistently corrupt taste. The prac-
titioner laughs at the critic for a prig,
insists on using the arcaded order be-
cause it is useful, convenient and beauti-
ful, and asks what the critic would put
in its place.

The common objection to this combin-
ation is that it is illogical because it
applies structural members to a purely
decorative use; a "sham," because the
columns pretend to support an entab-
lature which is really carried by the
arcaded wall behind them; and "false"
for both of the above reasons. But the
decorative use of forms originally struc-
tural is a universal law of architectural
progress. The triglyphs and the stone
ceiling-panels of Greek architecture,
the useless flaring capitals of the
Egyptian hypostyle halls, the open-work
gables and the wall-traceries of the de-
veloped Gothic style, are examples of
the operation of this, law in three dif-
ferent historic styles universally recog-
nized as "truthful" and "sincere." In-
deed, there is little excuse for the lateral
colonnades of the Greek temples except
their splendid decorative value ; the
Roman temple-builders got along with-
out them in many cases, and in others
frankly applied them as engaged orders
against the flanks of the temple. In
combination with arches in the theatres,
amphitheatres and basilicas, the engaged
orders, so far from embodying false-
hood, serve to emphasize as no other

device could, the fundamental facts of
the interior divisions of the buildings
into bays and stories, expressing vividly
to the eye the lines of chief stress and
support in their construction, and visibly
reenforcing the piers which resist the
thrusts of the internal vaulting. The
columns perform precisely the same
function — a purely esthetic one — as the
vaulting shafts of Gothic cathedrals;
they satisfy the eye by providing a visible
support for what they appear to carry,
and what without such apparent support
would seem insecure, although actually
carried in perfect safety by the masonry
behind the column or shaft. Professor
Moore, in his 'Development of Gothic
Architecture and again in his recent
Medieval Church Architecture in Eng-
land, insists upon the structural logic of
the vaulting shafts ; but an analysis of
the actual stress conditions of Gothic
vaulted churches makes it clear that a
corbel would suffice in their place; the
shafts are purely supposititious necessi-
ties structurally, and might be removed
with no danger to the edifice — which is
precisely the objection which the Gothic-
ists allege against the Roman arcade col-
umns ! Architecture on paper and in
beautifully printed letterpress with per-
suasive illustrations sometimes follows
paths that diverge widely from the arch-
itecture of real building and lead to sur-
prising results.

VI.

The fourth allegation of the indict-
ment, that which charges the Romans
with starting architecture on a fatal path
of false principles of design, which has
been disastrous in its effect on modern
architecture, I have in part answered in
the preceding section; that part, namely,
which relates to the decorative use of the
orders and the combination of columns
with arches. But there are critics who
impugn the entire Roman system of
structural design and decoration as false.
The Greeks, thev tell us, and the medi-
eval church builders, erected honest con-
structions of solid masonry, plainly re-
vealed as such inside and outside alike.
But the Romans always, and for mere
appearance, built of coarse rubble or
a species of concrete, and veneered this

OH K

S W

W "^

«•
"

THE ARCHITECTURAL RECORD.

509

coarse and hasty construction with a
veneer of stucco and marble, falsifying
the cheap coarseness of the mass by a
pretentious apparel of fine material. This
has been the parent of the whole dismal
succession of modern shams and pre-
tense, to the corruption of modern taste
and the destruction of honest design.

This, like all the other charges, has a
plausible ring of superior artistic moral-
ity, until we examine the facts and impli-
cations behind it. The fundamental al-
legations are only half true. The ma-
jority of the Greek temples, for in-
stance, outside of Attica where marble
was abundant, were built of coarse stone
which was covered and concealed by a
coating of painted stucco. Both the
vaults and the interior wall surfaces of
many of the great medieval churches
were plastered and painted. On the other
hand, in those regions where fine build-
ing stone abounded, but where lime and
pozzolana were scarce, as in Southern
France and Syria, the Romans used pure
cut-stone masonry as frankly as either
the Greek or the Gothic builders did.
The implications of this criticism, more-
over, reflect seriously upon the Creator's
honesty. For in the noblest of His
works, the human form, a veneer of
precious material — the exquisite color
and texture of the skin — so covers the
unpleasant materials and details of the
interior construction of the body -as to
conceal them wholly from view. The
beauty of this masterpiece of design is
only skin-deep.

But the real answer to this criticism
goes beyond these considerations. The
charge of dishonesty is predicated upon
the fundamentally erroneous assump-
tions that there is only one kind of good
architecture possible; that architecture'
has only one system and principle of de-
sign legitimately at its disposal, and that
hence if the Greek (or the Gothic) arch-
itecture is right in principle, all others
proceeding on other principles must be
wrong, and that a fundamental principle
of good architecture must be the outward
visible display of the interior structure
and materials. But this is a narrow and
pedantic assumption. Architecture is the
servant of man, not his tyrant. The

critic has no right to call upon the de-
signer to abdicate common sense, to
ignore the conditions and environment in
which he works, to reject every species
of beauty, every form of expression,
which may be unattainable by the par-
ticular methods of Greek or Gothic
design. The purpose of the architect
must be to build beautifully, to meet the
practical needs of his time by such means
as he possesses with structures which
shall be as beautiful, or as splendid, or
as majestic as he can make them. This
the Romans did with extraordinary
success, with daring ingenuity, with mar-
velous boldness and originality. The
vast and massive vaulted structures they
erected could not have been built, except
in the rarest instances, of cut stone, and
the Roman use of the abundant local
materials piled up by the labor of soldiers
and slaves, of brick, stone and rubble-
concrete, each where each best served its
purpose, was the only rational and only
possible procedure. It is perfectly legit-
imate for the critics to declare, to their
hearts' content, their preference for the
Greek or the Gothic type of design, but
it is not valid criticism to deny the right
of another to prefer the Roman, or at
least to admire the Roman achievement.
Each of these types and systems, growing
up out of its own particular environment
and conditions, was the best for its own
purposes, time and place. One has a
right to find fault with the Roman de-
signs, details, composition or decoration,
but each must be judged on its merits,
with relation to the purpose, environ-
ment and conditions of the problem.
And when the critic wants to generalize
on a question like the aesthetic propriety
of applied decoration, veneers of stucco
and marble, non-structural use of struc-
tural features, he will do well not to
throw too many stones at the Romans lest
they reply to the injury of his own glass
house; for he may find himself obliged
to condemn all plastering, wainscoting,
mosaic, tiling, decorative painting and
sculpture, triglyphs, paneled ceilings,
vaulting shafts, traceried gables and a
dozen other important features of Greek,
Byzantine and Gothic architecture, logi-
cally liable to the same condemnation.

gj5
U<

s«

d. O

THE ARCHITECTURAL RECORD.

511

VII.

The fifth charge is an indictment of
Roman architecture and ornament on the
score of its uninspired and mechanical
uniformity, its subjection to stereotyped
rules of design. Architectural composi-
tion became "little more than a planting
of the orders on all sorts of buildings ;"
the capitals and mouldings are machine-
made, and the whole product, through-
out the whole empire from first to last,
"shows a lack of variation absolutely
without parallel." Obviously such an
architecture is destitute of all originality.

The answer to this charge is simply a
flat denial of every one of its contentions,
and an appeal to the monuments them-
selves. It is a charge that might with
some force be alleged against Greek ar-
chitecture, but to assert it of Roman ar-
chitecture argues the author of the charge
to be either densely ignorant or curiously
blind to the obvious facts. The evidence
of the monuments makes the charge ab-
surd. Many readers have perhaps been
misled by the loud talk of two genera-
tions of critics who have drawn on their
imaginations for the facts, and sought
to make up by an abundant sprinkling of
strong adjectives for their lack of dis-
criminating study of the. monuments. It
will probably surprise such readers to
be told that the Roman orders are in-
finitely more varied than the. Greek ; that
Roman ornament disposed of a far great-
er number and variety of motives than
any that ever preceded it, and treated
these motives with a 'flexibility and a
varied adaptation to position, decorative
function and material which even the
medieval artists hardly surpassed. If
one compares the Greek temples from
first to last with each other, the Doric
order is seen to have been varied in
hardly a single detail for six hundred
years. The Ionic shows a greater va-
riety ; but in Roman architecture, in spite
of its official and governmental charac-
ter, a fairly detailed study of a long list
of examples even in Rome itself fails to
disclose any two examples of any order,
from different buildings, which are alike.
Compare, for instance, the Doric orders
of the Theatre of Marcellus, the Colos-
seum, the Basilica Julia, the Tabularium

and the Baths of Diocletian — no two of
these examples are alike in proportions,
base, shaft, capital or entablature. The
Corinthian capitals and entablatures of
the Pantheon, Temple of Castor, Portico
of Octavia, Colosseum and Temple of
Venus and Rome differ widely from one
another, showing in each instance the
exercise of individual design and in
many cases exquisite refinements of de-
tail whose existence no one would sus-
pect from reading the writings of the
critics. A cursory examination of Profes-
sor Frothingham's fine work on the Ro-
man arches of triumph will reveal an ex-
traordinary variety of treatment of simi-
lar programs. While the Imperial domi-
nation asserted itself throughout the vast
extent of the empire by a certain unity
of spirit which makes its architectural
products impressively Roman, whether
in Germany or Southern France, Algiers,
Syria, Greece or Italy, there is little more
unity of style than in the Romanesque
churches of Western Europe, dominated
as they were by the unity of discipline
and of program of the great monastic
orders. Where the program was abso-
lutely identical, as in the amphitheatres
and some of the temples, there is a close
resemblance, comparable with that, for
instance, between the abbey churches of
Waltham in England and Cerisy-la-foret
in^ France, and the Maison Carree at
Nimes is thoroughly Roman-Augustan.
But the architecture of Baalbec is
widely different from that of Rome,
and both of these from that of North
Africa. The three great city gates of
Autun, Treves, and Rome (Porta Mag-
giore), the Gate of Hadrian at Athens
and the superb triple gateway at Pal-
myra, are five fundamentally different
designs, unlike in plan, composition, con-
struction and detail. In Roman plans the
variety is endless: the temples show an
extraordinary array of differing forms
and arrangements, and hardly two even
of the temple porticoes are alike; the
same is true of the baths, basilicas, palace
groups, villas and houses. And when one
considers the small number and scant va-
riety of the fundamental types and pro-
.grams of the Greek and even of the
Gothic architecture, the variety of the

512

THE ARCHITECTURAL RECORD.

Roman types and programs and the in-
genuity, inventiveness and resource mani-
fested by their designers appear little
less than extraordinary.

VIII. THE SUMMING UP.

To those who have studied the Roman
contributions to the art of architecture
with open minds and a sympathetic readi-
ness to appreciate what is valuable in
them — and that is the only kind of study
that is worth while — the Roman achieve-
ment appears worthy of the highest ad-
miration. Its excellences are not chiefly
those which one especially commends in
Greek architecture, nor is it to be judged
by the same criteria which one applies
to Gothic buildings. Its purposes, pro-
grams, resources, problems and condi-
tions were alike different from those of
the fifth century B. C. and those of the
twelfth and thirteenth centuries A. D.,
and it met them with a genius which in
its own way and field was no whit in-
ferior to that which produced the archi-
tecture of either of those other periods.
The Greeks in five centuries produced a
limited number of masterpieces of a very
limited number of types, one of which
they developed to supreme perfection on
the Athenian Acropolis. The temple, the
stoa, and the city gate or propylaea,
constitute almost the whole program of
Greek architecture. It is almost exclu-
sively a columnar architecture applied to
buildings of one story and of elementary
plan. The column, wall and lintel were
the only structural elements the Greeks
used or developed. In this limited field
they worked with an almost unerring
taste, and their work within those limits
has never been surpassed. They ex-
hausted the possibilities of their pro-
grams, but lacked the inventiveness neces-
sary to produce new programs or devise
new constructions. They were confined to
endless minute variations of one theme.
In contrast to this paucity of invention,
Roman architecture produced an aston-
ishing number of programs — temples,
fora, palaces, amphitheatres, baths, ba-
silicas, gates, colonnades, arches of tri-
umph, tombs, administrative buildings —
and an extraordinary variety of con-
structions employing marble, cement, cut-

stone masonry, brick, tufa, granite,
bronze, wood and plaster, the arch,
barrel vault, groined vault, dome, and
truss, each according to the special pro-
gram, purpose, materials at hand and en-
vironment of each building. The Ro-
mans invented the pedestal, pilaster, ar-
chivolt, and modillion, the arcaded order,
the niche. They were the first who ever
conceived and executed a vast and lofty
interior, unencumbered by columns. This
surely was a gift to the world of inestim-
able value. The architect of the Pan-
theon produced a stupendous interior of
extraordinary beauty for which there
existed at the time no prototype or pre-
vious approximation, and which remains-
unsurpassed to this day, the most mar-
velous product of original genius in con-
struction and design in the whole history
of art, with the one possible exception
of Hagia Sophia at Constantinople, built
four centuries later. In planning the Ro-
mans gave the world a new art. In their
thermae and in such architectural aggre-
gations as the palaces on the Palatine
Hill, the forum of Trajan, and the tem-
ple group at Baalbec, they created a new
art of monumental planning, and taught
the world how, by a proper coordination
of large and small parts, high and low
roofs, open spaces and covered halls, a
cumulative effect of artistic power and
beauty, an ordered rhythm and balance,
could be produced with apparently heter-
ogeneous elements. They originated a
new art of civic planning. They pro-
duced new effects of grandiose scale and
magnificent symmetry.

The defects of Roman architecture are
chiefly the defects of its qualities. In
such vast enterprises as it was engaged
in, the minute perfections, the delicate re-
finements and the figure sculpture of the
Parthenon were not achieved, for they
were not possible. Among all the vast
array of buildings erected at different
times over the immense extent of the
empire, there were, of course, not a few
which merit severe criticism. The facil-
ity of applied decoration by a factitious
apparel of architectural members, lent it-
self to occasional abuse. But the more
one studies the monuments, the more
one is impressed by the resourcefulness

FIG. 17. TEMPLE OF JUPITER.
BAALBEC, SYRIA. NORTH WALL.

FIG. 18. PLAN OF TEMPLE OF THE SUN,
ROME. FROM A FRENCH DRAWING.

THE ARCHITECTURAL RECORD.

515

and general good taste which mark their
design. The forms, devices, structural
arrangements and details of this archi-
tecture were extraordinarily flexible and
adaptable to varying conditions, pro-
grams and purposes. It is not without
good reason that these forms and devices
are studied and imitated today. It was
not because the artists of the fifteenth
and sixteenth centuries lacked original
creative power, and therefore fell to copy-
ing, that the Renaissance revived Roman
forms and devices — a most preposter-
ous accusation, to which both Ruskin and
Fergusson have given an ill-merited cur-
rency. It was because the Renaissance
introduced a new era in civilization, with
new requirements which Gothic art could
no longer meet, that the men of that time

turned instinctively to Roman models for
inspiration. The Roman civilization was
in many of its aspects nearer to modern
life than any other. Greek architecture,
even had the fifteenth century been
acquainted with it, was too narrow, rigid
and limited to meet the new demands of
the modern life. To this day the use of
Greek forms is restricted to the narrow-
est possible range of applications, and
even in these has to be varied in many
details. The Roman forms are flexible,
and capable of endless variation and ap-
plication even to the most modern uses,
and constitute an alphabet of archi-
tectural details and conceptions which
the world may not outgrow or find
useless for years or even centuries to
come.

FIG. 19.

FRAGMENT, FROM THE LATERAN MUSEUM. ROMAN SYMBOLIC AND
CONVENTIONAL ORNAMENT.

TOWER AND MAIN ENTRANCE-EVANS
MUSEUM AND DENTAL INSTITUTE, UNI-
VERSITY OF PENNSYLVANIA, PHILADEL-
PHIA. JOHN T. WINDRIM, ARCHITECT.

THE SOUTH FRONT— EVANS MUSEUM AND DENTAL INSTITUTE, UNIVERSITY OF

PENNSYLVANIA, PHILADELPHIA.

John T. Windrim, Architect.

TWO DENTAL BVILDINCS IN
PHILADELPHIA AND BOSTON

HAROLD-D-EBERLEIN

IN Philadelphia and Boston two im-
portant buildings for dental pur-
poses have recently been completed,
buildings that are significant from both
the architectural and thoroughly prac-
tical points of view. They are the
Thomas W. Evans Museum and Dental
Institute of the School of Dentistry,
University of Pennsylvania, in Philadel-
phia, designed by John T. Windrim, and
the Forsyth Dental Infirmary for Chil-
dren, in Boston, designed by Edward
T. P. Graham.

The English Collegiate Gothic inspira-
tion for the Evans Museum and Dental
Institute may be ascribed to the desire
to preserve a measure of harmony with
the dormitories and some of the other
newer buildings of the University of
Pennsylvania, buildings in whose closely
allied aspect Tudor and early Stuart
characteristics are dominant.

But discussion of the architectural
aspect must be reserved for subsequent
paragraphs. The Evans Museum and
Institute is, before all else, an emi-
nently practical building. Its practical
side has been stressed from first to last
and it is fitting, therefore, that attention
should first be given in that direction.
It is desirable, however, before going
further, to say something of Dr. Evans
and the bequest by which the building
for the Museum and Institute was erect-
ed. The synopsis of Dr. Evans' personal
history will explain several things, among
others the presence of his personal ef-
fects, including a great number of paint-
ings and a profusion of objets d'art in
the museum and likewise the location of
the building at some distance from the.
rest of the University property.

Thomas W. Evans was born in Phila-
delphia in 1823 and, as a lad lived in a

518

THE ARCHITECTURAL RECORD.

house that stood, until recently when it
was razed, on Spruce street west of For-
tieth on a part of the ground now occu-
pied by the Museum and Institute. His
fondness for his boyhood home in West
Philadelphia, or Hamilton Village, as
that portion of it was then called, led
him to designate its site as the place for
the dental school whose foundation was
a long cherished purpose. At the age
of fourteen he "entered the employ of Jo-
seph Warner, a gold and silver smith of
Philadelphia, whose business included
the manufacture of certain surgical in-
struments, and incidentally of plate, sol-
ders, and some of the implements used
by dentists." From his occasional nec-
essary contact with dentists he seems to
have derived the impetus that led him to
engage in dentistry as a profession. "In
1841 he became a student in the office of
the late John DeHaven White, of Phila-
delphia, with whom he remained for two
years." While studying under Dr. White,
he also pursued a course at the Jefferson
Medical College, from which institution,
in due time, he graduated.

After practicing in Maryland and,
later, in Lancaster, Pennsylvania, where
he accomplished some remarkable work,
for which, in recognition of its novelty
and excellence, the Franklin Institute, in
1847, awarded him a gold medal, he was
brought to the notice of Dr. C. Starr
Brewster, an American dentist then prac-
ticing in Paris, who invited him to enter
into partnership with him. This part-
nership lasted until 1850, when Dr.
Evans opened an office independently in
the Rue de la Paix and entered upon a
career "as wonderful as it was unique."
A rare combination of personal charac-
teristics along with special technical skill
soon made him a conspicuous figure.
""Dentistry became to him the stepping-
stone which served as a means of bring-
ing him into contact with those to whom
"he made himself of value and who con-
tributed substantially to his success. He
was a born diplomat, possessing a keen
perceptive faculty which enabled him to
read and correctly understand human
nature, delicacy and firmness in his treat-
ment of affairs, a rigid honesty of pur-
pose, and a foresight which was intuitive.

In short, he knew How to make the best
of his opportunities, and in some degree
create them."

In time he came to number among his
clientele virtually all of the crowned
heads of Europe whom, "by his skill and
attractive personality," he attached to
him and, at the same time, won their con-
fidence, a confidence well-placed, as we
may judge from the success with which
he conducted a delicate diplomatic mis-
sion to President Lincoln, entrusted to
him by Napoleon III, as a result of which
France remained neutral during our Civil
War. How trusted he was by his royal
clients may also be seen from the im-
portant part he was called upon to play
after the disaster of Sedan, in assisting
the Empress Eugenie to escape, an epi-
sode graphically described by Madam de
Hegermann. His confidential relation-
ship to the Emperor of the French en-
abled him to accumulate the greater part
of his wealth through judicious real
estate investments while his connection
with other royalties and persons of note
kept him in occasional correspondence
with them and their friendship and re-
gard are attested by the numerous pres-
ents of all sorts they sent, many of which
are in the collection in the Museum.
After a life largely devoted "to works of
charity and philanthropy," as well as to
the discharge of professional duties, Dr.
Evans died in Paris in November, 1897.

Such, in brief, is the story of a remark-
able man who, in the midst of circum-
stances that have more than once caused
others to become oblivious of country
and profession, never forgot and never
allowed others to forget that he was, be-
fore all else, an American and a dentist.
His devotion to his profession was ex-
traordinary and his unselfish ambition
for its scientific advancement is evi-
denced in his own words, written not
long after the beginning of his Paris ca-
reer: "I may have but little to impart,
yet that little is at the service of each
and all members of my profession ; and
gladly would I hail the day that should
make all that is sound in science and val-
uable in art common property. By the
discussion of subjects connected with our
profession and by the contribution of

MAIN ENTRANCE— EVANS MUSEUM
AND DENTAL INSTITUTE, UNIVER-
SITY OF PENNSYLVANIA, PHILADEL-
PHIA. JOHN T. WINDRIM, ARCHITECT.

520

THE ARCHITECTURAL RECORD.

MAIN STAIR HALL— EVANS MUSEUM AND DENTAL INSTITUTE, UNIVERSITY OF

PENNSYLVANIA, PHILADELPHIA.

John T. Windrim, Architect.

each according to his ability. ... we
shall better serve the generation in which
we live." When the time came to provide
generously for the foundation of an in-
stitution designed to promote the inter-
ests of the science of dentistry, it is not
surprising that a man, actuated by the
sentiments just alluded to and amply
blessed with both wealth and influence,
should lay plans largely, "according to
his ability." This he did for the build-
ing and equipment, exclusive of the site,
which itself is exceedingly valuable, have
cost more than $900,000 and no expense
has been spared to make it the most com-
plete institution of its kind in the world.
Thanks to judicious and well-calcu-
lated planning and the most painstaking
care bestowed upon all practical details,
it is safe to say that the Evans Museum
and Dental Institute, in facilities for op-
eration and thoroughness of appoint-
ments, has no superior and few, if any,
equals. By long experience of a wide
practice, dealing to a great extent with
comprehensive undertakings that require
special consideration for points of prac-
tical efficiency, Mr. Windrim was emi-

nently well fitted to cope successfully
with any problems in this field that might
present themselves. Not only was the
museum to be housed and adequate ac-
commodations provided for the School
of Dentistry, which at the present time
consists of a teaching staff of 83 profes-
sors and instructors and 665 students,
but allowance had also to be made for
the clinical treatment of free dispensary
patients, of whom there are about
40,000 a year. Besides this, there
were several other important considera-
tions to be taken into account. Ease of
ingress and egress and facility of com-
munication between the several parts of
the building, without congestion or con-
fusion at any point in the corridors, had
to be assured and, furthermore, due al-
lowance had to be made for future
growth, contemplating an appreciable in-
crease both in the number of students
and in the number of free dispensary pa-
tients frequenting the clinics.

After the conclusion of vexatious liti-
gation, in the course of which the avail-
ability of at least a portion of Dr. Evans's
bequest was assured for fulfillment of

< W

H H PL<

w a

< w tn

a Q o

522

THE ARCHITECTURAL RECORD.-

the purpose to which he had designed it,
ground was broken for the building in
September, 1912, and the cornerstone
was laid in May, 1913. Immediately
after the dedication ceremonies on Feb-
ruary 22, 1915, the School of Dentistry
moved into its new quarters. The struc-
ture, of hard-burned brick with Indiana
limestone and terra-cotta trimmings, is
in the form of the letter H and displays
an unbroken frontage of 242 feet along
Spruce street, while in depth it extends
for 161 feet on Fortieth street. There is
a spacious basement and, above it, the
ground, second and third floors are lofty
and exceptionally well lighted. In the
basement, to which the principal ap-
proach is by a stair descending a short
way from the main entrance on Spruce
street, are large locker rooms and lava-
tories for the students, a commodious
dining-room for the students and, adja-
cent to it, a fully equipped kitchen, a sep-
arate dining-room for the faculty, labor-
atories for modelling, plaster casting,
moulding, soldering, swaging and metal-
lurgical work, shops for polishing and
grinding, such lecture rooms as may be
necessary in immediate proximity to the
shops and laboratories and store rooms
for supplies and apparatus.

While a close examination of the floor
plans reveals the convenience and thor-
oughness of the provision for all practi-
cal requirements in the daily use of the
building, it does not reveal the punctilious
care bestowed to ensure good lighting,
perfect cleanliness and ease of maintain-
ing thoroughly sanitary conditions, all of
them features of more than ordinary im-
portance in a building of the sort under
investigation. The structure stands on
a slope so that a large portion of the
western end is above ground and receives
ample light from large windows. In the
other parts of the basement, the windows
open into wide area ways lined with
white glazed brick so that the interior
receives the maximum possible light both
direct and reflected. In connection with
the question of lighting, it is especially
worthy of note that the walls throughout
have been painted either grey or a light
sage green to avoid the trying effects of
eye fatigue due to staring white walls.

This system of wall coloring has been
consistently carried out through the en-
tire building and emphatically marks the
modern revulsion from the long-accepted
convention that made the walls of hos-
pitals, and all other buildings where
stress was laid upon sanitary considera-
tions, an uncompromising white or cream
color. Spotless white may be all well
enough as an infallible betrayer of dirt
and incentive to scrupulous cleanliness,
but the present generation has surely
been sufficiently impressed with the para-
mount necessity for sanitary precaution
to be allowed to pay some regard to the
comfort of the eye instead of perpetually
scrutinizing every square inch of wall
surface for visible evidence of sanitary
laxity at the cost of inevitable strain and
weariness to the optic nerve.

The scheme of restful green paint
has been carried out with reference to
all the metal furniture and equipments —
cabinets, lockers, operating chairs, tables
and the like — which are finished in tones
ranging from sage to olive and are of the
most approved pattern, embodying the
latest improvements in every particular.

The floors are paved with composition
flooring and all the angles at junctions of
floors and walls are coved so that there
are no unsanitary corners. Care in this
particular has even been extended to
the doors and door trims. The doors are
made without panels and show a perfect-
ly smooth surface of dull finished wood
on both sides. The door trims are made
without mouldings and are merely bev-
elled. Incidentally, while meeting sani-
tary requirements, a pleasing architec-
tural effect has been achieved.

On the ground floor, the east wing, to
the right of the entrance, is devoted to
the museum, while the west wing con-
tains the general office, the board room,
the dean's office, the general waiting
room for dispensary and clinic patients
and the extracting room. By a commend-
able arrangement, free patients applying
for clinical treatment are received and
registered in the general office, immedi-
ately to the left of the entrance. Thence
they are sent to the waiting room direct-
ly across the corridor. From there they
may be taken to the examination room

MAIN STAIR HALL— EVANS MUSEUM
AND DENTAL INSTITUTE, UNIVER-
SITY OF PENNSYLVANIA, PHILADEL-
PHIA. JOHN T. WINDRIM, ARCHITECT.

524

THE ARCHITECTURAL RECORD.

ENTRANCE LOBBY-EVANS MUSEUM AND DENTAL INSTITUTE, UNIVERSITY OF

PENNSYLVANIA, PHILADELPHIA.

John T. Windrim, Architect.

nearby, where a record is made of their
case, or else, if they have been examined
at a previous visit, they receive their card
at the record desk and are distributed to
whichever one of the clinics, on this floor
or the floor above, may be their destina-
tion. As the clinics or other rooms
which patients may have occasion to
visit are all ranged about the main hall
on the ground floor, or at the head of the
stairs on the floor above, the circulation
of an outside element is confined to one
portion of the building. The building is
so planned also that the students of one
class, passing to and fro, will not come in
contact with the students of other classes.
Everything, in fact, has been done to fa-
cilitate the orderly operation of the build-
ing, a momentous consideration where
the frequent and convenient circulation
of so large a number of people must be
reckoned upon. Special mention should
be made of the operative clinic, a view
of which is shown in one of the accom-

panying illustrations. This room con-
tains one hundred and thirty-four oper-
ating chairs with ample space for all the
accessories pertaining to each and the
supply and record offices are adjacent. A
flood of light is thrown directly into the
mouths of the patients by a range of
broad and high windows which are car-
ried up into and form a part of the roof
slope. In fact, ^s may be seen, nearly
the whole north side of the room is of
glass. On the same floor, the library in
the tower, immediately above the en-
trance, and the main lecture hall, in the
east wing over the museum, are conveni-
ently accessible. A detailed scrutiny of
the plans of all the floors shows ample
provision for every facility for under-
graduate study and clinical work and
for post-graduate research.

So much for the purely practical side
of the building. How any institution
could be more complete in its appoint-
ments or more thoroughly meet all

S fii j H

W H W
> ^ fc

Pg^

< « o

ga^

S^fc:

O •< en

526

THE ARCHITECTURAL RECORD.

utilitarian requirements for its highly
specialized purposes, it would be difficult
to conceive. For this thoroughness and
foresight alone, which necessarily en-
tailed a far reaching study of the in-
numerable details and the conditions ex-
isting or likely to arise in connection with
the operation of so large a building, the
highest credit is due and cause one to
hesitate before calling attention to cer-
tain shortcomings on other scores.

The structure is impressive in the dis-
position of its masses and the general
aspect is decidedly agreeable but one is
forced to admit, unwillingly in the face
of so much laudable excellence in a
practical way, that there are some dis-
appointments when the examination is
based solely upon an architectural point
of view. It is true, the disappointments
are chiefly to be found in small features
and details but it must be remembered
that it is the little things, the humble
details that, after all, make or mar our
pleasure in the contemplation of any
piece of architectural achievement, large
or small. One of the factors that con-
tributed so largely to the pleasure of the
public in witnessing Mr. Mansfield's pro-
ductions was the scrupulous and exacting
care he always bestowed upon the min-
utest details of costume and stage set-
ting, that they should be absolutely right
historically and archaeologically as well
as artistically. Consequently his presen-
tations were past criticism in that re-
spect. Mr. Mansfield's solicitude for
little things was proverbial, for he well
knew their value and importance in the
aggiegate for creating tone and giving
pleasure, whether or not individuals in
the audience might be sufficiently dis-
criminating to analyze correctly the ele-
ments of their enjoyment. It is pre-
cisely the same in architecture ; the little
things count in the measure of our ap-
preciation far more than most people
realize. Mass, construction, proportion
and plan are most important. The big
things must be right, but the details must
be right, too, and if they are not it is
hardly to be expected that people of dis-
criminating taste will derive lasting pleas-
ure and saisfaction from contemplating
the result. It is not necessary that the

liberty of invention or originality be
hampered by a narrow, hidebound stick-
ling for academic exactitudes — that
would be mere archaeology — but there
are certain fundamental amenities of pro-
portion, of the use of materials and of
the contrivance and placing of orna-
mental detail, the observance of which
in any structure seems requisite to sin-
cere enjoyment on the part of the ob-
server.

In color effect, the Evans Museum
and Dental Institute is exceptionally
pleasing. The body of the building is
constructed of a hard-burned red brick,
irregularly blotched with deeper tones
verging from purple to black. The
courses are laid in Flemish bond and the
surface of the brick is rough enough, to-
gether with the veining of the mortar
joints, to impart a highly agreeable tex-
ture to the walls. The desirable note of
contrast comes in the Indiana limestone
door and window trims, coping, string
courses and quoins. As to its proportions,
the building has a substantial and dig-
nified mien without being in the least
stolid or heavy. The composition is good
and the balance of the south front com-
mendable, although one could wish that
circumstances might have permitted a
structure of slightly less height. Had
such been the case it would have been
possible to achieve a result of greater
interest in the particular style of archi-
tecture chosen, a style which lends itself
with peculiar readiness to felicitous ex-
pression in long ranges of comparatively
low buildings. Witness many of the low-
lying collegiate buildings in England and
some of the more recent work at Prince-
ton and in several other places in our own
country.

If the limits of a city site and the re-
quirements of certain space within had
not imposed definite conditions that had
to be met, it would doubtless have been
possible to give the tower more domi-
nating emphasis. As it is, nevertheless,
the tower is exceedingly impressive. In
fact, the whole structure, whether seen
from a distance or viewed at close range,
is striking and has so many good qual-
ities that one is all the more disappointed
on finding some of the shortcomings re-

THE ARCHITECTURAL RECORD.

527

First Floor

EVANS MUSEUM
AND DENTAL IN-
STITUTE. JOHN T.
W I N D R I M,
ARCHITECT.

Second Floor.

ENTRANCE » TO CLINIC— FORSYTH DEN-
TAL INFIRMARY FOR CHILDREN, BOSTON.
EDWARD T. P. GRAHAM, ARCHITECT.

BRONZE DOORS OF CLINIC ENTRANCE-FOR-
SYTH DENTAL INFIRMARY FOR CHILDREN,
BOSTON. EDWARD T. P. GRAHAM, ARCHITECT.

530

THE ARCHITECTURAL RECORD.

MAIN ENTRANCE— FORSYTH DENTAL INFIRMARY FOR CHILDREN, BOSTON.
Edward T. P. Graham, Architect.

vealed by a more intimate inspection.
The principal entrance is through an im-
posing portal which leads one to expect
much but unfortunately the sense of pro-
portion and architectural fitness is sadly
jarred by finding a jejune and insignifi-
cant vestibule that does not bear out the
promise of the exterior. It seems almost
as though exterior and interior had been
designed by different hands working in-
dependently to interpret wholly diverse
conceptions.

A similar lack of architectural co-
herence is apparent elsewhere, for in a
number of instances the interior does not
sufficiently reflect the mode of expression
one is led to expect by the aspect of the
exterior. Greater harmony of style could
have been preserved without doing vio-
lence to any essential requirement de-
manded by utilitarian considerations or
practical expediency. The museum of-
fers a case to point this criticism. The
tall quadrangular columns and the plain,
crash covered walls assuredly do not echo
the exterior. Here was an opportunity

missed to create a panelled interior with
excellent effect, an interior that would
have been altogether in keeping with the
architectural promise given without and,
at the same time, quite as suitable for the
display of the exhibits.

The great hall on the second floor and
the library are really the only portions
of the interior where one finds the ex-
pected conformity with the external
aspect. In the hall there was a fine op-
portunity for an open timber roof, but
what should have been open timber has
been metamorphosed into steel and
plaster, and cast metal can never have the
fluidity of line and spontaneity of carved
wood. Nevertheless, the general effect is
agreeable and would have been more so
had more vigorous, though harmonious,
coloring been employed, such as was
customary in English roofs of the period
reproduced, instead of the somewhat
evanescent hues suggestive of a later
Continental inspiration. The travertine-
faced walls of the great hall are excep-
tionally pleasant. One queries, however,

532

THE ARCHITECTURAL RECORD.

BRONZE PANELS-FORSYTH DENTAL INFIR-
MARY FOR CHILDREN. BOSTON.
Edward T. P. Graham, Architect.

the appropriateness of putting heavy
dripstones over inside doorways. It is
surely not logical to do so and architec-
tural ornament ought to have some sub-
stantial raison d'etre, for it will almost
invariably be found that the sundry
forms of architectural ornament, at least
the quasi-structural forms, had their
origin in practical utility.

Great admiration is due the capable
treatment accorded the Evans Museum
and Dental Institute in respect of its
comprehensive plan, which adequately
meets the manifold demands made upon
it, and commendation is due the com-
position of the toute ensemble for, de-
spite the unfulfilled desiderata to which
attention has been directed, the building
presents an imposing appearance and
bears a stamp of distinction which can-
not fail to redound to the credit of the
University of whose buildings it now
forms an important unit.

The Forsyth Dental Infirmary for
Children, on the Fenway in Boston, de-
signed by Edward T. P. Graham, is the
second building claiming attention in
this article. An inspection of its plans
reveals a complete and convenient ar-
rangement in basement and on the first
and second floors. In the basement are
quarters for the permanent staff, the
children's waiting room, the visiting den-
tists' room and sundry smaller offices. So
much of the basement is well above the
level of the ground that there is abund-
ance of light, quite as much as many
buildings, more closely hemmed in by
other structures, would have on the
ground floor. The first floor contains an
operating theatre, a large museum and
research room, a lecture room and the
necessary reception and waiting rooms
and small offices for various purposes.
The second floor is almost wholly oc-
cupied by the infirmary.

A survey of the exterior brings with
it a sense of satisfaction. There is a
finish and completeness in its aspect that
cannot be other than gratifying and the
observer feels at once that it is a worthy
and representative addition to the series
of buildings being systematically erected,
according to a well conceived and co-
herent civic plan, along the Fenway in
Boston, a comprehensive building project
that does credit to public foresight and
public spirit in that community and bids
fair, in a few years, to transform what
was formerly an unsightly waste into an
exceptionally beautiful parkway.

The proportions of the building are
singularly agreeable and the just balance
between mass and detail is carefully pre-
served. The large amount of window
space required in the walls of the upper
story, to supply adequate light in the in-
firmary, is balanced by the strong corners
and the procession of Ionic capped pilas-
ters separating the windows on each side.
The massive treatment of the basement
and first floor walls affords a suitable
support for the colonnaded treatment of
the upper story. The composition, re-
garded as a whole, presents a happy com-
bination of classic austerity and Renais-
sance geniality and the exquisitely
wrought detail that occurs now and again

THE ARCHITECTURAL 'RECORD.

533

GROUND FLOOR PLANS-FORSYTH DENTAL INFIRMARY FOR CHILDREN.
Edward T. P. Graham, Architect.

BASEMENT PLANS-FORSYTH DENTAL INFIRMARY FOR CHILDREN.
Edward T. P. Graham, Architect.

534

THE ARCHITECTURAL RECORD.

PANELS ON DOORS OF CHILDREN'S ENTRANCE-FORSYTH DENTAL INFIRMARY

FOR CHILDREN. BOSTON.
Edward T. P. Graham, Architect.

nt different points of the building im-
presses one that the conception, while
strong, is urbane rather than severe.

Where a bit of pleasantry or playful-
ness can be consistently introduced with-
out derogating from the dignity of an
architectural composition it always af-
fords a desirable feature and lends a cer-
tain unique character. Such a charming
bit of playfulness we .find successfully in-
troduced in the exquisitely wrought
panels of the bronze doors of the chil-
dren's entrance, executed by Roger Burn-
ham, where scenes from "Alice in Won-
derland" and "Uncle Remus" are de-
picted in a way to attract and delight the
unfortunate little patients who cross the
threshold.

One can readily imagine that the
feelings with which the young suf-
ferers enter the building are not the most
happy in the world and it is surely very
appropriate to place anything before their

eyes that may serve to divert them from
thoughts of their discomfort and cheer
them. If anything can do it, the grin of
the Cheshire Cat and the attitudes of
Brer B'ar and Brer Rabbit will.

The stone carving at various points of
the exterior and the refinement of the
modelling displayed on the other doors,
shown in the illustrations, speak suffi-
ciently for themselves without comment.
On regarding the building carefully one
can truly say that it is wholly fit for its
intended purposes, judged from a purely
practical and utilitarian point of view and
that in its architectural aspect it measures
up to high standards. Its conformity to
academic conventions has not impaired
the vigor and originality of individual
expression. The comparison of both
buildings and their several points of ex-
cellence forms an instructive chapter in
the study of recent architectural perform-
ances.

Certain Phafes
Sanish CoIohiaT

AT the beginning of the present cen-
tury it was said, and with good rea-
son, that Spanish architecture had,
even then, exerted a notable degree of in-
fluence upon the principles of design and
of ornament as applied to building in the
United States ; that the Mission Archi-
tecture of California had proved to be,
most happily, a source, as it were, of
true inspiration ; and that our architects
who resorted to this source of inspira-
tion had produced excellent work in the
Western States.

Those observers who had studied in
Spain and Latin America noticed the
extension to all parts of this country of
principles of construction derived, either
remotely or immediately, from the Iber-
ian Peninsula, and suggested, naturally,
that one of the results of such events as
our wars in Cuba and the Philippines
would be to make the study of Spanish-
Colonial architecture of particular in-
terest in the future.

Now .we are in the midst of that
future : now, looking back, mindful of
superb though very new examples of
Spanish Free Renaissance buildings
that to-day may be seen in Washington
and at several other points in the East-
ern States, we are fairly obliged to notice
a growing tendency during the last dec-
ade in the United States to accord to
Spanish-Colonial architecture at least its
due share of influence.

I gladly leave to others the privilege
of comment upon those tendencies which,
at home, are manifesting themselves in
the fashion of adapting such a well-de-
rived foreign style to our own needs and
practices. My purpose is, in this brief
study, to indicate tendencies that have
run their course in two great and ancient
centres of Hispanic culture in the West-

ern Hemisphere — Peru and Mexico; and
it seems convenient to begin with ob-
servations actually made in the famous
Torretagle house in Lima, July 7, 1906.

This house, confronting the Casa de
Ejercicios del Sagrado Corazon is
said, and I think truly, to be the
only fine private dwelling in the Peruvian
capital that still preserves its original
form. It may be regarded as typical of
the house of the old West Coast aristoc-
racy at the beginning of the eighteenth
century. There is much carved wood on
balconies, ceilings, shutters of the win-
dows ; and certainly the effect produced
by this ornamentation, overemphasizing
details to which it is applied, is striking,
literally : it challenges attention when one
first sees the facade or passes from the
street into the large patio. But the de-
tails are insubordinate : therefore all
those agreeable intimations of serenity
with stability which a noble old mansion
should convey are lost.

This is not, one reflects, a beautiful
house — not really to be ranked with fine
old Italian and English houses. Well,
why should we expect to discover good
art in these West Coast countries ? Their
conquest was effected by rough soldiers.
Architects, painters, sculptors did not
usually join the bands of the conquista-
dores ; and it seems quite clear that even
at a later period they neglected to come
out in sufficient numbers to make their
presence felt in the direction and control
of public taste, for there is little or no
evidence of innate sense of form and
line, or even of very high ideals, in the
works of art one is apt to see at first,
although elaborate proof is at hand of
the artisans' demonstrated skill in han-
dling wood (Fig. 1) and stone. And
again, what kind of artistic propositions

536

THE ARCHITECTURAL RECORD.

should we expect from the people of
mixed blood — the Indigenes having been
content 'before the conquest to produce
in all the arts such things as to us appear
to be nearly devoid of beauty?

Reply to such questions and objections
as these I sought faithfully though critic-
ally in the course of long journeys into
many parts of .Latin America. Gradually
it became evident to me that the natives
had shown an almost marvelous degree
of patience (patience rather than the
quest of beauty having been their ideal)
and of manual dexterity in the execution
of such works as their European masters
had been able to plan. Moreover, these
masters, being masters also of the enor-
mous treasure of the land, were actually
enabled to secure from time to time the
services of a few competent architects:
in this respect one's first impression un-
dergoes decided revision as the field of
study becomes wider.

At the Recoleta — inviolate home of the
Franciscan Order in the outskirts of
Cuzco — we read, as it were, an early
chapter of the same story. Here is the
Franciscan severe interpretation of the
art of the mother country in the sixteenth
and seventeenth centuries: "Toribio de
Fustamente, fundador de esta santa casa"
— thus runs the inscription on the
founder's portrait — "murio el ano 1619.
Esta enterado junto al altar major de este
convento, que acabo ano 1601." He .
finished it indeed in the year 1601. Its
design undoubtedly has been modified,
yet without inharmonious changes, in
later years — although the clock I asked
the Cuzco student, my assistant that day,
to photograph (the clock in the wall,
beside the precious old shrine), was
placed right there, the Cuzco student as-
sured me, in that very same wall, at the
beginning, when it had but one hand, and
there has remained since the convent's
foundation! (Fig. 2 shows the shrine,
the pictorial value of which is, I think,
enhanced by omission of the ancient
clock-face.)

Gentlest feature perhaps of all is the
patio (Fig. 3), the arches of which are
seen above or through foliage of retama,
floripondio, sauce, pino, pino chileno,
nucau, durazno, capuli, rosas con flares

diferentes, fuchsia, and cedroncillo; this
being a true list of plants in the irrigated
undated garden — charmingly artistic gar-
den of an arid skyland — the garden of the
convent's patio or inner court. Much
cheerful talk there was, I remember,
with Rev. Franciscan Father Jose Grego-
rio Castro and his associates while we
walked about in every part of the build-
ing, surveying the Recoleta's art treas-
ures—which generally represent death,
and extreme suffering either before or
after death.

And this Recoleta may stand for the
Peruvian phase, barely suggested in such
a brief note, of the Franciscan structures
about which there will be more to say
when we come to Mexico.

But before coming to Mexico we must
speak of the most characteristic Peruvian
phase, as follows :

The city which, more than any other
West Coast city, should be regarded as a
home of culture in general, and therefore
specifically a centre from which control
and direction of the fine arts has pro-
ceeded, is the interesting place called on
the maps Arequipa. The Peruvian
"Tarrytown," we may call it, since the
name Arequipa signifies in the Indian
tongue, "Yes, rest here." But orderly
processes of architectural development
were rendered impossible in Arequipa,
even more infeasible there than in other
populous cities, mountain-built or on the
Andean littoral. Repeated and very vio-
lent earthquake shocks forbade such edi-
fices as would have been stable enough in
other lands to "rest here" — or there or,
in security, anywhere near the geosyn-
clinal that follows the Andean coast line.
The cathedral at Arequipa, formerly
more imposing than it is at present,
is. built of volcanic stone "in a style
adopted," as a famous traveler writes,
"after the earthquake of 1821, which laid
most of the city in ruins,, as a security
against similar catastrophes." Better
than any other large building I know, it
represents the earthquake phase. It is
an expedient, complying with, while
bravely protesting against, imperative de-
mands of the plutonic forces : not tow-
ered and domed, like the cathedral and
the Compania at Cuzco, but capped with

FIG. 1. EXAMPLE OF WOOD-CARVING
IN THE CATHEDRAL AT CUZCO, PERU.

538

THE ARCHITECTURAL RECORD.

spires in the fashion of the church of
San Pedro in Lima. We may scorn it
— in a photograph, but shall not easily
do so in its own proper environment.
Orderly processes of development, we re-
peat, having been interrupted in all this
region, to what rank shall we assign
the Arequipa cathedral (Fig. 4) and the
other West Coast "expedients" ? These
external columns, supporting nothing, are
architecturally indefensible, one may be
tempted to say. But in the late after-
noon the sunlight catches the tops of the
small trees in the plaza and the more
prominent pillars of the cathedral, mak-
ing the gray, long fagade, with its sur-

FIG. 2. A SHRINE IN THE CONVENT CALLED
LA RECOLETA.

plusage of columns, seem vigorous
enough to support the load of Atlas ;
catches the top of that destructive vol-
cano called Misti, making its enormous
mass look like an imponderable cone that
one could walk to before sundown,
though in fact to reach that summit and
return would require two days' hard
riding and climbing; so then Misti, with
sky and clouds around it, drawing near
in the picture at that hour, is apparently
upheld by the array of otherwise unem-
ployed columns. We shall, I think,
classify this building with other justified
devices or expedients as examples of ex-
ceptional environment, so remote from
normal processes of architectural evolu-
tion that, like certain variants in biology,
they have no issue. Therefore, or rather,
for analogous reasons, we come upon a
sterile West Coast period.

In Mexico only, among all Latin-
American mainland countries, has Span-
ish-Colonial architecture secured its full
and consecutive expression and develop-
ment. We note here three main periods :

1. The earlier structures, erected soon
after the conquest of Mexico, character-
istics of which are massive strength and
utter simplicity. A convenient designa-
tion is the one already employed, "Fran-
ciscan," or Early Franciscan ; and the
term forcibly connotates austerity, rejec-
tion of adornment, subordination of the
aesthetic to the useful ; yet we should not
overlook the fact that the Spanish mon-
archs themselves, for the better protec-
tion of their colonial subjects, ordained
that churches should be so built — for
strength rather than for beauty, with
battlements rather than ornaments — that
they could serve as fortresses in time of
need." Civil and religious authorities
were, of course, in absolute agreement.

2. Spanish Baroque. 3. The Chur-
rigueresque period, from the first part of
the eighteenth century to the end of the
Spanish regime in Mexico. In its origin
strictly and peculiarly Spanish, the Chur-
rigueresque style may be likened unto
seed falling into good ground and bring-
ing forth delightful extravagances or
absurdities "an hundredfold" only in

•Codification of the Leyes de Indies, Madrid, 1681
Vol. II.. folio 91. Cited in "La Arquitectura en
Mexico. Iglesias," by Antonio Cort6s, Mexico, 1914.

FIG. 3. PATIO OF LA RECO-
LETA, NEAR CUZCO, PERU.

FIG. 4. THE CATHEDRAL
AT AREQUIPA, PERU.

FIG. 5. THE CHAPEL OF THE
WELL (LA CAPILLA DEL POCI-
TO), AT GUADALUPE, MEXICO.

FIG. 6. BALCONY OF THE CATHE-
DRAL AT CUERNAVACA, MEXICO.

FIG. 7. PAROCHIAL CHURCH
OF TAXCO, GUERRERO, MEXICO.

FIG. 8. MONASTERY IN
SAN ANGEL, MEXICO.

THE. ARCHITECTURAL RECORD.

545

FIG. 9. CATHEDRAL AT CUERNAVACA, MEXICO, BEGUN IN 1529. THE TOWER (LEFT) WAS

REBUILT IN 1721. CHURCHYARD SEEN THROUGH ARCHED GATEWAY. IN THE

FOREGROUND (RIGHT) IS THE CHURCH OF TERCER ORDEN.

Spain and her colonies — nowhere else.
The tendency was fully, often most ex-
travagantly, expressed in -Mexico to
abandon structural simplicity in favor of
mere ornamentation — of ornament for
ornament's sake. We also note the sur-
vival of the artistic traditions of the
aborigines, as this perpetuation is clearly
shown, for example, in the decoration- of
the fagade of the seventeenth century
Tercer Orden church that stands by the
arched gateway giving access to the
cathedral at Cuernavaca. Sefior Cortes
writes succinctly : "Because the artisans
who built the structures of the conquer-
ors were natives, the new architecture
retained characteristics that remind one
of the ancient Mexican decorative art, as
we even now may see in the chapels of
the Hospital de Uruapan, State of Mich-
oacan, of Sanctorum of San Joaquin,

Federal District," etc. A tendency plainly
discernible in recent years — this is a con-
clusion based upon my own observations
in Mexico in 1907 — gives most positive
assurance of the revival of ideals in art
(such as they were) that prevailed be-
fore the conquest : a Nahuatl-Aztec Ren-
aissance. And, finally, we note the uni-
versal acceptance by Mexican builders of
the dome — an architectural feature per-
haps Persian, certainly Oriental in origin,
but popularized by great sixteenth cen-
tury achievements in Italy. We must
regard it as the predominating architec-
tural characteristic of the country.

Impressive sincerity and simplicity,
characterizing early Spanish - Colonial
buildings, gave place to styles that Mexi-
can art critics themselves call decadent.
Familiar examples of Spanish Baroque
are the church of Santo Domingo in

54G

THE ARCHITECTURAL RECORD.

Oaxaca, and the chapels of Santo Cristo
in Tlacolula and of Rosario in Puebla.
Recent comment by Senor Cortes on
eighteenth century tendencies is fairly in-
dispensable at this point: "In Spain,
Jose Churriguera and his two sons,
Jeronimo and Nicolas, were most active
in promoting the Baroque, impressing
upon it so much of their own personality
that in process of time their interpreta-
tion of it received the name of 'Chur-
rigueresque style.' The Churrigueras,
far from inventing anything new, merely
carried to extremes the decadent ex-
aggerations of the Baroque style. Where-
as the latter had respected the primitive
simplicity of the column and panel and
straight outlines and had safeguarded the
natural independence of sculpture, the
Churrigueras (on the contrary) trans-
formed columns into pilasters covered
with decoration, ornamented the panels,
broke up all the lines, and made sculpture
an integral element of the construction.
By such means . . . they reduced
architecture to an inferior role, and
granted complete supremacy to decora-
tion and ornamentation . . . great
approbation was granted by our people
to this style, which was so in harmony
with our ardent and lawless imagina-
tion. . . ." Uncommonly interesting,
as an admission on the part of an accom-
plished critic in Mexico. But let us now
examine Mr. Ravel 1's excellent views
(Figs. 6 and 9) of the Cuernavaca Ca-
thedral, which was begun in 1529 — its

"old balcon," as this detail is called local-
ly ; and the comprehensive view show-
ing, on the left, a tower rebuilt in 1721,
the arched gateway through which the
large churchyard is seen and, on the
right hand, the church of the Tercer Or-
den of San Francisco (seventeenth cen-
tury). Next, we may turn to figure No.
8, which shows the harmonious struc-
tural lines, unadorned, of the monastery
in San Angel. Place between these pho-
tographs of the earlier structures the
view (Fig. 7) of that perfect ex-
ample of Churrigueresque, the Paro-
chial Church of Taxco, Guerrero (com-
pleted December 3, 1758), with florid
ornamentation on towers, above roof-
level, and on facade vividly contrasting
with those surfaces of the towers be-
low the roof-level, which are plain :
this sharp contrast being typically Churri-
gueresque. And, finally (Fig. 5), the
Chapel of the Sacred Well (La Capilla
del Pocito), in Guadalupe, near Mexico
City, completed in 1791 by the architect
Francisco Guerrero y Torres. In this
group the history of Mexican architec-
ture in the colonial period is epitomized.
Ardent and lawless imagination some-
times produces work not one-half so-
charming as these sixteenth to eighteenth
century buildings. Charming, certainly,
though the quest of sharp contrasts has
tended in the past and still tends ruin-
ously toward excesses — at worst repul-
sive, at best recalling those observed in
the Torretagle house.

DOORWAY IN THE COLONNADE OF THE NORTON HOUSE, EAST GOSHEN, CONN.

COLONIAL QAR.CHITECTVRE

IN COHWECTICVT

Text and Measured Drawings
efherwood Bessell

PART III.

THE color note in Colonial work is
the doorway, frequently the one
spot of ornamentation. On it was
lavished a wealth of resources to obtain
matchless refinement and stateliness. No
matter what manner of house you may
come upon, if it is Colonial the doorway
will surely arrest attention; only in the
typical doorway of the smaller houses
does one see repetition, in the others
there is the widest variance.

The doorway of the large Pratt house,
at Essex, has the flat pediment and pilas-
ter treatment, with the frieze omitted in
the pediment itself, but with a curved
frieze in the entablature over pilasters ;
the modillions are of a type and design
often seen in such cornices ; the crown-
ing mould is a cyma-recta, with a fillet and

cove below, then a fascia, under which
are the modillions. The pilaster cap is a
quarter-round, bevelled on the top, a fillet
and cove, with a half-round, and cove for
the necking. This door, with the excep-
tion of the steps, is the original, and is
a type of which there are many diversi-
fications.

The detail drawing of the small Pratt
house doorway, on Rope Walk, Essex,
shows a doorway of the same character,
but with a complete change of mouldings
and an entirely new makeup. One has
wide latitude in the designing of door-
ways; so many ways and means are at
hand that there seems to be no end of
possibilities. With these examples be-
fore us, we may create and improve;,
but doorways in the Colonial manner are

548

THE ARCHITECTURAL RECORD.

hot to be placed promiscuously on all
sorts of architectural compositions; use
them consistently, and the charm is not
lost. The pediment treatment may have
been flat, with pilasters, or projected suf-
ficiently to contain a disengaged column,
then again it may be similar to the en-
trance doorway of the Perry House, at
Litchfield, with its peculiar doubled sup-
ports. This doorway was built in 1771
by Lynde Lord. The cornice members
are not composed as called for by Vig-
riola, and seem a bit crowded in line on
the upper portion. The dentils are very
interesting, being long and cylindrical in
form. The small supporting columns are
exceedingly attractive. They are delicate
and refined, and tapering from top to bot-
tom, are two and seven-eighths inches in
diameter at the top and four and one-
eighth at the bottom. The side lights are
curious in their curved muntins, and the
whole butts into the overhang of the
house as it will.

Other motives for Colonial doorways
included a complete entablature sup-
ported by flat pilasters ; or, as in the pedi-
ment treatment, disengaged columns ; or
a hood, as on the Perry House.

The Seymour doorway, at Litchfield,
carries with it a great deal of dignity ; it
is well proportioned, has an attenuated
feeling, and the small details are care-
fully executed. The proportion of the
entablature does not follow hard and fast
rules of classic proportion, but violates it
in a pleasing manner by the width of the
fascia and the small architrave members.
The pilaster caps likewise are not in ac-
cord with historic precedent, but no one
will deny that this is an interesting and
well designed doorway.

The Butler doorway, at Litchfield, is
similar in composition to the Seymour;
still it varies ^enough to give it its own
distinction, and here again the rules are
violated in the width of the fascia and
cornice; the architrave also is of a
smaller proportion than is strictly per-
missible, yet it is pleasing to the eye and,
after all, proportion is decided by what
pleases the eye. Here the modillions are
used as on the pedimented doors ; the
crowning moulds are a fillet cove and
cyma reversa, then the small fascia. The
sidelights differ from the customary
handling, but they have an individuality
of their own worth adopting, with ad-

TYPICAL DOORWAY OF SMALL HOUSE OF THE PERIOD OF THE CLASSIC REVIVAL.

THE ARCHITECTURAL RECORD.

549

DOORWAY OF THE PRATT HOUSE, ON ROPE WALK, ESSEX, CONN.
Measured and Drawn by Wesley Sherwood Bessell.

mirable effects possible. Here the de-
signer had the boldness to place the door-
way on a corner of the house, which is
not at all discordant. A great deal of
quaintness is procured very often by
placing a doorway in this manner. It
need not be the main entrance, but if
well placed it will add a homely feeling
not at all undesirable.

The door of the Town Hall at Essex
is in a wood structure and is somewhat
Greek in feeling. It is extremely beauti-
ful, the panelled door itself being care-
fully thought out and the sill and plinth
block being entirely different from any
other. Doorways of this character are

too seldom used — simple and dignified,
but with "quality" in abundance.

Again, different from both of the pre-
ceding ones, is the doorway to the Norton
house, at Goshen. Like the house itself,
the details are refinement at its best. The
fanlight and sidelights, designed with the
door as a whole, and the coupled columns
between the door and sidelights are ta-
pered and beaded. The entablature con-
tains an interesting bracket treatment,
and the motive on the fascia of the entab-
lature of the main hood is exquisite in
composition. Still another door to this
house is the small side door under the
colonnade, showing a plain treatment

550

THE ARCHITECTURAL RECORD.

Uil

THE ARCHITECTURAL RECORD.

5.51

•ni-

E LE VAT I 0 N

j P LA N

DOORWAY OF THE SEYMOUR HOUSE,
LITCHFIELD, CONN. MEASURED AND
DRAWN BY WESLEY SHERWOOD BESSELL.

DETAIL OF A CHURCH DOOR AT AVON,
CONN. MEASURED AND DRAWN
• BY WESLEY SHERWOOD BESSELL.

DOORWAY OF THE SILLS HOUSE, SILLS-
VILLE, CONN. MEASURED AND DRAWN
BY WESLEY SHERWOOD BESSELL.

DOORWAY OF THE PORTER
HOUSE, SAYBROOK POINT, CONN.

556

THE ARCHITECTURAL RECORD.

A V-

s=sS(

— r* '

;

•

^*^^^

• r-^

r' •

—i _

•i

-±-n
<

-v

• — 15'—

Jj *

£ 4

1 i . ( —

•

4 { v\

i-l \

''"N

—

i) <=

DETAIL A

—

1 1 1 1 r — r f f. — f

£>

-— t"*

SCXSUt IN INCHED

—

* T?

•^^ \

*•

~"Vr\

1—

TA I~T A 1 I H.

I)p lAII ft v -

fcY W-" C~^e II.

DOORWAY OF THE TOWN HALL AT ESSEX, CONN.

with small fanlight ; it is placed off cen-
tre of the colonnade, but on centre of
the main hall.

The Cowles doorway presents another
handling. The peculiar inverted tapered
columns are delightful, and could be
copied advantageously, not alone in this
manner, but with variable treatments.
The single header brick arch is a three-
point arch and has a high shouldered
spring.

Still another brick-set doorway is the
one at Saybrook Point, entirely foreign
to the others, and yet Colonial. It is
heavier in detail and of a later period.
The composition, however, lends itself to
far better effects than may be at first
realized, and as the others had their in-
dividuality, so has this its unlimited op-
portunities.

The Sills doorway, at Sillsville, is of
a design seldom used, and the broad, flat
pilaster with channelled rosette was orig-
inally under a hood projecting from the
house proper. The doors themselves are
the original ones and are very good in
their panelled composition. The double

doors, however, were seldom used on Co-
lonial houses, being of Dutch origin, and
were evidently incorporated into this Co-
lonial doorway by a Dutch settler.

An interesting door is that of the
church at Avon, with detail not unlike
that of some doors found in New York
City. The beaded pilaster and soffit of
the arch are charming, and the moulded
members of the cap and base have that
reaching effect so often adopted by Col-
onial builders in copies of the classic
mouldings.

Our small selection of photographs and
details show decided differences in hand-
ling. Each doorway is of a type peculiar
to itself, yet purely Colonial in feeling.
The number of doorway examples pro-
curable from Colonial work would fill
pages, while examples of variable designs
in buildings would fill but little space.
The doorwav received the greater de-
tailed attention, making it the color note
in the design. The study of ornament
was given unstintingly to the doorway,
the hospitable Colonial doorway, which
leads to the fireside.

HOUSE AT NO. 20 BENEZET STREET,
CHESTNUT HILL, PA. DUHRING,
OKIE AND ZIEGLER. ARCHITECTS.

NDRY

7-a < \i- o' M4 l2-o" K, 14- o

FIRST FLOOR PLAN OF NO. 20 BENEZET
STREET, CHESTNUT HILL, PA. DUHR-
ING, OKIE AND ZIEGLER, ARCHITECTS.

THE ARCHITECTURAL RECORD.

559

LIVING ROOM FIREPLACE, NO. 20 BENEZET STREET, CHESTNUT HILL, PA.
Duhring, Okie and Ziegler, Architects.

A SECOND FLOOR ROOM AT NO. 20 BENEZET STREET, CHESTNUT HILL, PA.
Duhring, Okie and Ziegler, Architects.

560

THE ARCHITECTURAL RECORD.

VIEW AND GROUND FLOOR PLAN OF THE
NEWS-PRESS BUILDING, ST. JOSEPH.
MO. ECKEL & ALDRICH, ARCHITECTS.

DETAIL— THE NEWS-PRESS BUILDING, ST.
JOSEPH, MO. ECKEL & ALDRICH, ARCHITECTS.

562

THE ARCHITECTURAL RECORD.

T^. o o r

• ED 1 TORJ A L

•

• RpOM

•ri

| U :' >.

T-J

' 'T3

• 1^ ,0 O F.-

MANAGING- i
•EDITOR_ f 1

OTOILET
*5 . Toi

I l^APHES
^^l

PUBLISHER;

Inf:!-

Plan of Second Floor.

Plan of Basement Floor.

THE NEWS-PRESS BUILDING, ST. JOSEPH, MO.
Eckel & Aldrich, Architects.

ARCHI "Ec

BOOKS ON MEDIEVAL ARCHITECTURE

By RICHARD FRANZ BACH

Curator, School of Architecture, Columbia University
PART II.

TO Winston's Hints on Glass Paint-
ing, published in 1847, and Fowler's
praiseworthy Engravings of Mosaic
Pavements and Stained Class, published
in 1805, is now added a third volume de-
voted to the glass art in England. It is
Philip Nelson's Ancient Painted Glass in
England, 1170-1500 (George H. Doran
Company, New York, and Methuen and
Company, London ; octavo, pp. xvii-280,
33 plates, $3). This volume is not the
effusion of a medieval enthusiast, like
that of M. Male just reviewed, but rather
a detailed chronological study of English
glass of the Middle Ages from the late
twelfth to the beginning of the sixteenth
century. The author has done his work
in a painstaking fashion; leaving no stone
unturned in his search for all possible
material. Fortunately he writes as one
personally familiar with all the import-
ant glasses mentioned in his text. Mr.
Nelson has encountered, as has many
another searcher in the rich field of Eng-
lish Gothic art, untold obstacles and
causes of unconscious errors in present
judgment due on the one hand to de-
struction and neglect and on the other
hand to the benighted efforts of self-

styled "restorers," unbridled archaeo-
logical fanatics of another day, happily
past. Two interesting chapters added to
the historical sequence on church glass
are those on "English Domestic Glass"
and on the "Vicissitudes of Ancient
Glass." Too little has yet been written on
the former of these subjects and, inci-
dentally, on the development of the Eng-
lish heraldic windows, which are among
the most interesting features of certain
manor houses. More than half of the
volume is assigned to pages of "County
Lists of Ancient Glass," and end-
less alphabetical arrangement that leads
us to marvel at the great number
of windows that have outlived wanton
destruction, carelessness and nineteenth
century restoration. There is an appen-
dix on this matter of restoration and also
a detailed index. Color plates in such a
book as this are bound to come amiss, for
we have not yet devised a process of re-
producing perfectly the effect of color
due to transparency by means of poly-
chrome plates in which the effects must
be due to reflection. However, this hand-
icap must not be permitted to militate
against the general utility of Mr. Nel-

564

THE ARCHITECTURAL RECORD.

son's book ; it will surely prove a valuable
architect's handbook of study and travel
in England.

Miss Helen Marshall Pratt, author of
The Cathedral Churches of England, has
now published more particular studies on
the British national sepulchre under the
title Westminster Abbey; Its Architec-
ture, History and Monuments (Duffield
and Company, New York; 12mo, two
volumes, pp. 865, ill.; $4.50). To chron-
icle the life history of a structure in
which the ideals and very existence of a
nation for a period of a thousand years
have been focused demands untiring
study and a hardy pen. Miss Pratt has
well acquitted herself of an exacting
task. She has been at great pains to work
out faithfully the historical, and ecclesio-
logic background which must temper the
progress of such a building, and her care
m this respect will give an added charm
to the Abbey for many a reader, espe-
cially for Americans, and will determine
in great measure the lasting quality of
her book. The volumes are profusely
illustrated; there are appendices restat-
ing in tabulated form the history of the
building itself and its accessory fabric,
and giving lists of abbots and deans.
There is also an exhaustive index and an
exceptionally good bibliography. We can
commend this work as one of the class
of Cathedrals and Cloisters of Northern
France, reviewed elsewhere, not exces-
sively technical, nor deeply archaeological,
nor in any sense controversial ; it is sim-
ply historical and all architectural un-
certainty is left for more professional
but less readable publications. The Abbey
has not often had so careful a historian.

In The English Parish Church; An
Account of the Chief Building Types and
of Their Materials During Nine Cen-
turies (Charles Scribner's Sons, New
York, and B. T. Batsford, London; oc-
tavo, pp. xix-338, ill.; $3), Mr. J.
Charles Cox has given us an altogether
useful volume upon a subject not gen-
erally granted its due importance in
English architectural history. Mr. Fran-
cis Bond, in English Church Architec-
ture, has also expanded upon the merits
of the English parish church, but Mr.
Cox has at last brought together in a

separate treatise the whole study of
plan, style and materials in buildings of
this type, so that it may once more as-
sume its proper place as a determining
phase of English medieval art.

To begin with, "the parish, with its
church and priest, was an arrangement
specially devised to meet the needs of
the country rather than the city," and
was developed directly from the early
practice of attaching chaplains to lordly
manors. The growing power of the
church soon detached the chaplain, who
served the retainers as well as the lords,
from the manor house and placed him
in charge of his own church edifice,
which duly became the religious center
for a more or less loosely defined dis-
trict. The district may at times have
included several manors, and its presid-
ing priest was of the secular as dis-
tinguished from the monastic or regular
clergy.

The parish church was the most demo-
cratic factor in English feudal life; at
parish meetings lord and tenant, villein
and serf met on equal footing. Further-
more the church building was erected in
close proximity to any public buildings
of which the community might boast and
in towns the houses of the citizens clus-
tered closely about it. In times of danger
from fire, riot, robbery or conquest
public and personal treasures were stored
in the church, while deeds and other
valuable writings were placed in the
parish chest for safe keeping. Contracts
were signed in the church porch ; agree-
ments concerning the parish at large
were sworn to on the altar itself. The
church porch was also the scene of the
coroner's inquest in cases of violent death
in the parish. To these many public uses
should also be added that of sheltering
fugitives at a time when capital punish-
ment was meted out to the smallest of-
fender.

For many years students endeavored
to read the significance of the parish
church in arcades, windows, mouldings
and the like ; while the real life of build-
ings of this type, as Mr. Cox points out,
is to be sought in plan development. The
plan was divided, as a general rule, into
nave and sanctuary, although numerous

THE ARCHITECTURAL RECORD.

565

examples occur in which an intermediate
chancel appears. There are also many
larger parish churches, especially those
in, city centres, whose plans show nave,
transepts, sanctuary and lantern tower.
Each of these types has its variants;
hybrid plans, accomplished by bringing
together parts of the three types or their
variants, or by differing dispositions of
towers or of chapels, contribute an in-
finite variety which is at first confusing.
Mention should also be made of a pos-
sible fourth type, the circular churches,
such as St. Sepulchre's, Northampton.
Of these there are but four extant. Good
illustrations of the other fundamental
types are easily found. The simple nave
and chancel plan appears at Chithurst,
Sussex, or at Little Braxted, Essex, the
first square ended and the latter with
apsidal eastern termination. Such ex-
amples date chiefly from the twelfth cen-
tury, as do likewise those of the second
type. This has a triple plan division, e.g.,
nave, chancel, sanctuary, and is well
shown at Kilpeck, Herefordshire, or,
with chancel and sanctuary combined and
a tower replacing the former, at Stewk-
ley, Buckinghamshire. The third type
leads us at once into the history of the
transept — placed properly in Byzantine
and Early Christian Europe — and its
variations are too many to be adequately
substantiated by less than a round dozen
of illustrations ; fairly typical are Witney
in Oxfordshire, Uffington in Berkshire,
or Old Basing in Hampshire.

Having thus set forth the various type
forms of plan which characterize the
English parish church, and having shown
how the simplest of these types may de-
velop into the most complex in the course
of its life history, Mr. Cox undertakes to
explain in the same systematic fashion
the evolution of aisles, clearstories and
chapels. Other sections of the excellent
chapter on plan are assigned to studies of
the cross plan, the tower, the porch, ves-
try and ambulatory.

A long chapter is next devoted to
"Architectural styles in the English
parish church." Mr. Cox recognizes
seven steps in stylistic growth: 1, Saxon;
2. Norman ; 3. Transitional ; 4. Early
English; 5. Geometrical; 6. Decorated;
7. Perpendicular. This classification car-

ries his study from the Romano-British
church excavated at Silchester in 1892,
a truly pre-Saxon structure, as well as
Brixworth and Earl's Barton Tower at
one end, to the fine examples at Grant-
ham, Lincolnshire, at Stratford-on-Avon,
and that of Saint Nicholas, King's Lynn
at the other, and covers the whole de-
velopment of vaulting, tracery and carved
ornament.

The chapter on building materials is
of great value. This side of the question
of medieval work has received the mini-
mum of attention in the past; and Mr.
Cox's findings in this direction furnish
an important contribution toward the
revived study of the parish church.
Stone, flint, brick and plaster are consid-
ered in detail, with their many and varied
illustrations, while the section on wood
as a structural material is enll/ened by
interesting discussions concerning doors
and timber roofs.

This volume is without doubt the best
presentation that the English parish
church has yet enjoyed. It maintains the
excellent quality of Mr. Cox's earlier
book on English Church, Furniture, — to
which he devotes but little attention in
the volume under discussion, — as well as
the recognized standard of the Scribner-
Batsford publications. There are over
two hundred and seventy illustrations, a
register of churches by counties and an
excellent index; the volume lacks only a
bibliography, which, in the first separate
and complete treatment of the subject,
would have been particularly in place.

Certain architectural books of defin-
itely assured quality defy the accumula-
tion of fresh archaeological data. Such
was Gaston Maspero's Manual of Egyp-
tian Archaeology, recently republished by
Putnam's, and another such is George
Edmund Street's Some Account of
Gothic Architecture in Spain. Works of
this category may be reissued and re-
edited, but to gather the material afresh
for a new book in fields thus already cov-
ered would be gratuitous labor. Street's
book is now issued in two volumes under
the editorship of Georgiana Goddard
King (E. P. Button, New York, and J.
M. Dent & Sons, London ; 12mo, pp. 356
and 352, ill.; $2). Fortunately the text
has been held inviolate unless it was nee-

THE ARCHITECTURAL RECORD.

essary to bring it to date; and, we ven-
ture to say, wisely, the scope of the book
has been considerably widened and its
value heightened by Miss King's grasp
and understanding of the subject as well
as of her author. The additions to the
text are not many, for, says the editor,
Street was very thorough and Spain is
very slow. What is more, the clearness
of Street's vision has given a permanence
to the truths that he saw in the stones
which later critics and writers can only
echo. The original illustrations from
Street's sketches have been retained and
the editor's notes have been set apart at
the end of -each chapter. We might
counsel a similiar good judgment for all
prospective editors of recognized works,
for a careless or unscrupulous editor is
poor sauce to good meat. The present
editor has gone about her work in an
efficient manner and her additions are
made with a briskness that characterizes
the handbook ; Street never meant his
Account to be anything else but a hand-
book. "Baedeker is for the best part
carved out of Street" and Street must
be made to fill the gaps in the modern
guide. The format of the new edition,
which is slight and easily handled, ren-
ders it eminently useful for this purpose,
although it has fallen into the usual evil
of small crowded type which makes the
notes, at least, troublesome reading. We
should also have appreciated a few mod-
ern photographic illustrations. But these
•defects are readily overlooked. We are
glad to welcome this and other editions
of Street, as we should new editions
of Piranesi or of DuCerceau ; students
need them and architectural books of
quality are too few in this country.

A Guide to Gothic Architecture by Mr.
T. Francis Bumpus (Dodd, Mead and
Company, New York; octavo, pp. xii-
359, ill.; $3), leads us to expect in its
title a terse general text book. Instead,
the author devotes three hundred pages
to the history of English architecture, al-
ready adequately treated by Francis Bond
and others, and recalling somewhat his
Cathedrals of England; while only fifty
pages remain for a short summary ac-
count of the style elswhere. Although
there are over one hundred and

forty illustrations, these are indistinct
and of small scale; while only a very
few poorly drawn plans appear. The
text is well written, however, and set
in large type. There is also a glossary of
architectural terms and a brief index.

Mr. William Gorham Rice sounds a
fresh and attractive theme in his Caril-
lons of Belgium and Holland; Tower
Music in the Low Countries (John Lane
Company, New York and London ; oc-
tavo, pp. 232, ill.; $1.50). It is remark-
able that a subject of such interest and
historic value should so long have
escaped the writers, especially since Mr.
Rice records nearly sixty carillons in
Holland and about fifty in Belgium. The
author explains at length the mechanism,
method of ringing and history of the
bells and of the quaint traditional occu-
pation of carilloneur, which, like that
of bell founder, is an honorable family
occupation handed on through succeed-
ing generations. Extensive appendices
contain lists of carillons in the Low
Countries and elsewhere in Europe, as
well as in the United States.

A new book on the Lombard Towns of
Italy, or The Cities of Ancient Lom-
bardy (Dodd, Mead and Company, New
York; 12mo, pp. xvii-590, ill; $1.75),
completes Mr. Egerton R. Williams' tril-
ogy of volumes on Italian cities of which
the others bear the titles The Hill Towns
of Italy and The Plain Toums of Italy,
dealing respectively with the less known
cities of the Apennines and the region
north of Rome, and of Venetia. Mr.
Williams has set out to write a guide
book and has succeeded admirably. He
has also adopted the guide book size for
his work and in this respect the present
volume is an improvement upon its
predecessors. There is a good map of
Lombardy and a thorough index. Books
of this kind are to be recommended for
the use of the architect, for they offer
whenever required the necessary jog to
the memory that would entail much
searching in a larger work. They offer
also in a concise form the historic fea-
tures of a given structure, names of
architects and dates, which are invariably
buried in controversy in the more directly
architectural publications.

NOTES

AND
COMMENTS

A Water Color

Sketch in
Terra Cotta.

The little building of
the Edison shops on
Fifth Avenue, just be-
low Forty-first Street,
has all the freshness and
sparkle of a water color
sketch. It is full of in-
terest and the personal-
ity of its authors. But one cannot help
feeling that the detail of the top story
and the cornice do not seem to be alto-
gether in harmony with that of the lower
stories'. One wonders whether they were
not detailed on different sheets and not
seen together until the whole was in
place. The modelling of the terra cotta
in flat relief, the texture of the terra cotta,
and the use of gold in connection with
this material are all of great interest.

An English contem-
England's porary confides to us its

Imminent suspicion that there may

Italian be some truth in the ru-

Revival. mor of 'another Italian

revival in England. A
glorious age, this, when
one may proclaim a re-
vival; when we may run the gamut of the
architectural records of the past, and deck
out a tradition in modern materials with-
out a hint of modern interpretation. We
may yet have a stylistic arbiter, who shall
dictate the progress of the orderly repeti-
tion of dead forms, a sort of Paul Poiret of
stone and steel. Says the Architects' and
Builders' Journal: "The spirit is yet but
moving on the face of the waters'. But
soon the new thing will be made manifest,
and perchance we shall be harking back
once more to Letarouilly . . ." Indeed,
so long as we add so little of the person-
ality of our time to the types we find in
past styles, we might as well hark back to

Churriguera. Perhaps after we have gone
the rounds of reviving once more we shall
have had time to devote to an architectural
twentieth century. In this country, at least,
we have the greatest opportunity, and, what
is more, we have a saving eclecticism of
taste to fall back upon.

A Venial

Professional

Transgression.

Two major causes have
at last been fixed upon
for the present weakened
condition of old St.
Paul's, London. The piers
are in critical state be-
cause Wren determined
to use softer stone in
place of the specified Portland stone, which
required much time in transit under con-
temporary conditions. What is more, the
great chain which binds the stone work at
the base of the dome has been found to be
rusting. Mr. Marvyn Macartney has' in an
official capacity investigated these weak-
nesses, which have been the cause of a
growing uneasiness in London, and the
burden of his report seems to show, be-
tween the lines, that Wren was actuated by
the most human desire that ever moved an
architect to commit a professional sin. He
wanted to see his masterwork completed
within his lifetime. No doubt he valued it
even higher than his projected scheme for
laying out London anew after the memor-
able devastation of 1666. For the long
years from 1675 to 1710 he worked upon
this building with unflagging devotion,
feeling no doubt from the outset that it
was destined to be the focus of the English
Renaissance in church building; and at the
end the greatest pleasure that could come
to a man engaged upon great work was
vouchsafed him. The Underground was
not within his ken and the pleasure of pos-
terity in his building evidently clashed in
his mind with his personal wish to witness

568

THE ARCHITECTURAL RECORD.

the dedication of a completed St. Paul's.
The artist's dream sought its realization
and succeeded. Nor should we impugn his
morals, for he was impelled by the most
praiseworthy of professional weaknesses.

The Arch

of
Constantine.

The secret of the
Arch of Constantine has
at last been explained.
Professor Arthur L
Frothingham, an indefat-
igable student of Ro-
man archaeology, with
the assistance of the
Italian government, in the person of Com-
mendatore Corrado Ricci, has made an ex-
tensive examination of the structure. The
investigation included a detailed study of
the reliefs on the arch at close range and,
as far as possible, of the masonry. Basing
his conclusions chiefly upon an intimate and
comprehensive understanding of Roman
sculpture, Professor Frothingham has pub-
lished in the American Journal of Archae-
ology a series of papers demonstrating that
the old theory of a reconstruction of one
of the Trajan arches, either that in the Via
Appia or that in the Forum of Trajan, is
untenable. The arch in question was dedi-
cated to Constantine in 313, but this could
not have been an original dedication, since
such arches were voted only in connection
with a triumph, which in terms of Roman
law was passed upon by the Senate and
connoted the conquest of a foreign foe.
Constantine had waged no war of foreign
conquest, and his greatest military exploit
was that which culminated in the defeat of
Maxentius at the Milvian Bridge. It was
there, incidentally, that his conversion to
the Christian faith took tangible form, for
it was under the labanim, bearing the em-
blem of Christianity that his soldiers
achieved the victory.

But if the arch was not primarily dedi-
cated to Constantine the Great, what previ-
ous occasion had caused it to be built?
The solution is that in the case of Con-
stantine we deal with a rededication, and
that therefore the arch was erected for an
earlier emperor. But arches were justified

only by the pleasure of the Senate of the
Imperial City; and their destruction de-
pended also upon that pleasure. An arch
or other memorial might remain standing
for all time as a record of the glory of a
ruler, but if the surfeit of his victories de-
veloped in him the germ of tyranny, the
Senate could cause his monuments to be
cast down and his effigy to be mutilated.
This was authorized by that governing
body in the form of the memoriae damna-
tio, a decree which implied the wanton de-
struction of all memorials of the tyrant
and the defacing of his images; the struc-
tures so treated also became no man's prop-
erty, and stood uncared for as an index of
popular disfavor.

The investigator's study of the reliefs
and of the technique of their carving led
him to ascribe the construction of the arch
to the time of Domitian, who was emperor
from 81 to 96 A. D., over two hundred
years before the reign of Constantine.
This emperor had made conquests in the
east and in his case also the Senate had
voted that the infamous name be erased
from the monuments. Among the monu-
ments to suffer from the denunciation and
consequent mutilation was the present arch,
which stood thereafter for many years un-
claimed. Reliefs of the intervening period
show it in position, and the carvings in the
arch itself are assuredly of the earlier time,
harking back to Greek suggestions or ac-
tual workmanship. The inscriptions, the
heads of Domitian, as well as other injured
parts were in all cases carved anew and
certain medallions added. The mode of in-
sertion of these medallions betrays their
later provenience, since the regular prac-
tice of Roman construction is not adhered
to, as would be imperative in the case of a
single uniform structure. These alterations
were made in the time of Constantine; for
when it was found desirable to honor him
for his final overthrow of all six rivals for
the imperial throne, the iron-bound rule of
Roman law precluded the erection of a new
arch of triumph. Therefore the expedient
was hit upon of rededicating the old Do-
mitianic arch, and a historic example was
thus provided of obedience to the letter of
the law. R. F. B.

NA Architectural record

A6
v.37

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Architectural record"

See other formats