From Ore to Pipe

YOUNGSTOWN PIPE

In order to obtain a wrought steel pipe that conforms to the highest standards and one that has had quality manufacturing through every stage from the mining of the ore to the finished product, have the name "YOUNGS- TOWN" appear in your specifications. Every length is tested hydrostatically before ship- ment.

If it is genuine hand puddled wrought iron pipe you desire, have in your specifications "YOUNGSTOWN Stafr Brand" iron pipe. That is sufficient to assure you an iron pipe equalled in quality by ftw and surpassed by none. It carries that guarantee.

THE YOUNGSTOWN SHEET AND TUBE Co YOUNGSTOWN, OHIO VOL. XXXIX. No. 2 FEBRUARY, 1916 SERIAL NO. 209

ARCHITECTVRAL RECORD

MELODY FARM, THE COUNTRY OF J. OGDEN ARMOUR, Esq., Page Lake Forest, I1L: Arthur Heun, Architect * 97 By Peter B. Wight

THE PENN MUTUAL , Philadelphia: Edgar V. Seeler, Architect - 122 By Harold D. Eberlein

THE ALBANY ACADEMY. Part I, Text by C. B. Cutler. Measured Draw- ings by J. L. Dykeman and F. J. Ricker - .. - * * 132

THE BARRETT APARTMENT , Chicago: Richard E. Schmidt, Garden & Martin, Architects - - - 144 By Wm. D. Foster

THE COBB BUILDING, Seattle: Howells & Stokes, Architects - * 154 By John J. Klaber

PORTFOLIO OF CURRENT - - , .161

PERSONAL REMINISCENCES OF McKIM. Part IV. McKim's Way 178 By Glenn Brown

THE ARCHITECT'S LIBRARY: Books on Colonial Architecture. Part III. Dwellings - - - - 186 By Richard F. Bach

NOTES AND COMMENTS 191

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 1916 by The Architectural Foreign $4.00 Single Copies 35 cents Class Matter, at New York, N. Y. Record Company All Rights Reserved PUBLISHED MONTHLY BY THE ARCHITECTURAL RECORD COMPANY 115-119 WEST FORTIETH STREET, NEW YORK F. T. MILLER, Secretary and Treasurer FIG. 21. VIEW THROUGH PORTE-COCHERE MELODY .FARM, LAKE FOREST, ILL. THE AKCHITECTVKAL RECORD -

VOLVME XXXIX NVMBER II

FEBRVARY, 1916

Melody Farm The Country Home of J. Ogden Armour, EsqK: Lake Forert, III Arthur Hcan, Architect By Peter B. Wight

an article in the issue of the Archi- "scale" is a controlling merit in the pres- tectural Record for an ent let it be here understood that IN October last, instance, attempt was made to describe the mere bigness has had no influence upon conditions on which progress in the de- the writer. It is only an accident which signing of country in the Mid- gave the architect the free hand to express dle West in recent years has depended. himself in a large way; and in so doing Numerous illustrations of the present he has not allowed his good taste and ar- condition of the art were given, and in tistic feeling to be overmastered by the addition to these there appeared in the exceptional opportunity that came in his December issue pictures of six more way. Neither has the writer hereof any houses of the same kind, which had been desire to describe and illustrate it so fully crowded out of the October number for as is now attempted, had he not been want of . The illustrations were impressed with the idea that it expresses mostly of houses of moderate cost. It is ideas of rationality and beauty not less now my privilege to illustrate and describe than of modesty and fitness. a house and garden in the planning Six years ago Mr. J. Ogden Armour, and design of which limitations of cost of Chicago, whose name is a figure in are not evident, and carried out modern business not only in America, on a scale that has seldom been equalled but throughout the world of trade and in any other country home in America. commerce, bought to satisfy his desire to But lest the reader should infer that provide for the rest of his life and that 98 THE ARCHITECTURAL RECORD. of his family, a country place which He selected as his architect Arthur would not only provide them with all the Heun, of Chicago, than whom he could comforts of home that they could ever have found no more sympathetic and en- hope for, but which would be large thusiastic coadjutor. Mr. Heun is one enough to supply him with a field for ex- of the younger Chicago architects who are ploitation and development during many known for their artistic accomplishments years to come; in which when the cares and progressive tendencies. He has had of business may have been laid aside and control of all the work, which required entrusted to others he might enjoy farm- nearly two years in its accomplishment, ing and every other thing that the cultiva- having engaged other professional help, tion of land comprises and implies, under such as that of engineers, landscape ex- his own direct observation. For Mr. ecutants, and gardeners to carry out the Armour is only now beginning the period designs, which were entirely his own. The known as middle life, and has many years house was completed and the gardens of cheerful prospect before him. were practically laid out and graded four He first satisfied this desire by purchas- years ago. The growth since that time ing several contiguous farms comprising only up to the summer and fall of 1915 twelve hundred acres or more, situated is therefore shown in the photographic only thirty miles from his home in Chi- illustrations. cago. This property is west of Lake For- To make the illustrations most intelli- est, which since 1870 has been the fa- gible to the reader, they have been ar- vorite site for the country residences of ranged in such order as that in which the wealthy and cultured business men of one would make a tour of the premises, Chicago. Lake Forest, the farthest from which Mr. and Mrs. Armour have kindly the city of Chicago's suburban settle- placed at the disposal of the Architectural ments, is a natural woodland, divided into Record for the time being. building sites with more or less garden The visitor, arriving by train or from it is not because Forest other is first surroundings ; farm land, Lake by conveyance, its native trees are its best asset. Mr. Ar- driven over the concrete bridge built by mour's place is located west of the C. M. Mr. Armour which spans the tracks of and St. P. R. R., which runs through one the C. M. and St. P. R. R., and on a corner of the farm, and it possesses only perfectly made road through a piece of a few patches of natural forest. Hence natural forest, shown in Fig. 1, from it is in every sense a farm and is intended which he emerges to get the first general to be cultivated as such. Not more than view of the house and attached outbuild- forty acres are devoted to house and gar- ings. This forest is the only natural dens and the rest will be cultivated as woodland on the site. opportunities are offered and disposition The road then winds around, turn- is inclined. Permanent farm ing somewhat away from the house have not yet been erected or planned. at first, and then toward the east Therefore only the house and gardens entrance, which is approached by a are of any concern to us at present. straight road from which most of this Mr. Armour, in building the house and side of the house is seen in eleva- laying out the gardens, did not so much tion, as in Fig. 2. This leads into the consider his own desires as those of his forecourt, in the center of which is a wife, his daughter and one who had not fountain around which the road turns in the least consideration his mother. He a circle, passing the at the main only desired to make it their country entrance and continuing to the right home and he has it the which is un- succeeded ; for is through porte-cochere, what might be called a self-contained der the northeast wing of the house, be- hcjuse in that respect, like many of the tween the office and the side entrance old English manor houses; but it is still (Fig. 3). This road continues on in a very near to the large number of good northerly direction toward the stables and neighbors residing in that part of Lake . Fig. 4, reproduced in color on Forest which lies between the C. M. and the cover and looking in the same direc- St. P. R. R. and Lake Michigan. tion, gives a better view of one of THE ARCHITECTURAL RECORD. 99

FIG. 1. MAIN DRIVE JUST BEFORE IT REACHES THE OPEN GROUND UPON WHICH THE HOUSE IS BUILT MELODY FARM, LAKE FOREST, ILL. the observation towers. It will be ob- main through which we have en- served that in the second story tered from the is between two extend over the porte-cochere and most Chinese vases on pedestals and oppo- of the , so that the second story site the central table on which are chrys- covers more area than the rooms of the anthemums. This is 20 feet wide main . There is no third story except and 112 feet long. At the far end as we in the two towers. Fig. 5 is another view stand is the open concealed by in the same direction showing the en- the bunch of flowers, on each side of trance and the porte-cochere, and which are open which connect with Fig. 6 shows the detail of the entrance a corridor. From this corridor are three porch and the beautiful loggia over it. glass connecting with a loggia still This picture gives the best view of the farther on, a door on the right leading overhanging eaves which surround the into the , one on the left lead- whole building and the relation between ing into the music room. In this view of the marble work of the exterior and the the central hall the five double doors to stuccoed brick , which are every- the right lead into the winter garden, where finished the same. Fig. 7 is a view which is on the west side of the house. close up to the entrance to the porte-co- Fig. 9 is a view of the central hall look- chere, giving a vista of the road to the ing toward the main stairway, which is garage and beyond the , and the mar- at the north end. Here the five doors ble details of the second story. to the winter garden are on the left and We are now supposed to have entered the opening on the right where the col- the house through the large entrance umns of Caen stone are shown is into loggia and vestibule and are standing the palm room. Fig. 10 is a view of the near the north end of the grand central great marble stairway leading to the sec- hall, from which we have the view shown ond story. It is very plain, but has in Fig. 8. We are looking south, and the bronze railings. Observe the care that

8 W H. gg Q

S'Ei 102 THE ARCHITECTURAL RECORD. must have been taken to weave the rug called "historical styles." Superficial ob- so as to fit the curvatures of the . servers only have called it an Italian villa, This illustration shows also the details which it is not. It is only a rational ren- and carvings of the walls of the main hall, dition of the plan and materials which the which are entirely lined with Caen stone architect decided to use, and its beauty, built up in blocks against the brick . which no reasonable person can deny, is The floor of the main hall is of marble due to the discreet use of these materials tile, but is almost entirely covered with and the absence of all straining for effect. rugs. The house is neither a villa nor a palace, Our itinerary now leads us to the other as its great size might have suggested. end of the main hall. There we pass out It is merely a country house after all, built through the arch at the left of the fire- for a family of good taste and refinement place and, turning to the left, enter the by an architect who understood all the music room through a double door, open- conditions that affected it in the making, ing from this short corridor, which con- with a sincere desire to do the best that nects the three large rooms at the south he could, untrammeled by any outside ar- end of the house. Fig. 11 is a general tistic influences. It speaks for itself, and view of the music room looking east. illustrates th'e culmination up to the Near the far end is a transom beam sup- time when it was built, of all the influences ported by two piers, rendered necessary that are making the country house archi- by the construction of the second story tecture of the Middle West what it is. and serving to relieve the great length of The decorative features of the materials the room, for this room measures 68 by used in the finish of the interior are only 25 feet on the floor. The floor, by the slightly related to those which prevailed in way, is of marquetrie in large patterns, Italy, and especially in Venice, in the having only one large rug in that part early days of the Renaissance. But they where there is an open fireplace. The are more delicate and more refined. The beam and piers forming a partial screen details are not prominent or glaring, as at the east end, serve to cut off the organ was sometimes the case in Italian work, section, so as to leave the remainder of but are subdued and diminutive in detail, the room in good proportion for symmet- so much so that they are hardly evident rical treatment, with fireplace in the cen- in the pictures except on the of ter, and opposite to it a large semi-circular such rooms as are decorated in those bay on the south side, the open- parts. The reductions by photography are ing to which is only suggested in the therefore such as to make it difficult for illustration. The pipe organ is at the the reader to examine them properly. east end, and is in two sections covered We will now return to the with open metallic screens, which entirely and pass into the winter garden, which is conceal it. Between these sections is a the center of the house on the west side large triple window in which, when the of the hall. Its size is 55 feet 6 inches picture was taken, the shades were drawn in length by 24 feet in width (Fig. 12). down preventing a glare of light which It is the most attractive room in the would have spoiled the photograph. house, and is furnished with every A good idea of the inside finish of the imaginable comfortable appliance and large rooms on the main floor (except decorated with many works of art; a that of the , which is of col- room adapted to family gatherings ored marbles and not illustrated) is given and the entertainment of many guests. in this picture. There is, however, con- The decoration of the upper walls siderable difference in the decorative is too delicate for present description, and treatment of the main rooms. may be a field for discreet treatment with has color that of lower Nothing been said thus far of the ; the walls, suggesting architectural details of this building. lattice work, is an intimation that we are Rut it is patent that the reader must have approaching what far surpasses all that observed that the exterior of the house art may do. It is the most direct and does not pay tribute to any of the so- natural approach to the water garden, /to FIG. 6. ENTRANCE PORCH MEL- ODY FARM, LAKE FOREST, ILL. FIG. 5. ENTRANCE PORCH AND PORTE-CO- CHEREMELODY FARM, LAKE FOREST, ILL. FIG. 7. DRIVE TO GARAGE THROUGH PORTE- COCHERE-MELODY FARM, LAKE FOREST, ILL. ,;

112 THE ARCHITECTURAL RECORD.

FIG. 14. CASINO AND AT WEST END OF WATER GARDEN-MELODY FARM, LAKE FOREST, ILL.

FIG. IS. CASINO AT WEST END OF WATER GARDEN MELODY FARM, LAKE FOREST, ILL. I '3 114 THE ARCHITECTURAL RECORD.

FIG. 17. WEST FRONT, FROM THE CASINO ACROSS THE WATER GARDEN MELODY FARM, LAKE FOREST, ILL.

FIG. 16. LOOKING TOWARDS THE HOUSE FROM THE CASINO-MELODY FARM, LAKE FOREST, ILL.

X w z fa O 118 THE ARCHITECTURAL RECORD.

FIG. 22. APPROACHING THE ROSE GARDEN FROM THE NORTH-MELODY FARM, LAKE FOREST, ILL,

FIG. 23. ENTRANCE TO ROSE GARDEN. IX THE DISTANCE CAN BE SEEN THE PERGOLA AT THE NORTH END OF THE ORCHARD GARDEN AND, BEYOND, THE UPPER PORTION OF THE -MELODY FARM, LAKE FOREST, ILL. THE ARCHITECTURAL RECORD. 119

FIG. 24. PERGOLA AT NORTH END OF ORCHARD GARDEN MELODY FARM, LAKE FOREST, ILL,

FIG. 25. IN THE PERGOLA AT THE END OF THE ORCHARD GARDEN-MELODY FARM, LAKE FOREST, ILL, 120 THE ARCHITECTURAL RECORD.

FIG. 26. FOUNTAIN AND SEAT IN THE WATER GARDEN-MELODY FARM, LAKE FOREST, ILL.

where man's work is only that of an ac- now be let into a secret which will be complice of Nature. revealed in actuality near the end of this Passing out through the doors on article. The view from the casino to the the right, we find ourselves on the west is a surprise. It is across a beauti- west terrace, which reveals to view in ful artificial lake of about twenty acres, one long perspective all the beauties of dotted by two islands, all the surround- the water garden, with the casino at the ings of which, having been recently extreme end, shown in Fig. 13. This planted, are still in the making. garden contains three pools, two nearest We will now turn to the east and re- the house with a carpet of green lawn be- trace our steps to the house. The first tween them, and the third one beyond, glimpse of its west side is seen in Fig. seen in Fig. 14, with a terrace on each side 16 at the right, showing also on the left of it leading up to the casino at the ex- the lattice work which covers the garden treme end on a still higher terrace. Na- side of the pergola separating the or- ture has done its best in four years to chard garden from the water garden. develop the beauties of this garden, but Another view of the water garden and Art has crowned it at the end of the per- the west front of the house as seen from spective with a casino of remarkable the casino is found in Fig. 17. Still ap- beauty, through which the unobstructed proaching the house, we have a view sky is seen. Here the architect has in- across one of the pools of the west front dulged his fancy uncontrolled by the prac- which reveals the loggia in front of the tical conditions which prevail in house dining room and the terrace in front of architecture. The casino is of stone and the winter garden, over which we have terra-cotta surmounted by a tiled passed in entering the water garden. (Fig. with generous projections in the eaves 18). Another near view of the terrace (Fig. 15). and center of the west front is seen in The pictures show nothing but sky Fig. 19. A still closer view of the central beyond the casino, but the reader must door from the winter garden giving upon THE ARCHITECTURAL RECORD. 121 the terrace is shown in Fig. 20. Note the corridor and loggia over all being 152. dark color on each side of the door delib- There are three stairways in the main erately placed there and the effect that it house, and in the extension one, produces in its relation to the dark of also one in the laundry. There are four the and the bay trees, and in loggias on the first floor of the main house contrast with the light gray of the awn- in addition to those already mentioned. ings. The main house is planned in the shape We have now re-entered the house and of a letter H, and the outside dimensions having passed northerly through the main both ways are 164 feet. The outside hall to the foot of the marble stairs, and length of the kitchen extension is 114 turning to the right, pass out through a feet and the width 48 feet. It is two branch hall and loggia to the porte- stories high with a . The laun- cochere, where we turn around and have dry is connected by a covered corridor, the view through the arch looking back 89 feet long, with the kitchen and is 52 to the loggia which forms the east or by 36 feet in ground dimensions. main entrance (see frontispiece). The extreme length of the main house, As a detailed plan of the house or main kitchen extension, corridor to laundry, group of connected buildings is not shown, and laundry is 419 feet. it may be of interest to give some of the Fig. la is a plan of the house and gar- dimensions which are not mentioned in dens. The water garden, west of the the above description. The dining room main house, has already been illustrated is 38 feet 6 inches by 24 feet. The dining and described, and the special features room loggia is 29 by 30 feet. The living illustrated in Figs. 21, 22, 23, 24, 25 and room is 52 feet 6 inches by 24 feet, with 26, and not described, can be located on an extension on the long side of 12 by 25 this plan. The landscape treatment of feet and a loggia 29 feet by 18 feet. The about forty acres around the house and central hall is 112 by 20 feet with a cor- the remaining gardens will be the sub- ridor and loggia at the south end measur- ject of further illustrations and comment ing 40 by 20 feet, the total length of hall at a future time.

FIG. 27. LOOKING ACROSS THE LAKE TOWARDS THE HOUSE AND GARDEN FROM THE WEST. CASINO SEEN AT LEFT OF CENTER MELODY FARM, LAKE FOREST, ILL. ;

PENN MUTUAL BUILDING AND CURTIS BUILDING, PHILA- DELPHIA. SEEN FROM WASHINGTON SQUARE, LOOKING TOWARDS THE STATE HOUSE. EDGAR V. SEELER, ARCHITECT. WEST SIDE PENN MUTUAL BUILDING, PHILADELPHIA. SEEN FROM WASHINGTON SQUARE. Edgar V. Seeler, Architect.

The Penn Mutual Building, Philadelphia Edgar V Seeler, ~ Architect By Harold D Ebe.rlein

Penn Mutual Building, Phila- ficient to erect upon it a structure of the THEdelphia, facing on Independence necessary size. The open location, where and Washington Squares, claims an excellent and unobstructed view could attention both for its architectural merit be had from several directions, invited a and as a structure whose physical quali- design that should both commend itself fications are peculiarly well adapted to to casual inspection and, likewise, present meet all the manifold requirements of conservative features of enduring inter- the home office of a great life insurance est suitable to a fabric occupying so con- company. When the Penn Mutual Life spicuous a position before the eyes of Insurance Company found it necessary to thousands daily passing by. The historic move into new and larger quarters, it and architectural traditions of the imme- was determined to build with an eye not diate neighborhood, furthermore, pre- only to present needs of accommodation, scribed to some extent the mode of ex- but also to providing for growth of busi- pression to be followed in compliance with ness in years to come. The site chosen, the civic desire to attain a seemly degree at the southeast corner of Sixth and Wal- of unity in the buildings surrounding the nut Streets, with a front of 123 feet on birthplace of our national existence. Independence Square and 216 feet on A clear understanding of the building Washington Square, afforded area suf- and its points of merit will best be gained 124 THE ARCHITECTURAL RECORD.

AND FENCE DETAIL PENN MUTUAL BUILDING, PHILADELPHIA. Edgar V. Seeler, Architect. by first of all surveying its physical con- smoking room for the clerks and, finally, ditions. Besides incorporating in the refrigerating, electric, heating, ventilat- structure, in complete and most modern ing and power plants. form, every feature and working acces- The employees' entrance, the lifts and sory incident to thorough equipment for the stairway are in a convenience tower convenience, efficiency and comfort, a on the east side of the building so that well considered plan has reserved enough none of the rectangular area of the main ground for the creation of a garden and portion of the structure is encroached up- a generous light and air space between on for internal traffic purposes. The top the building and the other structures of this granite tower, carried out in the eastward in the block facing on Walnut same material and style as the rest of Street. In its basement and nine the fabric, encloses the water tanks that the new home of the Penn Mutual Life usually make an unsightly blot against the Insurance Company contains, besides the sky line of large city buildings devoted regular business office, officers' rooms, ac- to office or manufacturing purposes. It tuaries' offices, medical examiners' offices, also contains the clerks' board rooms, safe deposit vaults, agents' in the form of a polygonal house offices and consulting rooms and accom- opening out upon the flat roof of the main modations for the clerical force, a fire- structure, which is covered with tiles proof record room, a kitchen completely laid in mastic and surrounded by a high equipped with every efficiency device, din- and substantial granite parapet so that it ing rooms for the officers and for the becomes an auxiliary recreation space employees, sleeping quarters and baths during the luncheon hour. The boilers, for the servants living in the building, engines and pumps are partly in the base- a suite of apartments for the superin- ment of the tower, but chiefly under the tendent and his family, a rest room for back part of the air and light area at the women employees, a recreation and the end of the garden farthest from the DOORWAY ON WALNUT STREET PENN MUTUAL BUILDING, PHILADEL- PHIA. EDGAR V. SEELER, ARCHITECT. 126 THE ARCHITECTURAL RECORD.

tained by adopting a mode of expression obviously of Georgian provenance. At the same time, a note of blithesomeness was incorporated, consonant with the many-sided enterprise to which the struc- ture is devoted. In the case of the Penn Mutual Building the nature of the busi- ness for which it was designed de- manded a more serious and reserved form of expression. Viewed from Washing- ton Square, the southeast corner of the Curtis Building and the northwest cor- ner of the Penn Mutual Building form the sides of a frame bounding a vista of Independence Square and the State House with its strongly emphasized architectural character. The two great buildings, brought thus close together with only a narrow space separating them, afford interesting points of con- trast and comparison. Both occupy an unusual frontage and both proclaim a classic source of inspiration. But the Curtis Building's immediate ancestor was Georgian and thus there was room for considerable play of flexibility in treat- ment. The Penn Mutual Building, on the other hand, while plainly displaying the T r _ 3 <* traces of a general family resemblance, GROUND FLOOR PLAN-PENN MUTUAL shows a close adherence to more ancient BUILDING, PHILADELPHIA. Roman precedents and thus gains mate- Edgar V. Seeler, Architect. rially in austere dignity, which is exactly street so that the throb and vibration what it was intended it should do. of the machinery are not perceptible in The close adherence to classic prece- the body of the building, even on the dents in the design of the building may ground floor. So much for the purely have stamped it with the ineradicable im- physical considerations to be noted. press of conservatism, but it has not en- Regarded from an architectural point trapped the architect in any of the pitfalls of view, the cardinal traits of the Penn of perfunctory execution. In the first Mutual Building are dignity, conservat- place, the adoption of the three superim- ism and well-bred unobtrusiveness. Al- posed orders, with the strongly accentuat- lusion has already been made to the fact ed horizontal lines of their entablatures, that the historic and architectural tradi- as an expedient to keep down the apparent tions of the vicinity of the State House height of a structure, where it was desir- presupposed a treatment that should ex- able that the aspect of height should be hibit the characteristics of classic design minimized, and to give interest to the either as interpreted through Georgian whole wall surface of an exceptionally media or by a more direct return to an- long frontage unbroken except by window cient models. When the building of the openings, a wall surface that must other- Curtis Publishing Company, of which wise have appeared bald and barracks- Mr. Seeler was also the architect, was like, shows a ready command of the prin- erected several years ago, with a long ciples of sound composition and a nice frontage on Independence Square, con- perception of fitness in their application formity to the long-established architec- to meet peculiar local requirements. tural tone of the neighborhood was main- There is a conservatism of resourceful- THE ARCHITECTURAL RECORD. 127

s D

D > S u 128 THE ARCHITECTURAL RECORD.

able exhibitions of bizarre f addishness or grotesque inconsistency. In any critical estimate of the worth of the Penn Mutual Building, particularly with reference to the item of originality of treatment, it must also be borne in mind that civic good taste and respect for historic con- ditions demanded that it be designed not merely as an wholly independent struc- ture, but with reference to the type of other buildings near by in order to pre- serve due harmony in the Independence Square group. The consistently maintained quality of unobtrusive simplicity verging upon aus- terity, both outside and in, has not pre- vented an appropriate display of con- centrated enrichment in legitimate places. The detail of ornamentation is as chaste and as carefully proportioned as are the mass and the various structural features of the building. In this connection it is of interest to note the method employed prior to and during the course of erec- tion to ensure satisfactory results. A DETAIL PENN MUTUAL BUILDING, full sized model in wood and plaster of PHILADELPHIA. a section of the whole lower stage of the Edgar V. Seeler, Architect. structure was put up and from this were made a minute and revision of ness and mastery of the situation and pro- there is also a conservatism of banality that bespeaks ineptitude and a jejune im- either agination. The latter is usually the concomitant or the cause of perfunc- of tory achievement. Of the two sorts conservatism, one may unhesitatingly say that the second is not discernible in the structure under present consideration. There is, perhaps, no quality of architec- tural execution more difficult of success- ful attainment than a legitimate conser- vatism which steers a safe course between the Scylla of forced originality and the Charybdis of perfunctory dullness and in- capacity, both equally perilous. At any rate, it is thoroughly refreshing to find an example of deliberate conservatism and restraint such as may be seen in the Penn Mutual Building, and especially so when one has not far to seek to discover not a few instances in which, apparently, the feverish desire to be impressively original and the hectic striving, conscious or unconscious, after novelty have be- CEILING DETAIL PENN MUTUAL BUILDING, trayed many architects and men of un- PHILADELPHIA. questioned ability they are, too into piti- Edgar V. Seeler, Architect. THE ARCHITECTURAL RECORD. 129 130 THE ARCHITECTURAL RECORD.

WOMEN'S REST ROOM-PENN MUTUAL BUILDING, PHILADELPHIA. Edgar V. Seeler, Architect.

SECOND OFFICERS' DINING ROOM PENN MUTUAL BUILDING, PHILADELPHIA. Edgar V. Seeler, Architect. THE ARCHITECTURAL RECORD. 131

FIRST OFFICERS' DINING ROOM PENN MUTUAL BUILDING, PHILADELPHIA. Edgar V. Seeler, Architect. portions. Sections of other external fea- are of different pattern from those in tures and details were subjected to a their immediate neighborhood. Some no- like critical scrutiny and justification of tion of the variety of ceiling treatment line. Before the interior plasterwork was may be gained from the accompanying put in place or the marble carved, full- section details. sized detail casts of cornice sections, ceil- Another point that makes for satisfac- ing enrichment, door trims and minor de- tion is the honesty of the materials used tails of decoration were set up in place in construction. Whether it be the grey and carefully rectified for apparent pro- granite of the exterior, the Tavernelle portions, contour and requisite depth of marble of the interior, the bronze or the cutting. The process was costly and trou- oak woodwork, one is conscious that it blesome, but the result has fully justified is all genuine and sound and there is all the labor and expense involved. There not the distressing sense of spacious sub- are no crudities, no contours, no propor- stitutions that, sooner or later, are bound tions, miscalculated for their visual ef- to come to light and disappointingly de- fect, to cause regret. Structual parts and stroy even the flavor of honesty. The one decorative detail are blended into one bal- feature of finish and equipment open to anced and complete whole and so mod- serious criticism is the use of mahogany estly does the ornamentation, however woodwork in several of the officers' rooms rich, stay in its place that it needs more and in the board room and the retention than the casual glance to be aware of its of the mahogany used in the merit or even of its presence. When ex- board room of the former building, furni- amined, however, it will stand the test of ture as ugly as it doubtless was expen- close inspection and repay the effort by sive. It is unfortunate that an antiqua- the interesting variety disclosed. In the ted obsession that mahogany is the only bronze doors, for instance, there is no proper wood for fine work should have perfunctory repetition of rosettes, but all marred an otherwise excellent interior.

733

Albany Academy By C.B. Cu-tler With Measured Drawings by ] L.Dykeman and F I Kicker Photos by E. V.tfockwood

PART I.

1812, through the persistent efforts A remarkable feature is to be seen in IN of Phillip S. Van Rensselaer, then comparison of the front elevation with Mayor of Albany, the Common Coun- the photographs. In the sharp rise of cil appointed a committee to report on the the hip roof is ample evidence that the "expediency of establishing a city acad- designer understood perspective and had emy and endowing the same." calculated his elevation with reference to As a result of this beginning the Re- the site, which slopes rapidly away from gents, "conceiving the said academy cal- the building on the east. culated for the promotion of literature," The high basement was originally bur- duly granted a charter to "the Trustees ied almost to the first floor level and it of the Albany Academy," March 4, 1813. was not until 1821. when 10,000 loads of This charter is still in effect and the in- earth were removed in grading, that the stitution, as well as its house, stands a complete design was disclosed to view monument to the foresight and liberality from the noble park that lies to the east of its founders. Its high standards are and forms a beautiful setting. maintained to-day and its classical course Nyack red sandstone is the material, was unequalled save by Yale until within and it narrowly escaped being discarded a few decades. for brick, in the rear. It was finally de- Within its walls Joseph Henry spent his termined, however, to use the better ma- early student days and later, as an in- terial throughout. structor, gave to the world his discovery For timber, white oak, every stick hand of the principle of electro-magnetism, up- hewn, was thought none too good and on which is based every useful applica- white pine forms the interior trim. tion of electro-mechanics, from Morse's There is no composition , by telegraph to the mighty dynamos at the way, every leaf and volute being Niagara. carved in the solid, as every moulding So much of its history one must know was run with the hand plane. to understand the remarkable care and The stair treads are of white oak and expenditure bestowed on its housing. have never been renewed; next to the Phillip Hooker was its architect beyond mahogany rails they are worn into deep a doubt, though tradition has credited the hollows. work to Thomas C. Taylor and also has it Heating and ventilation were intended that on the copper plate placed in the cor- to be combined, as is shown in the air ner stone in 1815, was engraved, "Seth flues carefully cut through the stone of Geer, Architect, H. W. Snyder, Sculptor." the outer walls slightly below the fireplace Hooker's name appears on a slab over . Their position indicates connec- the center window of the upper story in tion with an air jacketed stove, in severe the rear wall, and the characteristics ex- weather, of a type shown in contemporary hibited in his many other buildings are publications. so prominent in this, that there is no rea- Fresh air was fed to the annular space son to dispute his claim. between stove and jacket and discharged The building is noteworthy for the skil- warm through an upper opening. ful handling of its mass, the breadth and No less remarkable than its beauty is liberality of its plan and the variety of the condition of this century old building the interior detail, which still retains unity to-day. It has escaped any mutilation, in feeling. has not been altered in any essential way ELEVATION- -SECTDN' SOUTH EAST COBNOL MAW BUILDING t"T .i.r.tt.t.t.rt

ALBANY (N. Y.) ACADEMY.

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END, OR LAFAYETTE STREET. ELE- VATIONALBANY (N. Y.) ACADEMY.

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ALBANY (N. Y.) ACADEMY. THE ARCHITECTURAL RECORD. 143 and is one of the most perfect specimens Presbyterian Church; the old Fourth of its type in existence. Presbyterian and the Second St. Peter's

Of all the wealth of architectural land- churches ; and the three Dutch Reformed marks that the old city of Albany once churches, known locally as the North possessed, the Academy stands alone, if Dutch, the South Dutch, and the Middle we except the Schuyler Mansion, 1752, Dutch. The last mentioned was an espe- now being restored by the State, the cially beautiful example of the early nine- "North Dutch" Church, which has been teenth century classic work. Of them all so altered as to have little of interest left, the North Dutch, the Presbyterian Church and the Second Presbyterian Church. and the State Bank remain, with the Philip Hooker has to his credit : the old Academy, as evidence of a skill and re- State Capitol, 1820; the old City Hall, finement, notable in that day and none the too in 1829 ; the State Bank, 1802 ; Second frequent our own.

DETAIL OF TOWER-ALBANY (N. Y.) ACADEMY. DOORWAY-THE BARRETT APARTMENTS, CHICAGO. RICHARD E. SCHMIDT, GARDEN & MARTIN, ARCHITECTS. J) (V The Barrett Apartment House, Chicago Richard E Schmidt, Garden 6- Martin, Architects By W?D. Foster v\ TT HILE there is no inherent reason over three stories must be made fire-proof. \fj why an apartment should not It is obvious that in a low building a have the charm of a home, the more domestic character can be obtained fact remains that many are quite devoid than in a high building. Verticality has of any domesticity or individuality. An never been able to give the repose and apartment can be given an individual calm restfulness that result from hori- touch, both in planning and in decoration zontality. and furnishing, which will relieve it' of The apartment work of Richard E. the monotony of a repeating motive. A Schmidt, Garden and Martin, of which place can be created where one can go we illustrate the latest, well shows that with quite the sensation of possession these architects have not only escaped and intimacy which is so much an essen- the errors in taste of the ordinary apart- tial human instinct. ment house design, but have achieved It is just this point which has become actual architectural merit and style. a distinguishing feature of the work of The earlier buildings the Chandler, the firm of Richard E. Schmidt, Garden the Hardy, the Chase, and the Craig, all in and Martin, as expressed in the apart- Chicago have a general atmosphere ment houses which they have designed which shows an adaptation of English in It result motives in Barrett find Chicago. is a not of accident ; the we a very but of very conscious effort on the part distinct Italian feeling. of the architects, who believe that it is Perhaps the most successful from the the only way to rescue this branch of point of view of exterior design are the architecture from the slough of imper- Chase and the Craig, each of which has sonal building in which it was born and a most delightful spirit and recalls dis- which it has never been able to leave com- tinctly the brick and stone work of the pletely. Renaissance in England. But while this The domestic quality of these buildings spirit of the English Renaissance is very has been aided by the fact that the apart- evident there is no copying and, in fact, ment house has developed along a some- hardly an adaptation of any particular what different line in Chicago from that motives. The designs simply have that followed in the East. By reason of the air which can only result when with a true fact that the better residential districts knowledge of precedent there is combined are not yet so congested, the land values an artistic insight that makes mere copy- are lower and the apartment houses have ism impossible. therefore been made to spread over a con- The Chandler was the first to be built siderable ground area rather than to rise and is particularly interesting because to any great height. To be sure, there are of the development of an interior court. some few buildings along the Lake Shore Here a fountain with grass plots and Drive which are very similar to the New shrubbery and a terrace beneath which York type, but they are conspicuous be- are the garages gives a touch of - cause of their isolation. Another factor ticity not to be found everywhere and of which has made for this limitation of particular value in affording a pleasant height to three stories or three stories outlook for many of the rooms. and an English basement is the fact that Second in the group came the Hardy. any greater height means a greater pro- This building follows more closely the portionate investment in order to meet the influence of the Jacobean precedent. It requirements of the law concerning fire- too has a very interesting plan in that the escapes and fire protection. Any building light courts which become necessary THE BARRETT APARTMENTS, CHICAGO. RICHARD E. SCHMIDT, GARDEN & MARTIN, ARCHITECTS. THE ARCHITECTURAL RECORD. 147 when one has a large place to deal with The vestibule and entrance hall on the have here been so arranged that they basement floor are simply treated with light only the unimportant service rooms. plaster walls paneled with simple mold- The other rooms look onto larger areas, ings and a black and white cement tile as the fine forecourt. floor of considerable distinction. The spa- The largest of the buildings and, in ciousness of this public part lends a certain many ways, the most interesting is the dignity, while the placing of pieces of Chase apartment. It is, moreover, the furniture in the hall and the fireplace least expensive of the group and shows give a truly personal air of comfort. well the fact (which many might realize Each of the five floors is given to only more fully) that it is not the money, but one apartment. As one steps from the the study that goes into a building, which into a small entry the feeling makes if a work of architectural beauty. is as if one were in a home immediately, Of the simplest material and construc- for even this part of the public hall has tion, this building has a charm of pro- a piece of furniture, a chair or a table portion, a delicacy in detail, and a re- with a mirror or picture above it. From straint in ornamentation which makes it here one enters the reception foyer off a distinct achievement in this type of of which open the living and dining rooms problem. and a passage to the . The The plan also is noteworthy. In fact, plan has been so arranged that the great- the whole solution was considered so un- est advantage possible has been taken of usually good that the Illinois Chapter of the southern exposure, three bedrooms the American Institute last year (1915) and the sitting room with its eastern- awarded to the architects its annual gold exposed sun-porch all facing south. The medal for the most noteworthy architec- living-room also has southern exposure, tural performance. which leaves only the service on the north. Again, the Craig apartment is inter- The interiors, although simple and esting particularly in plan in the use restrained, are quite dignified. While that has been made of a corner lot. In the same general treatment has been fol- this case a large forecourt has been de- lowed throughout the building, there are veloped with the principal facade run- many variations which were made accord- ing at 45 degrees with either street. This ing to the wishes of the individual tenants. has resulted in more of the principal The planning of the fifth floor is quite rooms having a street outlook than would different from that of the others, and otherwise have been the case, and also with a small sixth floor forms a so-called in greatly enhancing the architectural ef- apartment. The space which in fect of the corner. the other floors was given to servants' In all of these buildings the English rooms here forms a most interesting basement has been used as the most eco- "court," which has come to be the real nomical scheme and also because it gives center of the apartment. The "court" a safe and comfortable elevation above extends through the two stories and has a the street level for the first renting floor. small running across one end, a The Barrett apartment is the latest place for musicians when dances are of those built and has a rather different given. style from the earlier ones. Simple and The floor is of black and white tiles restrained, the facade, with the stone car- and at the end opposite the balcony there is touche at the first floor level, has an Ital- a fountain ; the center of interest, how- ian feeling which is modified by fenestra- ever, is the large fireplace with its interest- tion of almost Colonial proportions. The ing mantel. These special features which scheme of treating the entrance motive were incorporated at the request of the united with the windows above and the prospective tenant create an individual ef- whole balanced by a similar mass of stone fect that immediately removes the stigma on the other side of the axis is quite sim- of "apartment" and makes a home. ilar to the wood treatment of the en- It surely is most gratifying to note the trance of the Craig apartments. advance which these buildings mark in

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O W ^ Q o II 152 THE ARCHITECTURAL RECORD.

Fourth Floor.

Third Floor

Typical Floor.

FLOOR PLANS OF THE BARRETT APARTMENTS, CHICAGO. RICHARD E. SCHMIDT, GARDEN & MARTIN, ARCHITECTS. THE ARCHITECTURAL RECORD. 153 the design and construction of a problem thetic appearance. Laws have been passed which is to be met with increasing fre- that have done something toward reliev- that quency. Inherently a problem pre- ing conditions, at least toward the protec- difficulties the tion in sents many arrangement of life, that cubical contents, light of a plan that is generally hedged in by area and other such points have been many restrictions, the designing of an fixed; but the aesthetic relief has been elevation to appear domestic in spite of its slower. repetition of equal elements on various Of course, substantial advance did not the of surfaces until floors and handling large come architects of real ability the solutions have only too frequently worked upon the problem and achieved been results the unsatisfactory. good ; public, recognizing and The efforts at first were so ruled by appreciating the change, made the own- the desires of real estate investors, who ers realize that greater investments would of them well. were only interested in the amount pay It is now impossible their investment and its effect upon an at any time to make a survey of recent little architecture without early purchaser, that competent including many ex- cellent study was put upon the problem. But at apartment houses. a date the felt These by the firm of Richard E. comparatively early public ^ the inadequacy of these buildings that Schmidt, Garden and Martin are repre- sentative of are to so many city dwellers and this striking advance and are sides to objections were heard on many particularly commendable because of the distinct note their poor construction, their poor plan- of domesticity which they ning and some even to their poor aes- possess. COBB BUILDING, SEATTLE, WASH. HOWELLS & STOKES, ARCHITECTS. 77u? Cobb Building, Seattle, Wask

Howells (3- Stokes, Architects

By John /.

who observes the tendencies of der the building less desirable for many ONEcurrent architectural growth may other classes of tenants. readily note the great increase, in We find, therefore, a number of build- recent years, of office buildings for special ings, in various cities, whose construction purposes. We have printers', chemists', and equipment has been specialized for architects', and lawyers' buildings, to the use of doctors, and whose tenancy is name only a few examples taken at ran- largely or wholly restricted to their use. dom. In some cases the specialization is Of these the Cobb Building in Seattle is merely a convention adopted by the own- probably the largest, and represents the ers of the structure, in others it involves highest type of development yet reached. special planning and equipment. It is of first class fireproof construction, The medical and dental office buildings and contains everything that may be use- may be included in the latter category. ful for its purpose. It has, in conse- While their divergence from the general quence, been a great financial success, so type of office building is not great, it is, much so that the owners are contemplat- nevertheless, sufficient to merit special ing the erection of an annex to take care notice. of the growing demand for offices. Until very recent years the offices of The Cobb Building is one of the units doctors and dentists were invariably in of a group being gradually developed by their homes. But the growth of electrical a company owning a large tract in the cen- and other technical apparatus, the in- ter of the city of Seattle, formerly occu- creased difficulty of housekeeping under pied by the State University, and now be- modern conditions, and the desire ing developed with a variety of commer- on the doctor's part to confine his activi- cial buildings, including a theatre, a con- ties to stated hours, instead of being called vention hall, and several office buildings. on at all hours of the day and night, have All these have been designed by Messrs. prompted the location of his office outside Howells and Stokes, in a simple digni- the home, thus following the example set fied treatment of brick and terra-cotta, of by most of the other professions. which little need be said here, since these The segregation of this type of tenants buildings, so far as their external fea- in buildings exclusively for their use is tures are concerned, have been already also mainly a question of obtaining the discussed in an article by Mr. Herbert neccessary technical facilities. They re- Croly in the Architectural Record for quire electrical and equipment July, 1912. We are, at present, more par- in excess of that of the ordinary tenant, ticularly concerned with the details of the and naturally prefer those buildings in internal arrangement, and its adaptation which these superior facilities are to be to its purpose. found. There are also other considera- The Cobb Building is ten full stories in tions, affecting more particularly the own- height, plus a basement partly above er, and prompting him to cater to this grade and a roof house of considerable specialized demand, since medical prac- size, used for offices, and accessible by two titioners, although willing to pay a good of the four . The ground occu- rental, are difficult to satisfy, require an pied has a frontage of one hundred and equipment and janitor service that would twenty feet on Fourth Avenue, and one be unduly expensive for a general office hundred and seven on University Street. building, and their presence tends to ren- On the side parallel to Fourth Avenue 156 THE ARCHITECTURAL RECORD.

fOUBTH AVENUt TYPICAL FLOOR PLAN-COBB BUILDING, SEATTLE, WASH. II. .wells & Stokes, Architects. runs an alley about twenty feet wide, introduction, but is growing in popularity, while the fourth side, facing approxi- and in the proposed annex it is likely that mately north, has its light protected in it will be still more extensively used. part by the new Federal Post Office, of The architects of the building even favor only moderate height, a permanent north the use of private toilets with each suite, light being thus assured. The floors are public toilets being almost entirely elimin- spaced eleven feet apart, floor to floor, ated. and the sixteen feet ten inches In addition to these facilities, all the on the avenue and fourteen feet ten offices are provided with wash-basins, the inches on the street, although this latter pipes in some parts of the building being spacing has been found to give rooms of a size that will allow extra toilets and that are a trifle small for their special use. bathtubs to be put in if desired, although The general plan is substantially that as yet this has not been done. of -the typical modern office building, ex- Some other features of the general cept as to a few features. There are, for plan may be mentioned. The round cor- example, toilets for both sexes on every ner has not proven particularly success- floor, as well as two private toilets, in- ful, making the offices more difficult to tended to be rented in connection with the rent. The space back of the elevators, on adjoining offices. This latter feature was the other hand, has rented readily, being not greatly appreciated at the time of its of a good size and with excellent north OFFICE OF DR. FRANK I. SHAW COBB BUILDING, SEATTLE, WASH. HOWELLS & STOKES, ARCHITECTS. 158 THE ARCHITECTURAL RECORD.

and the additional expense has been made up by the increased rate of rental. This increased rate, however, has not meant unduly high total rents, because of the economy of space afforded by the plan. The building, as constructed, has not been divided, but the offices have been installed as needed, so that each one is adapted to the individual ten- ant. Thus, although the expense of partitioning has been some- what increased, this has been more than offset by the greater OFFICE OF DR. H. LOGAN GEARY, WITH SURGICAL economy of space, with a gain OPERATING ROOM. both in renting value and in convenience to the user.

CE5T E 00 M5- GYMNASIUM-

PLAN OF HYDROTHERAPEUTIC BATHS-COBB BUILDING, SEATTLE, WASH.

' Howells 'okes, Architects.

light. A special feature is the use of double walls between offices and rooms, to ren- der the former quieter and more desirable. The equipment of the build- ing is of course very complete, including gas, compressed air, vacuum cleaners, and both di- rect and alternating current. The elevators are very large and of rather slow speed, in view of the large number of women and children using the building. In all these matters attention has been special given OFFICE OF DR. GEORGE T. WILLIAMS, IN THE ROOF to the needs of the occupant, HOUSE BACK OF THE ELEVATORS. THE ARCHITECTURAL RECORD. 159

VIEW OF OPERATING ROOM COBB BUILDING, SEATTLE, WASH. Howells & Stokes, Architects.

The plans of office layouts reproduced space occupied is only about forty-five herewith show a few of the possible ar- feet by thirty. rangements. Dr. Williams' office, located Dr. Geary's office is somewhat small- in the roof house back of the elevators, er, although it occupies a similar location may be taken as more or less typical of the on another floor. In connection with it is smaller suites, except that it has the ad- a surgical operating room, with its ac- vantage of light on two sides. It con- companying services, using Dr. Geary's tains a reception room, a retiring room reception room. The financial manage- for patients, two operating rooms, a small ment of this operating room is somewhat laboratory, and a special exit for the use peculiar. It is maintained by Dr. Geary, of the doctor. With light on the end only, although he does not use it for his own this arrangement would require to be cases, and is leased by him to the vari- modified by the reversal in plan of the ous surgeons who may wish to make use laboratory and the smaller operating of it. room, the reception room and laboratory It is intended only for minor operations, being lighted only by artificial or bor- and does not compete with the hospital. rowed light. Two recovery beds are provided in the Dr. Shaw's office, located in the north room adjacent, and two graduate day end of the building, is a far more elabor- nurses are regularly employed, a night ate suite, having four operating rooms, nurse being sent for when a patient is with a prophylactic room, consulting not sufficiently recovered to leave be- room, laboratory, reception room, two fore night. The operating room has a dressing rooms and a private toilet. In floor of vitreous tile, and woodwork fin- spite of this large number of rooms, the ished in hard white enamel, and is 160 THE ARCHITECTURAL RECORD. equipped with all the surgical apparatus simplest character, and the floors are of appropriate for its use. hard maple. Floors with cove terazzo From the consideration of these and base have been used in part of the build- other offices certain general rules may be ing, but have not shown a rental value to deduced, for use in the planning of fu- justify their more extended use in Seat- ture installations. The width of a dental tle at least. Ventilation has been provided operating room should be not less than for by a special type of window ventilat- seven or eight feet, its depth about nine or ors, installed throughout the building, ten, and somewhat more if a laboratory and since placed on the market. bench is to be in the same room. When In addition to the offices of about fifty a separate laboratory is used, this re- dentists and over one hundred other prac- quires a space about four feet by six, al- titioners, the Cobb Building accommo- though it may advantageously be larger. dates medical and photographic laborator- The operating room requires strong but ies, dental and medical supply houses, diffused direct light, and should there- the offices of the Board of Health and the, fore have one or more windows, as large State Medical Library Association, all as possible, and preferably facing north. features that increase the convenience of In the Cobb Building most of the dental its use to the tenants. There is also an in- offices are on the north side, the rest of the stallation of hydrotherapeutic baths, with space being occupied by physicians, sur- an office and reception room, various rest geons, and oculists. rooms, massage rooms, salt baths, electric The reception room may be fairly small, baths, hot air baths, and toilets for both and lighted entirely by electricity, as few sexes, as well as a large douche room with patients now come except by appoint- massage room attached. The building ment, and they need seldom wait a long contains also a lunch room, hair dress- time. The ladies' retiring room may be ing and manicuring establishment, and quite small, about five feet by seven, as it other similar installations appropriate to need contain only a dressing table, chair, its special use. It is, in fact, reserved en- and couch, with a lavatory if convenient. trely for medical and dental purposes, A small store room is of value, though with their subsidiary services, except for not indispensable, and an office desk a part of the first floor and basement. should be provided, in some part of the When the building was opened, certain suite. The space necessary for these co-operative suites were installed, for the various rooms seems best furnished by a use of those having a small practice, not spacing of about seventeen feet, justifying separate offices. These have with a depth of from twenty-two to twen- since been abandoned, being found less ty-six, according to the individual office profitable to the owners than a division arrangement, and the Cobb Building con- into individual suites. Similar arrange- forms very nearly to this requirement. ments, however, have proven more profit- The finish of the building is of a simple able in other cities, and the experiment and sanitary character, walls and ceil- might be worth trying elsewhere, and ings being treated with a smooth wash- would certainly be appreciated by many able cement paint. The oak trim is of the of the younger practitioners. PORTFOLIO OFCVRRENT ARCHITECTVRE

I HOUSE AT IS EAST SEVENTY- FOURTH STREET, . HEWITT & BOTTOMLEY, ARCHITECTS. DETAIL OF FACADE-HOUSE AT 15 EAST SEVENTY- FOURTH STREET, NEW YORK CITY. HEWITT & BOTTOMLEY, ARCHITECTS.

DETAIL OF DINING ROOM HOUSE AT 15 EAST SEVENTY- FOURTH STREET. NEW YORK CITY. HEWITT & BOTTOMLEY, ARCHITECTS. THE ARCHITECTURAL RECORD. 167

LIBRARY-HOUSE AT 15 EAST SEVENTY-FOURTH STREET, NEW YORK CITY. Hewitt & Bottomley, Architects.

LIBRARY-HOUSE AT IS EAST SEVENTY-FOURTH STREET, NEW YORK CITY. Hewitt & Bottomley, Architects. : c

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PLAN OF FIRST FLOOR-ROSSIA INSURANCE COMPANY'S BUILDING, HARTFORD, CONN. EDWARD T. HAPGOOD, ARCHITECT.

170 THE ARCHITECTURAL RECORD.

ROSSIA INSURANCE COMPANY'S BUILDING, HARTFORD, CONN. Edward T. Hapgood, Architect.

MAIN ROOM-ROSSIA INSURANCE COMPANY'S BUILDING, HARTFORD, CONN. Edward T. Hapgood, Architect. THE ARCHITECTURAL RECORD. 171 172 THE ARCHITECTURAL RECORD.

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NEW STATE CAPITOL, SALT LAKE CITY, UTAH. R. Kletting, Architect.

NEW STATE CAPITOL, SALT LAKE CITY, UTAH. R. Kletting, Architect. W OT

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FLOOR PLANS-CITY NATIONAL BANK, EVANS- VILLE, IND. MUNDIE & JENSEN, ARCHITECTS. THE ARCHITECTURAL RECORD. 175

RESIDENCE OF EDWIN M. COLVIN, ESQ., CHICAGO. George W. Maher, Architect.

PLAN OF FIRST FLOOR-RESIDENCE OF EDWIN M. COLVIN, ESQ., CHICAGO. George W. Maher, Architect. Q H < u o w H

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10 n? Personal Reminiscences of CHARLES POLLEN -MCK1M ***- By Glenn Brown -^~

M cKi/ns Way

way, which in my experi- operation extended through his office to McKIM'Sence led to success, was a most in- the youngest draftsman. This power teresting study of personality. made many of his dreams for the ad- There was, in his intercourse with vancement of the fine arts and the cul- others, an innate diffidence which was ture of the people blossom out into flattering, a charming deference which realities. was winning, a fund of knowledge Time and labor were never considered which was convincing, a refinement of by him or by those enthusiastically work- was a breadth with him in taste which enlightening, ing ; the object view was the of view which was enlarging, a concen- most perfect design or the best method of tration which was absorbing and a per- advancing the fine arts. sistence which was successful. Positive McKim's way is well illustrated by the in his convictions, sensitive, refined and following occurrences which came under unerring in his judgment of beauty, per- my knowledge. sistent in carrying out his ideas, he was The American Academy in was unrivalled, in my experience, in winning started by the brilliant group of artists against opposition. who had charge of the Chicago Exposi- He entered a discussion by apparently tion in 1893, to give our country a post agreeing with his opponent, frequently graduate school of architecture. It was calling attention to good points not seen soon after I became secretary of the by the author, then, bit by bit, a sugges- American Institute of Architects that I tion was made here and there, showing became, through McKim, interested in where the scheme or idea might be im- the future of the American Academy. proved. The suggestions often called for For years he had largely supported the radical changes, and I have yet to see school from his private income, and it anyone fail gladly to avail himself of the was his ambition to secure an endowment ideas offered, as they were always good. and see it firmly established before his His concentration on the subject in hand death. He felt keenly that a school of notable side issues or out- this character was most ; no was the surest step to- side problems, no matter how important, ward advancing the fine arts and add- were allowed to interfere. ing to the refinement and culture of the His study of a subject was painstak- public. His first move was to secure an ing and exhaustive, starting with the endowment and one of the means he broad principles and descending to the adopted was the noted dinner of the minutest details. His power of enthus- American Institute of Architects, a full ing others through his charming defer- account of which has been given in a ence and clear ideas was exceptional, previous paper. McKim thought a na- whether it was brought to bear on a tional charter was necessary to give the strenuous President like Roosevelt, a Academy a recognized dignity among great college President like Eliot or the other foreign schools in Rome, which broad statesmen like Elihu Root, an emin- are all endowed by their governments, ent brother artist like Saint Gaudens, a while the American school remained only literary enthusiast like Gilder, or a cosmo- a private affair. To secure the national politan like Frank Millet. The capacity charter required an act of Congress. To of exciting enthusiasm and securing co- get an act of Congress called for the THE ARCHITECTURAL RECORD. 179 approval of the Committee on Library. Senate with the modified charter. Sena- To get the approval of the Committee on tor Newlands immediately brought it be- Library required Speaker Cannon's ap- fore the Senate, by previous arrange- proval. Cannon was opposed, he said, be- ment, but here again a single objection cause while the bill for a charter did not would have prevented its passage. Sena- call for an appropriation, it was only an tor Teller, as we knew, had signified his entering wedge for final government sup- intention to object to all bills of this char- port of the school. acter. Senator Newlands when it was For several years the bill was held up read went across the Senate chamber and by the Committee of the House. Finally sat by Senator Teller and as he arose to Representative J. T. McCleary from object, Senator Newlands actually pulling Minnesota was persuaded by Cass Gil- him down by the coat tails, asked as a bert, whom McKim called to his assist- personal favor that Teller allow it to come ance, and Gilbert's friends from Minne- before the Senate for consideration. The sota, to take an interest in the subject and Senator yielded to this personal plea. Cannon allowed a favorable report to be The bill passed and was signed by made. I think Cannon felt assured that President Roosevelt and the American the measure would be stopped in the Academy in Rome received its national House, as a single objection would kill charter. McKim felt that we had started the bill for that session, as the bill must be the Academy on a firm . brought up out of the regular order and The first home of this school was a during the last days of the session. rented building, the Villa Aurora; the Representative J. T. McCleary and second was the Villa Mirafiore (without Representative Henry Kirke Porter gave the walls) presented to them through the us the names of the five Repre- generosity of Mr. Henry Walters; the sentatives, any one of whom if present third and permanent home, given a short would object and thus prevent the pas- time before McKim's death, is the Villa sage of the bill. McKim laid his plans Aurelia on the summit of the Janiculum to ward off these objections by securing Hill in Rome. This Villa within the walls the aid and co-operation of prominent overlooking the historic hills, cathedrals, men in the State of the member. I rec- arches and temples of Rome from the ollect I was delegated to see Secretary Alban Hills to the Mediterranean, was Hay, who was a friend of one objector, devised to the Academy by the will of and secured his assurance of help. Aid Mrs. Clara J. Heyland, formerly Miss was sought from New York, Chicago, St. Jessup of Philadelphia, as a memorial Louis and Boston for this purpose and to her parents and to assist and encourage all asked responded to the call. education in the fine arts. There was one objector from the This Villa makes real the dream of Mc- South, and W. S. Fames got an assur- Kim, which revealed a place where the ance from a Representative that he students would be constantly in the at- would take the member down for a mosphere and under the influence of drink just before the bill was called. The Rome and nearby Italy, in daily associa- bill came up, no objection was raised, due tion with its enlightening antiquities, be- to the carefully laid plans of McKim, and ing adjacent to the Villa Pamfili Doria, passed the House. not far from Saint Peter's, the Vatican, The Senate had already passed the bill, and the Roman Forum. New buildings but slight modifications made it necessary are being erected to give the students for the Senate to again pass upon the and work rooms, and a fine li- measure and it was the last day of the brary, reserving the Villa for the resi- session. dence of the director and more or less I had been in touch with Senator New- public functions. lands and Representatives Porter and Through the zealous and wise conduct McCleary during the days of the cam- of Mr. William R. Mead, who became paign, and acting on instructions, I president after McKim's death, and secured a copy and hurried over to the Frank Millet, appointed director, the o c/5 S& H W &" '-. S O U

> H THE ARCHITECTURAL RECORD. 181 school is now in a position to fulfill in just in time to have them ready before the highest degree the ideals of Charles the unveiling. Follen McKim, who left his estate, sub- It was McKim's way to give of his talent in ject to a life annuity to his daughter, time and to serve the public, as to carry forward the education of the his constant efforts to maintain the de- bright students in sculpture, painting and sign of the Park Commission Plan when architecture, who will by their good work new buildings were erected or new parks in the future interest, enlighten and lead planted. the public to demand only the best in He freely gave of his time and talents the fine arts. on juries for selecting the designs for McKim's persistent way of searching public buildings and monuments. He for and attaining the best results was was one of the jury which selected the shown vividly to me in his design for design for the Bureau of American Re- the base of the Sherman Statue in New publics, one of the most satisfactory York. One day he was lunching with structures of recent date, and his criti- me at the Cosmos Club, when he opened cisms and suggestions for modifications the conversation by saying, "I am thank- and changes were of assistance to the ful Saint Gaudens and I have settled on architects, Messrs. Kelsey and Cret. the design of the base for the Sherman He was one of the jury in selecting the Statue. My first idea was a high base memorial to Grant which is now being something on the order of Colleoni, while erected at the eastern end of the Mall, Saint Gaudens wanted the figure only a and he not only, selected a monument that few feet from the ground. We have would be suitable for this most important compromised, making it higher than he position, but by his advice made it more first wanted it and lower than my first fitting than it was in the original form. idea. I have made about fifteen hundred McKim's way caused him to often try studies for this base and I am thankful full size models or sections in place, that it has been settled." ignoring the criticism of the thoughtless, We had not been at the table half an so as to judge more clearly of their scale hour when McKim received a telegram and relation to each other. I recollect which he opened. A curious expression spending an afternoon with him in the crept over his face as he read the tele- Harvard Club building, New York, when gram to me: "Charles, that base is all he was experimenting with the beams in wrong. Gus." I don't know how many the ceiling, trying their depths and dis- other studies were made before these tance apart until he had arrived at the two men of genius were satisfied, as they solution which he thought best. At the finally were, with the result. Just before same time several designs for paneling the Sherman Statue was unveiled I spent the lower third of the walls, made full three hours with McKim and Saint size, were put in place and the one most Gaudens at the statue while they were suitable chosen. All acknowledge that discussing pro and con the minor details this hall is one of our best interiors. of the tone for bronze in the ornaments He acted in an advisory capacity in on the base to make it harmonize with many directions in which, while not add- the gilded statue and red granite base, ing to his reputation, his good judgment and the question of leaving the sculptured was of great value to the community earth on which the figures stood, as it was which sought his advice, as was the case cut of red granite, or gilding it to go with in saving the Confederate State Capitol the statue. in Montgomery, Alabama. Additions to During the three hours many tints were this old building, a good example of the tried on the bronze band and on the Greek revival of about 1820, were con- and each shade con- and some of the officials trophies, carefully templated ; being sidered in its relations to the granite sufficiently doubtful of their capacity to base and to the bronze sculpture. The undertake these changes, determined to tints were chosen and the determination ask McKim's advice or judgment on the reached to gild the sculptured stone earth proposed additions. I received a letter

ENTRANCE VESTIBULE-. McKIM, MEAD & WHITE, ARCHITECTS. 184 THE ARCHITECTURAL RECORD.

asking if I would go with him to the ponents with him to his goal. He never hearing on the subject, before the Gov- gave up until he gained his end in every ernor and other State officials, in Mont- instance that came under my observa- gomery, Alabama. We spent the next tion. day in the of the Pullman, Another factor in the success of Mc- studying the drawings of the proposed ad- Kim's way was his genius as a designer. ditions, which would have overshadowed I recollect very well as a young man the original building and destroyed its the sad feeling of disappointment, when dignity and importance. He mapped out McKim, Mead and White showed their the proposed changes in the drawings tendency in design as illustrated by the which he considered would keep them in and other early harmony and subordinate to the old work. structure. The arguments for the changes I had only a short time before left were mapped out so the case was well the Massachusetts Institute of Tech- prepared when we met the Governor and nology, where just across the street his official family the next day. After Richardson was completing his great McKim had given his views, he called masterpiece, Trinity Church, which en- upon me as author of the History of the thused me, as it did many others, with United States Capitol, to give mine, which the idea that the true expression for it goes without saying coincided with his. American architecture was the Byzantine Advocates of the improper scheme as pro- or Romanesque. Many of us felt that posed made their statements and cross this style, which never reached its questioned McKim and myself. Before highest expression in the old country, was the meeting was over we could see that capable of development into a national the majority was with us and the Con- distinctive style and that it would reach federate State Capitol was saved. its artistic development in this country During our trip McKim said, "If my through the genius of H. H. Richardson father knew I was trying to save the and his students. Confederate State Capitol where Jeffer- When Charles McKim and Stanford son Davis took the oath of office and was White, two of the brilliant men in Rich- inaugurated President of the Confeder- ardson's office, showed they were not acy, he would turn over in his grave." following in the Byzantine, but were McKim's father was a clergyman and adopting the Italian Renaissance, I was strong abolitionist. distinctly disappointed, as I thought they It was McKim's way to draw to him were the men to give us a national style by his charming, lovable disposition, developed from the beginning by Rich- brilliant mind, sensitive and highly culti- ardson. vated sense of the beautiful, keen appre- As the years passed and I saw the ciation of the best in literature, music effect of Richardson's brilliance and per- and the fine arts, other spirits who were sonal genius as it spread over the country seeking the best in art, literature, edu- and the woeful results produced by the cation such intimates as Richard Wat- strong men and the weak men in attempts son Gilder, Augustus Saint Gaudens, D. to follow his example, my views changed. H. Burnham, Frank Millet, John La It may be safely said that no building, Farge, Elihu Root, Joseph Choate, Nicho- among the thousands erected as Richard- las Murray Butler, Charles Eliot and sonian or Romanesque, can even approxi- . It was to McKim mately be thought a work of art, except those on which Richardson left his . that such men listened and by whom they per- were swayed and guided in discussions sonal impress. I began to feel that it was of the fine arts. When one differed with a misfortune that any one tried to follow him those who did not know would think Richardson, and I am now glad that no he had changed his views, while he was one attempts his style. As the years simply working around to it by what passed I became more and more en- appeared to be roundabout paths, but thusiastic on the work of McKim, Mead by ways that carried him and his op- and White, particularly admiring the THE ARCHITECTURAL RECORD. 185 buildings in which the design was at- centration, the faculty of wiping from his tributed to McKim. mind surroundings, other problems and The grasp of big composition, careful conditions, and focussing his mind on proportions, the charmingly refined de- the problem in hand. tails, the due consideration of the setting It was this concentration, while in- and harmony with surroundings, the numerable other problems were thrust treatment of landscape with just the upon him, but ignored, that proved so proper formality to enhance the building, successful in his work of restoring the all were more perfect and more artistic , in designing the great plan than had been done in this country be- for the Mall in Washington with its great fore. vistas and monumental memorials and Nothing in this country, and I know buildings, and in his work for the public of nothing better in other countries, illus- through the American Institute of Archi- trate these principles more fully than the tects which proved so effective and satis- approaches and flanking buildings com- factory. bined with the Columbia Library, New McKim's way meant loyalty, through York. Here we have dignity, harmony, good and evil report, to friends and as- good proportion, refined detail, combined sociates when he had tested and knew the with just the proper formal landscape, good qualities of a man or the capa- making one of the great architectural bilities of the artist. He defended them compositions of the world. against malicious attacks and brought I was very much interested some time forward their good qualities and good ago in attending a lecture on modern works. On many occasions it has been architecture, where there was a mixed my pleasure to hear him defend men to audience of some six hundred false motives had attributed people. whom been ; Views were given of noted foreign build- while it was difficult for him to see the ings, showing their influence on Ameri- evil, he was quick to see the good in a can work. Views were given of the noted person. buildings in this country. When the view McKim was diffident in expressing him- of the Morgan Library, New York, by self before a large body of men and his McKim, Mead and White, was thrown delivery was not impressive, as he often upon the screen, there was a spontaneous hesitated and apparently missed the burst of this applause and was the only proper word. Strange to say. that while slide among the many good things shown a stenographic report of his speeches re- that produced applause. quired but little change, many of the This showed an appreciation of the ready and fluent talkers had to rewrite beautiful by a mixed American audience their efforts. In his hesitation he found that I felt for the future the word to the it augured good right convey thought ; of the fine arts. McKim's influence, in was McKim's way to seek, while appar- simplicity, harmony, refinement, and ently hesitating, the word best suited to landscape, has been one of the greatest the idea. factors which, spread through the great McKim's way drew around him a co- men who have graduated from his office terie of men, idealists, but practical in on whom his principles have been im- presenting, persistent in maintaining and pressed, has placed architecture in this effective in attaining their ideals, among country in the forefront in modern archi- which was the advancement of the nation tecture. in the fine arts believed ; they appreciation Another factor that led to success in of the beautiful by the people was a long McKim's way was the power of con- step in the culture of the nation. BOOKS ON COLONIAL ARCHITECTURE By RICHARD FRANZ BACH

Curator, School of Architecture,

Part III. Dwellings

logically as the Eskimo builds his had the benefits of a plentiful supply of AS igloo of ice, does the Colonial pio- wood and more limited supply of bricks, neer erect his house of wood; his yet had at the beginning only a minimum first building, whatever its purpose, was of mechanical skill to rely upon. assuredly a log house. A group of small Progress was, in modern terms, very log house dwellings centered about a slow until the sawmill became an estab- larger log house of sufficient size to shelter lished fact in the new land. This aid most of the small community and of suf- brought proper materials readily to hand ficient strength to withstand a military and its effective work is apparent at once. undertaking against it. Occasionally, But the majority of the settlers, con- when hunting or trade drove the settler fronted with the problem of increased into the wilds, perhaps as a trapper or architectural development brought about dealer in furs, his dwelling, as a remote by the sawmill's help and encouraged by outpost of civilization, became in fact and the growing wealth and prosperity born of of necessity also his castle, and was cor- Colonial peace after 1730 -and but lit- respondingly conceived. It took on cer- tle good Colonial work antedates that tain aspects of defense and found but time seems to have had no alternative small use for decorative detail. As all in design but to hark back to English such outposts were ultimately engulfed models for the larger buildings of the by the advancing tide of civilization, they third and fourth generations. The con- leave but little impress on the architec- ception of a full-fledged and indigenous ture of which they formed one of the first wood architecture, the product of the soil, and most truthful manifestations. At the an autochthonous or home born develop- outset, of course, the actual difference be- ment such as that of Switzerland, the tween this outpost dwelling and the dwell- Tyrol and of Scandinavian countries, ing nearer the coast lies only in the degree found no place in his reasoning. Thus of danger to which it is exposed. The the log house beginnings are seen to as- decorative beginnings are not long out- pire to the high places of European archi- standing, however, and soon add a re- tecture despite the handicaps brought strained charm to a type of building that about by a lack of technical skill and ar- THE ARCHITECTURAL RECORD. 187 tistic ability. The more important build- established land grants of New York. ings of domestic type indicate the direct Along the shore of Massachusetts and suggestion of the home country very Connecticut, as well as in the rrtmmercial early. The architectural vagaries of the communities, many towns offer a wealth carpenter are the immediate result of the of city residences. Boston, New York and translation of stone forms into wood and Philadelphia soon spring into the lead, by the translation contribute not a little to while in the interior of these colonies and the character of Colonial building in cer- in the hinterland of New Jersey and tain districts. The Dutch settler, and also Pennsylvania the sturdy yeoman builds the Swede, are impelled by similar tradi- his more modest but none the less char- tions in their respective national terms. acteristic farmhouse, without pretense The larger houses which at the outset but in full enjoyment of comfort. The were not thus inspired from homeland Dutch farmhouse in the latter districts in types were likewise of little architectural particular soon crystallizes its own easily merit. Thus, in the sentiment of Lowell recognizable type whose influence also concerning Cambridge, many of the early reaches into the present day, as any sur- cities were but English villages poorly vey of current country house building will transplanted. The same was true of the show. Meanwhile the hegemony of wood Colonial centers of other nationalities has been challenged by brick makers and represented in the new world. stone cutters, though for some time any As a single and refreshing exception carving of importance whether stone or to this rehabilitation of models drawn wood was imported in finished state or from the mother country, we come upon else executed by imported carvers. Many the cottage type, with its long sweeping a shipload of bricks was brought from roof falling away toward the rear of Holland; in fact, whatever Dutch city the house and canting off a corner from architecture there may have been in New each story on its way. This type has York City, for instance, was from the persisted and seems to have been one very beginning predominantly of brick. of the earliest and most rapid of the In certain other Northern cities, as well as various phases of domestic development. in some Southern districts, brick also as- It was especially characteristic of New serts itself, especially after the manufac- England and both there as well as in the ture of this material had become an estab- central States has formed the basis of lished industry in the colonies. Stone interesting derivations in design at later appears in many farmhouses, both small times. in New Jersey and Pennsylvania, and In general it may be said that, as a large in parts of New York. In New truthful product in fact, as a kind of England wood remains paramount. signature of the Colonial epoch, our for- In the ensuing papers covering our mative architecture may be subdivided study of the literature of Colonial archi- into a number of regional varieties, the tecture, which deals chiefly with domes- geographical distribution of these being tic buildings, we shall follow the triple controlled by the fundamental economic subdivision of the original territory into conditions imposed by different methods New England, Central and Southern of land holding. Thus the landed gentry States, not that this subdivision has any of the early times were found chiefly in decided advantages, but simply to carry the South and in York State while the of New ; through logical disposition groups in Pennsylvania and in the New Eng- of communities later to become States in a land States the small farmer prevailed geographical sense, which also expresses and merchants fostered the rapid growth itself with fair exactitude architecturally. of cities. As a result, the manorial type We shall not attempt to offer a general of living flourished on the Southern plan- resume of existing dwellings as a pre- tation about the spacious mansion, usually face to the discussion of the books, as of a size calculated to house many more was done in the case of the secular edi- than its fices this will be owner's family, and also in the ; amply provided for in country residences situated upon the old the reviews to follow. Furthermore, 188 THE ARCHITECTURAL RECORD. since our early architecture, like most the extant houses discussed, and she has modern architecture, was predominantly brought to her work a conscientious ac- domestic, the extant examples are too curacy in regard to historical data which many to permit separate enumeration. forms a sustaining framework for stu- The books available in the field of Col- diously collected anecdotes of individual onial dwellings are chiefly of two kinds : and family biography. The whole con- those most readily classified as general ception of both volumes may be styled historical or as popular works and those popular in so far as that word may indi- which devote themselves to a more defin- cate the avoidance of the dry manner of ite architectural purpose, carried out writing of the historian and also the total through the agency of photographs or elimination of any attention to architec- measured drawings with details of con- tural forms. The books are well printed. struction or of decoration. Not a few There are many illustrations and the stor- bold spirits have undertaken a general ies of no less than nineteen Colonial treatment of domestic buildings through- homes are told in the first series and of out the original thirteen States and have fourteen in the second series. The various confined themselves to but one or two chapters are not made to depend upon volumes. Such studies have one another in sense in a num- invariably any ; fact, been entirely non-architectural and they ber of them have appeared individually have, furthermore, in many cases savored as contributions to periodicals. The many of the popular tendency of a certain type accounts are presented in very attractive of talkative guide books. \Yhat is more, style and may be considered of value in in any event, only a limited number of connection with more thoroughly archi- exceptionally good or important ex- tectural works as a basis of verification amples could be shown. The works in regard to detail matter for which pro- which have been careful to maintain a fessional publications of necessity reserve closely architectural view-point have of but little space. necessity treated the buildings only, A similar point of view is maintained without reference to the occupants. A throughout in a volume on Our Colonial treatment of the field of Homes Samuel Drake in thorough has, by Adams ; fact, undertaken if if the course, not yet been ; such books by Harland are available a thorough treatment is understood to that by Drake and perhaps one or two include measured drawings of interesting others may be readily dispensed with. A details of a goodly number of the most one-volume undertaking in this field can representative building types in each of offer but little consolation to both author the three fairly well developed sections and reader unless the study is restricted of the original revolutionary territory. to a very limited area or perhaps even to Among the works which grant chief a small group of buildings representing consideration to the occupants of Colonial the same type of colonial life such as, for mansions those of Marion Harland, en- instance, a group of plantation residences titled Some Colonial Homesteads and of the Southern type or of city mansions Their Stories and More Colonial Home- of the Boston or the New York type. steads and Their Stories are perhaps the Mr. Thomas Allen Glenn, in Some Col- best so far issued. In these volumes the onial Mansions and Those Who Lived author has dwelt upon the colorful his- in Them has to a certain extent main- toric background for each dwelling, re- tained such a segregation of a given num- cording carefully estate histories, owners' ber of the old houses. As was the case descent, romantic marriages and similar with both the books reviewed above, he matters of importance to the chronicler of allows no definite connection to obtain intimate family life for which the dwell- between discussions of different build- ing proper offered an entirely adequate ings. No great amount of architectural stage setting. She has made a systematic knowledge would have been necessary as study of all available records, manuscript a basis for a running critique of the de- letters, pictures and mementos, as well as tailed stylistic conception of the various of other objects still contained in many of houses considered. In such rapid criticism THE ARCHITECTURAL RECORD. 189

very little detail would have sufficed and thermore, of particular value to that much by dint of occasional comparisons a great- maligned stratum of society known as the er unity would have been achieved. In dilettante, a class of persons in which their present guise the two volumes com- might reasonably be included all who are posing the work are each subdivided into not connected with a given field in a a series of chapters bearing no relation definite professional capacity. To such to one another. The difference between persons the last two chapters of the the two points of view will be appreciated volume under discussion which treat of at once if it is understood that the modi- exteriors and interiors in a general archi- fication suggested above would readily tectural way would be of especial inter- transform into a readable history a vol- est. For our purposes, of course, only the ume which in its present form must re- early part of the book has a decided appli- main a detailed reference work. The in- cation. This gives a fair resume of the trinsic value of each chapter, however, character of the larger Colonial and tran- separately considered as the life story of sitional residences. a. single family and the old manor house A much more inclusive work of similar about which its activity centered, is not in purpose is that entitled American Renais- the least impaired by. the arrangement sance, a Review of Domestic Architec- adopted. Each discussion is followed by ture, by Joy Wheeler Dow (New York, profuse notes and usually by a genealogy. The William T. Comstock Company. will A close study of the volumes bring Small quarto., pp. 182, pi. 96, 139 ill., to the reader's attention many appealing $4.00). This volume contributes not a characteristics of colonial life, both in its little to the general philosophy of good English and in its Dutch aspects. But, as sense and good style in American domes- was the case with the other books thus tic building. The author has long been far discussed, but little detail or even ac- known as one particularly interested in curate general architectural information the Colonial field and has latterly distin- may be gleaned from the work. The vol- guished himself in its interpretation or umes are very well presented typographic- rather exploitation in the ultra-historical ally and profusely illustrated. and studiously correct New Meeting In Stately Homes in America, from House at Summit, N. J. A general Colonial Times to the Present Day, Mr. appreciation of Colonial quality and Harry W. Desmond, at one time editor a persistent desire to impress upon of the Architectural Record, and Mr. Her- the reader the value of Colonial archi- bert Croly, who is now a contributing tecture to modern practice and modern editor, have presented in eight long chap- architects in this country runs through ters, very well printed and illustrated, the the series of chapters, which follow whole life story of American dwellings through the volume, a fairly close his- of pretentious character from the digni- torical analysis of the dwelling house. fied home of our first President at Mt. Introductory chapters are devoted to Vernon and its compeers, to palatial mod- questions of "ethics" and of "art and com- ern residences in New York, Philadelphia, mercialism." Later chapters make consid- San Francisco, Bar Harbor and New- erable progress in the fertile fields of port. As its title indicates, the volume "adaptation" and of "style." A large does not concern itself with the humbler number of illustrations are presented dwelling nor does it devote much space to showing all phases of American dwelling architectural discussion in a technical from the sturdy, true Colonial type to cer- sense. It is of decided interest to those tain modern examples in the Middle West who wish a general survey of Amer- that have for a number of years been ican residential architecture chronologic- seeking recognition from a nation not the authors have been reconciled to ally presented ; readily any further additions careful to reserve for treatment a definite to the gamut of styles that must be run and very attractive portion of the vast everlastingly to appease an alleged "eclec- field of house architecture. It is assured- tic taste," whether or no any national ly a praiseworthy volume and it is, fur- style shall ever be born of the process. 190 THE ARCHITECTURAL RECORD.

The modern examples referred to the ume partake of the same sprightly char- author analyzes in caustic fashion as : acter evidenced by the analysis given ten cent. Moresque Spanish, per ; Mor above and which appears under an illus- ten cent. California tration of the esque Algerian, per ; one of offending designs. ten cent. East five Mission, per ; Indian, Although we cannot consider American per cent; Chinese Ornament, five per Renaissance a valuable contribution to cent the the list ; remainder, modern invention of essential historical works, we pure. In order that all essential items do not hesitate to grant it a very import- may appear in his stylistic balance sheet, ant position among the philosophical writ- he introduces the item Anglo-Saxon home ings concerned with American art appre- atmosphere, opposite which he enters 00 ciation, and with the difficult problem of per cent. One is left to believe that such bringing home to the understanding of a graphic analysis of modern dwellings American people the true value of their or of modern architecture in general splendid architectural heritage. The book would place beyond the pale many a build- is well worth reading and we are con- ing that still justifiably claims the right vinced that it will be read in many places to be seen and, what is more, to be con- where the sterner historical material has sidered a contribution to architectural not as yet penetrated and for the study growth in this country. of which Mr. Dow's book will offer a A number of other features in the vol- readable preamble.

(To be continued.)

NEW BOOKS O AR.CH1TECTVKE AND A LL1 E D AKTS KECEIVED FFLOM THE PVBLISHEK3

Paris, Past and Present. Edited by Charles surance Co. 111., 6}4 by 9^4 inches, 339 p., Holme. Text by E. A. Taylor. 111., 8J4 by index, with 127 plate illustrations. Hart- 11 inches, 200 p., including 10 plates in ford: The Travelers Insurance Co. $3.00 color. New York: The John Lane Co. net. (International ). $3.00 net. Power for Profit, Principles Governing the The .Building Estimator's Reference Book, Use of Machinery and Labor in Modern a Practical and Thoroughly Reliable Ref- Buildings. By Reginald Pelham Bolton. erence Book for Contractors and Esti- 8 by 11 inches, 200 p., index. New York: mators Engaged in Estimating the Cost The R. P. Bolton Co. $2.50 net. of and Constructing All Classes of Mod- The Structure and Properties of the More Materials of Construction. ern Buildings, Giving the Actual Labor Common By Assistant Professor of Ex- Costs and Methods Employed, etc. By G. B. Upton, Engineering, Sibley College, Frank R. Walker. 111., 4^4 by 6^ inches, perimental Cornell University. 111. 6 by 9 inches, 592 p., index. Chicago: Frank R. .Walker. York: & Michelangelo: A Study of His Life and 319 p., index. New John Wiley l Inc. net. Work. By Remain Rolland. 111., 6 /2 by Sons, $2.50 The Architects' and Builders' Pocket-Book: 8^4 inches, 167 p., index. New York: Duf- A Handbook for Architects, Structural . field & Co. $2.50 net. Smoke Abatement and Electrification of Engineers, Builders and Draughtsmen. By Ph. D. Railway Terminals in Chicago. Report the late Frank E. Kidder, C. E., Fellow of the Chicago Association of Commerce Thomas Nolan, Editor-in-Chief, Institute of Committee on Investigation. 111., 9 by of the American Architects, Architectural 12 inches, 1052 p., appendix. Chicago: Professor of Construction, Rand, McNally & Co. $6.00 net. University of Pennsylvania. 111., 4J4 by York: A Treatise on Safety Engineering as Ap- 7 inches, 1772 p., index. New John net. plied to Scaffolds. By the Travelers In- Wiley & Sons, Inc. $5.00 "NOTES & COMMENTS

on his farm a vane that The earliest weather- Romans," had indoors means of a dial. vane of which we have could be read by This idea was revived toward the end of any certain knowledge The of our era by an- was that which sur- the sixteenth century Danti (or Various mounted the Tower of other erudite Italian, Egnatio erected several vanes of this Vane. at Athens, Dante), who the Winds of sort in Bologna and Florence. Some built by one Andronicus Danti's vanes an account of which he has i. Andro- Cyrrhestes e., were fitted cen- left us in his "Anemographia" nicus of in Syria about a Cyrrhus, horizontal dials on the ceilings; others era. This unique with tury before the Christian vanes has with vertical dials on the wall. Such monument still stands, but its vane are still frequently constructed. since vanished. The building is oc- long The belief is irresistible that the elabo- each side bearing in relievo a tagonal, rate vanes of Andronicus and Varro must the wind that blew from figure symbolizing have had cruder predecessors, and that at At the summit of the conical that quarter. the which was celebrated in his least former, roof was a brazen Triton, holding in imi- antiquity, must have been occasionally which pointed right hand a wand, always few notices of other vanes have to the wind tated; yet to the panel corresponding come down to us from the classical period. the moment let us say, was blowing at or, A vane in the form of a Triton is said by to do for vanes were prob- supposed so; Du Cange to have stood on the Temple of uncertain a score of centuries ago ably as Androgeus, at Rome. A remarkable monu- and the of this as they are today, exposure mental vane was built at Constantinople at the foot of the Acropo- particular vane, possibly during the reign of Theodosius from a scien- lis, was highly unsatisfactory the Great in the form of a great column, task of tific point of view. The telling which overlooked the whole city. The sides which way the wind blew was, moreover, of the column were adorned with various in those the made doubly difficult days by rural scenes, perhaps typifying the differ- men about the a fact that hardly two agreed ent winds, while the heroic figure of the points of the compass if one may use woman constituted the vane proper. latter expression in speaking of a time The weathercock, in the literal sense of It no before compasses were. was simple the term, dates back at least to the ninth and west. question of north, east, south, century, for in the year 1652 it was re- There were wind-roses of eight rhumbs, corded that a vane of this shape then one and wind-roses of twelve rhumbs; standing on a church at Brixen, in the man's man's Boreas was another Aparktias, Tyrol, bore an inscription stating that it with a separate and distinct Boreas farther had been erected by Bishop Rampertus in to the east; in fact, to a certain extent, the year 820. Brewer, in his "Dictionary the wind directions were identified with of Phrase and Fable," tells us that a Papal particular points in the local landscape, decree of the ninth century required that and so were materially dislocated by a every church steeple should be adorned change of base. In the middle ages a with one of these birds, as the emblem of twelve-point wind-rose prevailed. Only St. Peter; but this statement lacks con- with the introduction of the mariner's com- firmation. The origin of the weathercock

pass arose the now universal notion of a is, in fact, still obscure, though there has horizon divided into thirty-two parts, des- been no lack of speculation on the subject. ignated by combinations of the names of One thing is certain: this particular form the four cardinal points. of vane was used widely, and almost ex- M. Terentius Varro, "most learned of the clusively, on ecclesiastical buildings for 192 THE ARCHITECTURAL RECORD.

and so on, through fifteen stanzas, drawing almost every imaginable parallel between Clerk and Chanticleer, even to the resem- blance between the cock's bald pate and the tonsure. It is scarcely necessary to deny the old story that the English chose cocks (galli) for their weather-vanes in order to ridicule the inconstancy of their neighbors the French (Galli). As a matter of fact, there are several records of weathercocks on English churches before the traditional feud between France and England began with the Norman Conquest; notably the repre- sentation of one on St. Peter's Church, Westminster, in the Bayeux Tapestry. Jo- hann Beckmann, who has done more than anyone else to elucidate the- history of vanes, cites from the life of Queen Emma, the consort of Canute the Great, the state- ment that a Norman fleet sent to England in 1013 had figures of birds on its masts, turning with the wind. Later in the cen- tury, William the Conqueror's ship had at its masthead a vane of gilded brass in the shape of a banner. In media- val France the banner-shaped vane was reserved for the use of the no- bility. Originally it appears to have been the exclusive prerogative of those military SILHOUETTE PORTRAIT VANE. Designed by Ernest Spttal.

hundreds of years, and therefore must have had some special religious significance. Tin- idea that the cock typified, not merely cleri- cal vigilance, as is often stated, but the priestly office in general is curiously de- veloped in a rather celebrated Latin hymn. "Multi Sunt Presbyteri," etc.. supposed to have been written in or before 1420. A translation is given in John Mason Neale's "Mediaeval Hymns and Sequences":

Many are the Presbyters Lacking information Why the Cock on each church tow'r Meetly finds his station; Therefore I will now hereof Tell the cause and reason, If ye lend me patient ears For a little season.

. Cock, he is a marvelous Bird of God's creating, Faithfully the Priestly life In his ways relating; Such a life as he must lead Who a parish tendeth, And his flock from jeopardy TABLEAU VANE. Evermore defendeth Designed by Spital & Clark. THE ARCHITECTURAL RECORD. 193

leaders who had first planted their ban- ners on the walls of a captured city or castle; and again, the square vane was reserved for knights' bannerets, and the pointed vane for ordinary knights. Such vanes were commonly adorned with the owner's coat-of-arms, either painted or cut out. Many heraldic vanes of this character still exist, in both France and England. Some are surmounted by coronets. In Tu- dor England the rod on which the banner vane was hung was often held by a bird or beast, sitting on a slender pedestal. The banner-shaped vane is still a favorite with vane-makers. In trade catalogues such vanes are styled "bannerets." Figures of angels have served as vanes on many churches, and various symbolical human effigies have fulfilled the same pur- pose on buildings of all kinds. St. Mi- chael, who was invoked against lightning, was a favorite on fifteenth century cathe- drals. The Giralda of Seville takes its name from the vane at its summit a female fig- ure which shifts quite as readily with the breeze as if the artist had not chosen to make it a symbol of Faith. This "Giral- dillo" is of bronze, thirteen feet high, and weighs a ton and a quarter. It was cast by Bartolome Morel in 1568. As the Giral- SILHOUETTE PORTRAIT VANE. Designed by Spital & Clark.

da furnished the inspiration for the tower of Madison Square Garden, so the Giral- dillo is responsible for the vane of the latter Saint-Gaudens's charming Diana. The angel on the cathedral at Berlin weighs about nineteen hundred pounds, and is one of the largest vanes in the world. Vanes serve in an endless variety of ways to indicate the character or attributes of the buildings on which they are placed. The patron saint of a church is denoted by his appropriate symbol as the key on the spire of St. Peter's, Cornhill, and the grid- iron on that of St. Lawrence, Jewry; both in London. The famous grasshopper on the Royal Exchange, in London, has an heraldic origin it was the crest of Sir Thomas Gresham, the founder of the build- ing. So has the dragon on St. Mary-le- Bow, this creature being the supporter of the City arms. One of the alleged predic- tions of Mother Shipton had it that when the dragon of Bow and the grasshopper of the Exchange should meet, London would be drenched with blood. They actually did meet in the year 1820, when the two vanes lay side by side in a stonemason's yard BANNER VANE. awaiting repairs, but without any dire se- Designed by Spilal & Clark. quel though it was a day when England ll 194 THE ARCHITECTURAL RECORD. was ripe for violent rect position. The spread- strife over the burning tailed vane was intro- question of Reform. duced by G. F. Parrot, in The catalogues o f 1797. Originally the two modern vane-makers fig- blades of the tail were ure vanes appropriate set at an angle of 45 de- for almost every kind of grees, but half this angle building including some is now usually consid- that do their best to ered best. The arrow- make up in realism for shaped vane with spread what they lack in beauty. tail is in almost univer- one's stable there is sal use at For ARROW VANE. WITH SPREAD TAIL, USED meteorological the gilded horse not BY WEATHER BUREAU. observatories and sta- merely the nondescript equine, but any one tions. It is frequently connected with som

understood Our forebears believed that if a dead king- plan, that poorly and utterly of which the fisher was hung up by its bill, its breast inscrutable professional thing would always turn to the wind whence this layman consistently washes his hands. The . bird has been called the "natural weather- plan once established, the designer should cock." C. FITZHUGH TALMAN. be granted and should demand a greater freedom in the treatment of exteriors, a freedom which will avoid stereotyped forms The word "institution- and the consequent danger of seeming alism" has been invested repetition. But in all things moderation. in with a new meaning The cardinal virtue of restraint must lie Institutionalism. order to describe that at the bottom of any attempt to steer characteristic of build- such a middle course. Restraint is the virtue of which ings by "open sesame," the high road to proper be immedi- they may expression. It is at once the impulse and ately and unconsciously the corrective. It will prevent dry insti- in the of school, classed category high post- tutional design and it will reasonably cur- the basis of obvious indica- office, etc., on tail loose liberty of design. But there is have tions of design. Architects long always hope in numbers. The plentiful in they struc- preached expression architecture; possibilities of thousands of public have lingered over the word "expressive," tures of varied character yet to be erected and have sought out every opportunity for in this country will in the end, no doubt, its proper application, strained every nerve prove the salvation of this important to make their structures expressive of branch of architecture. their purpose. Perhaps they have suc- ceeded too well; possibly the cant Mr. A. E. Richardson's phrase has been overdone. The fact re- reputation as a critic and mains that every mode of procedure is student of the English bound to achieve a certain amount of regu- Somerset Neo-Classic style of larity or mechanical system, whether it be House. architecture is a matter a mode of making car wheels or a mode of general recognition, of architectural design. The human brain and for that reason we seeks just such regularization or simplifi- find a decided interest in cation, if you will. It favors a sort of con- his statements concerning Sir William ventionalization in a broad form. Owing Chambers' remodeling of Somerset House,, to this tendency we have occasionally car- forming part of a lecture delivered at Uni- ried the matter of expression in architec- versity College, London. "... the high, ture a bit too far, so that it would be gra- standard of composition attained in the plan tuitous to inscribe a name over the por- was not wholly extended to the elevations. tals of many of our modern structures. As individual blocks, each separate group that Outward indications assure us at once is superb, the climax to the conventional the building before us is a bank or a scenery being the magnificent group front- library. ing the Strand. . . . But once the glori- We do not wish to gainsay the opinion ous vestibule is passed and the of those great among us who preach just reached, one searches in vain for a feature such expression. As a matter of fact we sufficiently impressive to dominate the are heartily in accord with their text. Yet grouping from the southern extremity.. when we note the orderly regularity which Chambers failed, in this composition, prop- seems to control the design of most insti- erly to unite the elevation of the buildings tutional buildings, the rubber stamp of parallel to the river with the group forming design, as it were, we are prone to see the Strand block. It is apparent that he a menace in the grinding out of composi- feared a double climax, and followed a tamer tions that are blatantly expressive. They course, by introducing an unworthy are too easily referred to type and in like with supporting turrets to the side wings. proportion they lose in interest. The qual- The river front, considered as a series of ity of versatility and life is eliminated. We terraces rising from the water line, is ex- do not, on the other hand, wish to advise tremely fine, but the flat dome is far from disregard of purpose or disguise. That convincing, as well as being unrelated to would invite immediate dissolution. Nor such a lengthy facade. On the other hand, do we favor a freedom of design that if all the traffic had entered the building would necessitate descriptive signs on our from the river frontage and directly ap- public buildings. The fact of the build- proached^the head of the plan, namely the ing's purpose must ultimately lie in the Strand frontage, then the above argument 1% THE ARCHITECTURAL RECORD.

been his chief for thirty-nine years, and with Vanbrugh, whom he had assisted at Castle Howard in 1702. The most attrac- tive feature of Christ Church is the char- acteristic tower, which rises in six stages to a height of about 225 feet. It is a credit- able monument to the joint influence of Wren and Vanbrugh; witness the freedom from detail generally, an attribute of the "grand manner" of the former, and the window treatment found repeatedly in the towers of the latter. The east and west walls are extended north and south up to the fourth stage and then brought back to the body of the tower with a simple arc. Other notable examples of Hawksmoor's churches are St. Mary, Woolnoth; St. George's, Bloomsbury; St. Anne's, Lime- house, and St. George's in the East.

High on his column in Trafalgar Square old Nelson has since 1843 Trafalgar stood aloof from mun- Square. dane criticism. At last he has come to grief, and the whole of the civic centre which he dominates has been considered inadequate because of him. In a paper read before the Royal Institute of British Architects, Mr. T. Raffles Davison has no pity whatever for the plaza which Americans CHIEF SEATTLE. find in London almost as readily as they Howells & Decoiation on C'obb Building, seek out Times Square in New York, and Stokes, Architects. (See page 154.) he delivers himself of the following: ". . . would be ... void. Yet, compared with it will never be a fine square so long as the such a masterpiece of French architecture Nelson Column remains one of the most as the Cour d'Honneur at Compiegne, by ridiculous monuments and effigies which Gabriel, the grouping of the courtyard at have ever memorialized a national hero. We Somerset House shows superiority." can never give Trafalgar Square a scale which will hold such a thing. Then the Queen Anne's Act, commanding site and dignified mass of the passed in 1708, provided National Gallery is dominated by one of a splendid opportunity the most absurd pepper-box domes in Lon- Hawks- for the growth of ecclesi- don. When you look at the south side of moor. astic building in London. the Square, everything is hopeless, though The act made possible it might have been saved by a fine entrance the erection of fifty to the Mall and a fine widening out of the churches and Nicholas Whitehall thoroughfare. The east and the Hawksmoor (1661-1736) was among the west sides of the Square are not parallel, architects who benefited by the resultant and the buildings which face them are only distribution of commissions. An English so good that they might be worse." contemporary, the Architectural Review, The Nelson Column is a copy of one of has prepared an accurate account of Christ the columns of the Temple of Mars Ultor, Church, Spitalfields, begun by Hawksmoor the avenging god of war, in Rome. It in 1714 and finished fifteen years later, long stands 145 feet high and is surmounted by after he had served his period of tutelage Baily's figure of Lord Nelson, which is 17 under gruff Sir Christopher Wren, who had feet high.