N EN S

COVER DESIGN. Drawing by Arthur G. Byne. Page

A RENAISSANCE IN COMMERCIAL ARCHITECTURE . C. Matlack Price 449 SOME RECENT BUILDINGS IN UP-TOWN NEW YORK. Illustrations from Photographs.

A STUDY OF ROMANESQUE IN SPAIN / . . M. Stapley . . 471 THE SECOND GROUP-CATALONIA. Illustrations from Photographs by A. G. Byne.

THE DEVELOPMENT OF A GREAT CITY . . . Otto Wagner . 485 TOGETHER WITH AN APPRECIATION OF THE AUTHOR BY A. D. F. HAMLIN. Illustrations from Photographs and Drawings. PORTFOLIO OF RECENT SUBURBAN HOUSES 501 SELECTION OF THE WORK OF WM. M. KENYON, ARCHITECT.

ARCHITECTURE OF AMERICAN COLLEGES . Montgomery Schuyler 513 PART X. -THREE WOMEN'S COLLEGES VASSAR, WELLESLEY AND SMITH. Illustrations from Photographs.

H. A. Caparn . . 539 Illustrations from Photographs.

II . EARLY AMERICAN CHURCHES ... . . Aymar Embury 547 PART VI. DEERFIELD WINSTON SALEM, OLD SOUTH, BOSTON, AND OLD DUTCH, TAPPAN. Illustrations from Photographs. NOTES AND COMMENTS 557

Published by THE ARCHITECTURAL RECORD COMPANY

. . CLINTON W. SWEET Vice-Praident . HARRY W. DESMOND . . . FRED W. DODGE Secretary . . . FRANKLIN T. MILLER HARRY W. DESMOND Editor RUSSELL F. WHITEHEAD .... Associate Editor RALPH REINHOLD Business Manager 11-15 EAST TWENTY-FOURTH STREET. NEW YORK CITY Yearly Subscription $3.00. Published Monthly 25 Cents Price of Numbers more than 12 months old. 50 Cents each

MS. L:-^

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Copyright. 1912, by "THE ARCHITECTURAL RECORD COMPANY." All rights reserved. tnwred May 22. 1902, as second-class matter. Post Office at New York. N. Y- Act of Congress of March }d, 1879 RESIDENCE OF GEORGE W. NICOLA'S, ESQ., PITTSBURGH, PA. JANSSEN & ABBOTT, ARCH'TS. ARCHITECTVRAL RECORD MAY, 1912

VOLUME XXXI NUMBER V

A LITTLE OVER FIVE YEARS AGO the stand- and J. H. Freedlander, as well as several ard of excellence in commercial archi- newer firms. tecture was raised to a height previously It is doubtful if any one year has seen unknown by the erection of the build- the erection of the type of commercial ings for Tiffany and Company, Gorham building dealt with in this review to so and the Knickerbocker Trust Company. great an extent as this last year in New The effect of these buildings was to start York, while every week is signalized by a wave of ambitious alteration and con- the demolition of some older building struction from Madison Square to the and the commencement of a new one. Plaza a wave which even now is not, On both sides of Fifth avenue, and in perhaps, at its height. New buildings sites near the avenue, in many side- began to appear above Forty-second streets, are appearing new business prem- street, which zone has witnessed the ises whose architectural aspect is of greater part of the new work of the past marked interest, for the reason that each twelve months, and the metamorphosis of one represents, apart from the consider- New York shop-fronts is of such a sig- able cost of its construction, a manifest nificant nature that a review of their intention on the part of each owner to present aspect cannot be out of place. express in it, to the best of his un- The architects who are represented in derstanding, a symbol of the character, this fast-growing array of varied types dignity, standing and prosperity of of design are, for the most part, among his house in such a manner and locality the most prominent in the city Carrere that all who run may read. and Hastings, Warren and Wetmore, Thus the aspect of this strenuous year Harry Allan Jacobs, Delano and Aldrich of commercial building must necessarily 4-0 450 THE ARCHITECTURAL RECORD.

attract no small amount of critical atten- Fifth avenue architecture. Owing to the tion on account of the occasion which it great diversity which our tastes seem to presents for the study and comparative exhibit, general remarks or broadly analysis of the varied stylistic expres- taken comparisons are worse than use- sions which it presents of expressions less, being not only confusing, but in- of many different kinds which are gov- dividually unfair to the buildings under erned throughout by the same sets of consideration. conditions. In other words, each one of The lucidity of a review may be im- these buildings was primarily designed paired so seriously by a hair's breadth to furnish premises for the housing of deflection at the outset, that it is worth certain more or less exclusive business while to define a certain method of ob- firms in quarters which should reflect servation especially where the buildings their aims and ideals, yet each one was to be reviewed are of such widely differ- restricted, in extent varying but little, as ing natures, and where it is so stupid to to the area of site and as to the location say, in an off-hand manner that one is on or near the most exclusive shopping better than another. It would be as ab- avenue of the city. How then, other surd to say that St. Patrick's Cathedral than by attribution to the personal pref- is a better building than the New York erence or taste of the client and the Public Library, or that a fork is better architect may the amazing diversity of than a spoon. styles in design be explained? Furthermore, to speak personally, I It is fortunate that up to this time, no have little patience with the reviewer attempt has been made by architectural who fancies but one style, and seeks to dilettanti to talk of an "American Style" make it paramount by the disparagement in city architecture. It is fortunate in- of all others. It is understood that one asmuch as there is no such style, never has one's preferences, but if a certain has been and, in all probability, never building happens to be a well-studied will be such a style. That all our city adaptation of Italian Renaissance and a buildings are based in their design and certain other an equally well-studied detail upon European prototypes is too adaptation of Louis XVI, I refuse to obvious and well known to enlarge upon, condemn the first and hold it up to the and it is manifest that we can consider derision of all architectural critics simply and criticise these buildings only as because I prefer French architecture of adaptations, of which the success or fail- a certain period. ure must rest solely upon the cleverness Comparisons, in the case in hand, are or stupidity with which the adaptation worse than odious they are stupid. has been carried out. Whether this country is to be congratu- For those who lean toward nicety in lated or not upon the diversity of its designation, I will take this opportunity architectural inspiration is a matter that to illustrate this point by paraphrasing has concerned critics for some time, and certain remarks which I have made else- never so much as to-day was it a matter where upon the critical analysis of do- calling for such nice discrimination. mestic architecture in this country. In the "Victorian Period," when our To say that "The building recently city architecture was a half-hearted copy completed for the Messrs. on upper of the most debased type of building in Fifth avenue is a striking example of Paris, it was reasonably safe to dismiss Italian Renaissance architecture" is ab- it all with a general and sweeping con- surd. The facade of the Palazzo demnation as "an imitation of something Strozzi, in Florence, is a splendid ex- which, even if genuine, would be unde- ample the building on Fifth avenue is sirable." Then came a period domi- an adaptation. It cannot or could not nated in the country by the fantastic be an example. With this in mind it is vagaries of Eastlake, and in the city by possible to form more intelligent and men who consistently misunderstood more definite critical conclusions regard- Richardson, while endeavoring to copy ing the recent additions to the gallery of him. ffflflfflffl \ftttmtm

NOS. 556-558 FIFTH AVENUE NEW YORK, CARRERE & HASTINGS, ARCHITECTS. 452 THE ARCHITECTURAL RECORD.

It was a period in which the archi- beholder and the serious concern of the tectural ego must have been in a flour- professional observer. ishing" condition, for we blythely under- Whether this diversity is desirable in took to improve upon the classic orders itself is a question by no means readily themselves, and to no less blythely answered whether it is desirable as a ignore the beauties of the Italian Ren- step toward the evolution of a national aissance and the French revival of the architecture (assuming such an archi- eighteenth century. Certain other archi- tecture to be possible) is immediately tects worked with a comprehensive and answerable in the negative. thorough misconstruction of every pre- As long as such successes are achieved cept in Ruskin's writings, which formed in the adaptation of foreign styles, it is at the time almost the only current certain that the conservative client will collection of essays on architecture. defer the investment of his thousands Forgotten were the chaste and dignified of dollars in a new and necessarily ex- ideals of the Classic Revival which pro- perimental style of architecture, until duced "Colonnade Row" on Lafayette the millenium. Place, and designers seemed to fancy Everything is against consistency or themselves endowed with an original originality in architectural design in genius eclipsing that of the Renaissance this country, for we must reckon with Italians, the Brothers Adam, Christopher the modern facilities for extensive Wren and Inigo Jones rolled into one. travel, the multiplicity of books on for- Lastly, and with infinite present rami- eign styles of architecture and the ex- fications, came the era of studied adap- cellence of photography and printing tation, ushered in by McKim, Mead and to-day as compared with the isolation White, who popularized the style of the and centralization of all means of in- Italian Renaissance to an extent which spiration in the periods and countries made it foremost in the better buildings which saw the naissance and evolution of the city. In addition to this type of of the great architectural styles of architecture, the same firm also intro- Europe. duced a style which has become known One result of our present diverse ex- as "Harvard," due to a certain similarity pressions of what we severally consider which it bears to some of the older good city architecture is that its ade- buildings at Cambridge, but which, quate criticism has become as complex when all is said and done, is neither as the study of architecture in toto, and more nor less than a modified "Georg- the critic is forced to treat of it in terms ian." In the city it was characterized relative rather than absolute. Each case by a fagade of brick with stone trim and is an individual study, and even a com- detail, with occasional light iron rail- parison would lead to no more illumi- ings the brick selected to show burnt nating conclusions than Chesterton's ends at random, thus effecting, for the hypothetical comparison of "red" and first time in modern architecture, a tex- "triangular." ture in that material. The style, as such, Furthermore it is useless to deplore is better illustrated, perhaps, in the the diversity of our present essays in street elevations of the Harvard Club architecture, and it is far more purpose- than in any building in New York City. ful to present a review of our recent The bars of local precedent were let acquisitions, with the idea that no small down, and the pages of the architectural amount of pleasure may be derived from achievements of all past ages in Europe an appreciation of such qualities of ex- were eagerly scanned by American cellence as they may have attained. architects for new inspiration. Holland It is the intention of this review to Dutch, "Francis 1st," Modern French, outline a few individual observations Renaissance Italian, various kinds of on the more interesting commercial Gothic and half a dozen other styles and buildings which have been completed sub-styles sprung up like mushrooms, within the last few years, or which are tc the complete stupefaction of the lay still in process of construction. XO. 7 EAST 43D STREET DETAIL OF UPPER FLOORS. Delano & Aldrich, Architects.

II.

BY WAY OF LIMITING the field of this character, and even the ideals of the review it may be said that it is intended business firm for which they have been to speak only of a certain type of com- built. mercial architecture, of date not prior to Of buildings which show elements of two or three years, and of location on or French influence, three may be in- within one block of Fifth Avenue, New stanced which show high attainment in York City. sucessfully designed adaptation. It is not intended to deal with the Of these the premises at 560 Fifth "sky scraper" or the loft-building type, avenue, by Warren and Wetmore, not but solely with the more exclusive type so recently finished as other buildings of shop building. The loft building is included in this review, shows, perhaps, essentially a business venture its pur- a more beautiful study in grace and re- pose being to offer quarters to any kind finement than any building of its sort of business, it has no specific character in the city. Its general proportions are to express and depends for its archi- no less excellent than the character of tectural values (if any) solely upon the its detail, which is as finely conceived ambition of the owner to offer greater and disposed as the most captious critic superficial attractions than his com- of eighteenth century French architec- petitors. The shops which form the ture could require. subject of this review, however, have The base, which is of black "Porte a status between the loft and the pri- d' Or" marble, more generally known vate house, inasmuch as they are de- as "Black and Gold," is relieved by signed both for business quarters and highly burnished bases and capitals of with a view to expressing as much as brass, stamping the building with a cer- possible of the prosperity, standing, tain distinctive element entirely its own. 454 THE ARCHITECTURAL RECORD.

Above this base 'rise delicately atten- main cornice itself is of ultra-refined uated pilasters, straight to the main cor- composition, relieved only by its modil- nice, and so delicately proportioned are lions. Much of the character of this these that they group as well in pairs building is lost in the failure of a photo- as in the three that appear in the corner graph to show the warm tint of the when the building is viewed at an angle. marble which was used. It is doubtful if the arrangement of the The same type of French architecture three stories of windows on the front as that so gracefully shown in Warren elevation could have been better com- & Wetmore's, 560 Fifth avenue, is posed, from the simple balustrade at the shown with a little more boldness (as bottom of the "premier etage" to the befits its greater height above the street) console-keystone at the top of the fourth by Delano and Aldrich in their build- floor. Admirable reserve was shown in ing for a music publisher at 7 East 43rd decorating the frieze in the main cor- street. nice only above the pilasters, while the The detail shown is at the seventh treatment of the pediment story above, story, in which it was the intention of with its severe yet delicate iron rail and the architects to dispense with a deep block cornice is of exactly sufficient de- overhanging cornice, and to effect the tail to show that it was a matter of needed terminal diversity by means of careful study, yet of a simplicity which elaborating the top story. There is very does not detract from the more impor- little projection either in the uppermost tant part of the building. horizontal member, or in the string- A building a little above this, on a course above the tall window-openings similarly disposed plot at 595 Fifth of the lower fagade, yet the building, avenue, shows a different treatment of curiously enough, cannot be said to have the same theme, though with less in it an abrupt or unfinished appearance. to suggest French origin. This build- Further architectural interest is lent by ing was designed for a china shop by the fact that the three central windows Severance and Schumm, and seems to on this top story are of circular shape, illustrate the idea of "refinement thrice while the four axes of the main vertical refined" in its every member. Its ma- piers are emphasized by the four ter- terial is a warm, ivory-tinted marble, minal urns against the sky-line. The which is shown to its best chromatic ornament is handled with that nice re- values in the broad panelled expanses serve so absolutely essential to a suc- which form the most prominent feature cessful rendering of this sort of French of the building. architecture nowhere is the relief too The lot being unusually narrow, a bold or the profile too full. The great clever expedient was adopted in utiliz- lyres, in place of flat cartouches or me- ing the entire width for a show-window dallions, are symbolic of the trade for by placing the entrance at one side. which the building was erected, and the Nearly all the detail of the faqade was whole scale of the detail is accurately disposed in the treatment of the show- adjusted to the height at which it was windows, which are framed in a nicely to be placed. It is a successful execu- proportioned moulding of figured mar- tion of a clever conception and an il- ble. In the entablature above this, as in lustration of the idea that a commercial the first string-course and main cornice, building may practically and adequately every moulded member shows the most house a business, and may at the same extreme refinement. An interesting time be an example of architectural feature of the first string-course is the design. wide cove-moulding, which may be seen Still adhering to eighteenth century in profile against the old "brown-stone French architecture, it remains to con- front" at the left of the wide show- sider a new building for an exclusive window. The only ornament on the firm of interior decorators at 16 East front and side elevations is the delicate 56th street, by Harry Allan Jacobs strip of Greek wave-pattern, while the Here the inspiration was derived frorr NO. 560 FIFTH AVENUE, NEW YORK. WARREN & WETMORE, ARCHITECTS. 456 THE ARCHITECTURAL RECORD.

Versailles and the Trianons, and ren- dered with an effect which could have been improved only by the employment of white marble instead of artificial stone for the fagade. The show-windows, as in many build- ings of this type, is severely simple, be- ing' designed to show a mere suggestion of the character of the firm's stock, rather than to show how much, as in a department store. One chair and a bit of tapestry may grace this window, or a single bit of rare furniture. Above this window is the oval window one of the happiest details of the period, while the tall Corinthian pilasters indi- cate that the foyer or lobby of the build- ing is of lofty proportions. Above this a conservative treatment of the windows takes the eye to the upper story, where the blind front denotes a high-studded room within, lit by a skylight and de- signed for the adequate display of rare tapestries. Its treatment is an excellent one in consideration of the difficulty which arises in the problem of a blank wall-surface, and it is only to be regret- ted that the architect's original scheme was not carried out. This scheme showed, in place of the raised panels at the right and left, in the spaces between the pilasters, two niches with statuary. Even the small oval wall-niche with a bust, so characteristic of the period, would have made a splendid design for this upper story. As it stands it is a carefully studied adaptation of a style which is among' the most difficult to reproduce in convincing terms to-day. Departing from the traditions of ear- lier French architecture, and exemplify- ing with remarkable accuracy of feeling the type known as "Modern French" is a jeweler's shop at 716 Fifth avenue, designed by Maynicke and Franke. It is difficult, indeed, to realize that a faqade so thoroughly and essentially "Modern French" could have been pro- duced in this country, for every detail is in accord with the feeling of that much-discussed and much-abused type of architecture. As a consistent exam- ple of the style this little building rivals the Hotel Ansonia, which was designed NO. 16 EAST 56TH N. Y. CITY. STREET, that eccentric and "Cartouche" Harry Allan Jacobs, Architect. by gifted NO. 716 FIFTH AVENUE, NEW YORK. MAYNICKE & FRANKE, ARCHITECTS. tyl K * E-i O H

Si A RENAISSANCE IN COMMERCIAL ARCHITECTURE, 459

Dubois, who, however, was an "im- nue, by Carrere and Hastings, the most ported" designer, and one naturally cap- superb, perhaps, being the great jewelry able of imparting to the Ansonia the establishment at 192 and 194 by the true spirit of the style. same firm of architects, and the most It is the more remarkable, then, for a charming, a piano shop at 433 by Harry local architect to achieve such a faithful Allan Jacobs. study, for this little building is thor- The first presents a monumental fa- oughly French, from its flamboyant cade of Chasignelles limestone, imported glass marquise to its twin terminal urns from France a fagade designed with a fagade replete with those delightful the imposing dignity of the great Italian architectural fantasia of which the key- palazzi. The arched openings in the note is irresponsibility and gaiety. Many deeply rusticated and "worm-eaten" of our hotels have seized upon the psyco- base story, the tall "premier etage" win- logically cheerful values of modern dows, with column and pediment and French architecture, but this is the first the balustrade above the main cornice commercial building to exploit so direct these are the salient external features of a rendering. the city architecture of the great Italian Whether one fancy (from a personal Renaissance. The arches to the right viewpoint) the character of modern and left form the settings each for a French architecture, or whether one un- single rare painting, while the central affectedly despise it (as many do) it arch admits to a lofty foyer, with mar- cannot be denied that here is a perfect ble columns and a dignified grandeur adaptation of it with the possible ex- of detail. ception of a feeling that the base is a The uppermost story, as in the dec- little hard and severe, not only for the orator's establishment at 16 East 56th rest of the building, but for perfect con- street, shows the blind wall of a gallery formity with the character of the style. with overhead light, though in this case There is much to admire in the happy no attempt was made to treat it archi- handling of the pediment behind the su- tecturally, the building being assumed, perficial curved pediment, and in the by virtue of its height, to terminate nice transition between this full curve above the main cornice and balustrade. and the flat arch of the window. It Greater beauty has undoubtedly been can never be said of the style that it is achieved in the rendering of Italian meagre or parsimonious, or that its de- Renaissance as displayed in the great tail is sparingly used, and that it is a building at 192 and 194 Fifth avenue, luxurious sort of architecture is mani- designed also by Carrere and Hastings fest in the amount of skilled stone carv- for the premises of a great house of ing which this detail demands. There jewelers and silversmiths. Here is a are many designers, however, who ad- building in every sense comparable with here firmly to the opinion that its the now well-known buildings by the aesthetic extravagances are little short firm of McKim, Mead and White for of immoral, and that it should be held Tiffany's and Gorham's. up to the derision of every self-respect- Owing to its present incompletion it ing architect. Perhaps it would not be is possible to show only its design above profitable to discuss the very problemat- the first floor, thereby missing the beau- ical value of comments of this sort, in- tifully delicate bas-relief work above asmuch as they are opinions rather than the doors, between the pilasters of the criticisms. base. Leaving those buildings which might The first striking feature which meets be considered as being of "French ex- the eye is the rounded corner, which traction," the review proceeds to deal gives an interesting break both in the with several whose legitimate ancestors first string-course and in that below would seem to have been Italian. the top story, where the curved surface Of these one of the most imposing is is exquisitely ornamented with a great the art gallery at 556 and 558 Fifth ave- cartouche. HARDMAN PIANOS

NO. 433 FIFTH AVENUE DETAIL OF TWO STORIES. HARRY ALLAN JACOBS, ARCH'T. KARDMAPSCK*CO FOUNDED t+2 t*V* IJ .

HARDMAN PIANOS tf

FACADE OF BUILDING AT 433 FIFTH AVENUE, N. Y. CITY. HARRY ALLAN JACOBS, ARCHITECT. 462 THE ARCHITECTURAL RECORD.

The entire treatment shows a nice ently carried out as the keynote of the blending of richness and reserve in the entire building. handling of the ornament. The heads In order to lower the apparent height of the tall two-story windows are beau- of the fagade, the main cornice and tiful, and the bas-relief of the top story balustrade was placed at the fifth floor, is excellently decorative in effect, but which causes the sixth to recede into the reserved in its rendering, giving this background, and tends to make the terminating member of the building, whole design more compact. To fur- with the Italian balustrades beneath the ther emphasize the intention of consid- windows, an absolutely adequate ap- ering this fifth floor as the termination pearance. The cornice, unfortunately of the building, it was elaborated with lost in shadow in the photograph, is of delicate bas-relief panels of musical the Italian type, of two tiers of modil- "attributes," and marked off with a lions, which it is proposed to paint in the slightly projecting string-course and the manner of the cornice of Donn Barber's name-tablet of the building. Lest the building for the Lotus Club. two stories intermediate between this As a whole, this building presents an and the arcade might seem neglected, a example of the finest type of commer- balcony was placed at a central window, cial building in this country, and as a striking a note of interest and affording study in the adaptation of an historic a strong shadow. The entire facade is style is a monument of well-studied re- in white marble, except the columns, serve and unimpeachable taste. The which are slightly figured, and the same general type of detail is being skil- whole is, perhaps, one of the most ex- fully employed by Carrere and Hastings quisitely graceful buildings ever dedi- in the nineteen-story business building cated to a commercial use. which is in course of construction at One of the most interesting particu- Broadway and 58th street, the facings lars to be remarked in connection with of the building being in white marble to this building is the frankness and sin- its entire height. cerity of its treatment free from any The piano house at 433 Fifth avenue, restricted academic formality or per- by Harry Allan Jacobs is one of the un- sonal mannerism, yet essentially ex- qualified successes of the year in the pressive of the highest ideals of abstract list of new business buildings. architecture. To quote some remarks Essentially of Italian inspiration in made elsewhere upon this building: "It design, it presents many features well is a theory on the part of Mr. Jacobs worth studying. In a commercial build- that such architectural expression as ing of this type one of the most difficult this building may possess must have problems with which the designer has to values of permanent significance only cope is the disposition of the blank ex- in so far as it presents an earnest and panse of show-window which the build- sincere intention on the part of the de- ing demands. Here it is cleverly signer to combine the practical consid- enriched by the almost theatrical design erations of modern necessity and con- of the curtain, which carries the hori- venience with the greatest possible zontal line of decorative interest element of abstract architectural established by the beautiful panel above beauty." It would seem that he has the door. By this frank but ingenious erected a marble monument to the truth expedient, the effect of the ground story of this theory in the form of this ad- of the building is raised far above any mirable building. danger of being either commonplace or Again of Italian derivation, but ut- uninteresting. Above this is the triple terly unique in this city, is the charm- arcade, which not only gives an interest- ingly designed little shoeshop at 548 ing play of shadow at this point, but Fifth avenue, by Carrere and Hastings. also, owing to the slender proportions The salient feature of its fagade, the of the columns and the delicate refine- delicately and beautifully rendered ment of the moldings, suggest that ele- "sgraffito" decoration, which as applied ment of grace which has been consist- to the exterior treatment of buildings in A REXAISSANCE IN COMMERCIAL ARCHITECTURE. 463

this country, is as upon as the perfec- rare as it is exquis- tor of the art, it ite in this example. became one of the Rarely has a more most frequent and "cheerful" fagade popular methods for ex- graced a city street employed on this side of the terior ornamenta- Atlantic, and the tion. Sgraffito con- unique and distinc- sists of a ground tive effect of this of stucco or lime with black, application m a y mixed constitute as it termed of ground burnt were, a sufficient charcoal or or with excuse for a slight straw, of digression upon brown formed the art of "sgraf- sienna or other col- fito." oring. Over this is laid a thin coat of Vasari, an early lime Italian architect, white made says that Morto da (in Italy) from Feltre (an archi- ground Tavertine tect of the late marble. The design is Renaissance i n pricked through Italy), "when he from full-sized returned to Flor- cartoons on paper, ence (about 1510) the stucco then be- from Rome, went ing scratched off to stay with An- until the underly- drea Feltrini, to ing color appears whom he imported where called for by the newly discov- the design. Often ered art." Da Fel- certain members of tre returned from the design, as in certain of those the third-story early Roman exca- window-frames of vations, conducted 548 Fifth avenue, by Raphael, where are further accent- those marvellous ed by laying the discoveries were surface in greater made which fur- relief than the rest nished inspiration of the design. for the designers of Sgraffito was also Italian R e n a i s- used for friezes sance, and while around rooms and this sgraffito work for the decoration which was discov- of the spandrils of ered at the time arches or vaulted was of Roman ex- ceilings, as well as ecution, the art was for exterior fagade also employed by treatment. the Etruscans. Af- In the building ter a little practice under considera- on the part of An- tion the color of drea who the ground is a Feltrini, NO. 548 FIFTH AVENUE, N. Y. CITY. delicate may be looked Carrfire & Hastings, Architects. brown, and 464 THE ARCHITECTURAL RECORD.

the Renaissance arabesques constituting precedent for the metal and glass hood the ornamentation are disposed in a over the door, or for the "Renaissance" manner excellently decorative. The exe- treatment of a shop window, the archi- cution is a matter calling- for consider- tects have succeeded admirably in pro- ducing an esthetically consistent comple- ment to the whole fagade. The eye is pleasantly attracted by the delicate iron railings at the third-story windows, which effectually dispel any sense of "flatness" which the building might otherwise have, and the whole is ade- quately crowned with a sloping tile roof, over a richly painted double-modillion cornice. In a sea of mediocrity, this cheerful little fagade is an entertaining and happy oasis. Two interesting commercial buildings have recently appeared in East 40th street, of which No. 13, by J. H. Freed- lander, presents an attractive fagade in white marble, and incidentally illustrates a now popular detail in the design of show-windows. The building is de- signed for a firm of interior decorators, and with the idea of minimizing the detraction which articles displayed in the window might suffer from an ornate frame, this frame is reduced to its sim- plest expression, or entirely eliminated. Thus, in the building under discussion, we have two such windows, perfectly plain, and filled with an unbroken ex- panse of clear, highly polished plate glass. The building, if one seek to national- ize it, can hardly be said to be either French or Italian in character the consoles over the tall windows and above the premier ctage show-window certainly suggest the first, while the sloping tile roof as strongly suggests the second. It is a building, considered all to- gether, which can well afford to be taken at its face value as a clean-cut expres- sion of the modern commercial building of the exclusive type, and if it lacks the compelling charm of the buildings at No. 13 EAST 40TH N. Y. CITY. STREET, 433 and 548 Fifth avenue, perhaps it is J. H. Preedlander, Architect. the nearer to an evolution in some style able skill, and a keen sense of line, being more closely tending toward a national executed by an Italian, Menconi, who is one. one of the few in this country who are Nearly opposite stands an unusually capable of handling sgraffito work. designed building by Mann and Mc- While there may be no "period" Neill for the business premises of a A RENAISSANCE IN COMMERCIAL ARCHITECTURE. 465

dealer in rare rugs. There may be noted the same severe treatment of the show- windows, both on the street-level and at the premier etage the glass being set in the narrowest possible copper rabbet, with nothing to distract the eye from the single rug hung within. The bricks in the fagade and side elevation are attractively set in the mo- saic fashion which aroused such a storm of architectural controversy when it was first employed by the late Stanford White in the Colony Club. Only the "headers" or ends of the bricks appear, laid with joints like a checker-board, alternating natural and burnt bricks. If it be considered that brick used in this fashion is used like tile or mosaic, there is nothing "immoral" in the practice, much as it was once decried, though it is to be suggested that the outcry against it was entirely by those who had not been clever enough to be the first to exploit it. At the fifth floor, where the little colonnade of cement columns oc- curs, the architects indulged in a brilliant tour de force of masonry by depicting conventionalized Oriental rugs in variegated brick, with cement centres. A sloping tile roof on projecting brack- ets completes what constitutes an ex- ceedingly interesting variation in the ever-varying theme of city architecture. In this immediate vicinity, at No. 305 Madison avenue, stands a reconstructed building originally intended for the show-rooms of a firm dealing in garden statuary and the like. It is the work of that brilliant designer, Henry Erkins, whose sense of architectural proportion is admirably illustrated in this two-story elevation. The original building was of the omnipresent and ever-depressing "brown-stone-front" type, until Mr. Er- kins, whose skill at adaptation and re- modelling is equaled only by his creative genius, took it in hand. The upper stories were shorn of their display of the ill-studied and crude detail of the Victorian period, and were sanded to match the new front of artificial stone below. This lower portion is of such perfect that even the rather sombre and design NO. 12 EAST 40TH STREET, N. Y. CITY. drab color of its material is forgotten Mann & McNeill, Architects. 5-o DETAIL OF OFFICE ENTRANCE, NO. 417 FIFTH AVENUE, NEW YORK CITY. BUCKMAN & FOX, ARCHITECTS. NO. 595 FIFTH AVENUE, NEW YORK CITY. SEVERANCE & SCHUMAN, ARCH'TS. DETAIL OF THE FIRST TWO STORIES, NO. 305 MADISON AVENUE, NEW YORK CITY. HENRY ERKINS, ARCHITECT. A RENAISSANCE IN COMMERCIAL ARCHITECTURE. 469 in the imagination of how exquisite it exit which makes, in the main, for the would have been if executed in white elevation of our entire former standards marble, with, perhaps, a colored marble of commercial architecture. Where it is for the unfinished medallions in the seen throughout in the more exclusive spandrils of the arches, and in the shafts buildings which have formed the subject of the columns in the arcade. of this review, it is appearing with con- There is a nicety of feeling both in stant frequency in larger buildings in the general proportions of the principal the studied detail of a doorway, a lobby members and in the many moldings. or an elevator-grille, and one cannot If anything, its general feeling is Ital- but feel that the note struck in the con- ian, though in common with much other scientious designs of the shop-fronts of work by Mr. Erkins it shows a daring jewelers, decorators and other more use of the best that is in classic and exclusive business men has had its effect Renaissance architecture, combined with upon the ideals of that essentially com- that peculiar personal freedom which petitive class who have too often in the was so salient a trait in the work of the past decried the expense of esthetics. late Stanford White. Rome was not built in a day, and New That even the larger of our new com- York, or even Fifth avenue, is by no mercial buildings are partaking in some means likely to reach that happy state measure of the qualities which make the of completion in a decade, yet it is to be smaller of such architectural interest is doubted if any one year has ever before evidenced in the detail of the door at witnessed the erection of so many ex- No. 417 Fifth avenue. Here is a nice cellent or interesting examples of com- eclecticism of design and treatment mercial architecture in this city, or has which makes this feature of the building held such splendid promise of future more than a mere means of ingress and achievements. THE CLOISTER GARDEN AT TARRAGONA, SPAIN. A Study of Romanesque in Spain Divided into Two Croups

Castile and Leon, and Catalonia-

by M . S 1 a p 1 e y Photographs by A.'

IF WE HAVE NOTICED foreign influences (in which Street immediately saw much in the Romanesque of Castile and Leon, resemblance to North Italian Roman- they are or should be far more pro- esque) and they yielded to the new style nounced in Catalonia. The thriving Ca- only in their pointed main arches. But talonian seaport of Barcelona was in while the Catalans apparently considered close touch with all Mediterranean and pointed unsuitable to cathedrals, they Adriatic ports. There was a strong col- found it fit for abbey churches, for the ony from Constantinople in Betica and Cistercian monasteries of Poblet, Santas Lusitania in the Sixth and Seventh Cen- Creus, and Vallbona de las Monjas had turies and the ancient Greek Ampurias been built in a quite advanced Gothic a and Rosas on the Mediterranean coast half century or more before Lerida and were still inhabited by Greeks; and to Tarragona were built in Romanesque. By add to the mixture, all the Syrians and the middle of the Fourteenth Century, a Armenians bound for Campostela landed truly national style Catalan Gothic at the mouth of the Ebro. It is thus sprang up in Catalonia and completely natural that early Catalonian architecture superseded Romanesque and French should be full of Byzantine influences. Gothic. It was the only distinctively These were mixed with Frankish when, Spanish style ever achieved on the penin- in the Ninth Century, the Counts of Bar- sula. celona were subjected to Charlemagne On the way east from Madrid to Lerida, the Frank, who had acquired northern the splendidly preserved, early pointed Italy as well as France. Consequently, cathedral of Siguenza, full of rich furni- builders from Lombardy began to arrive ture, may be visited entirely a French in Catalonia, and their round Lombard work, with many resemblances to Notre campinili still stand in the Pyrenean Dame of Poitiers. But so far as typical passes. The Romanesque we have al- Romanesque goes, there is not much to ready reviewed that introduced into make the traveler halt before reaching Spain at the other end of the Pyrenees Lerida. Nor (except in the highly in- was also derived from northern Italy, teresting but non-Romanesque brick city but it had already been much modified in of Saragossa) would he care to halt, for France before coming south; one might the desolate, dun-colored, treeless desert say further that it was much refined in through which he passes is more de- some ways, for the Benedictines from pressing to linger in than the steppes of Cluny were much finer masons than were Russia. the builders who had come direct to There are several remarkable bits of Catalonia from Lombardy two centuries very French Romanesque up in the old earlier. Kingdom of Navarre in Tudela and When finally the pointed style began to Pamplona, and a round Templars' church into eastern it at Eunate also in the northern towns of creep Spain made but slow ; built Tara- headway ; Tarragona and Lerida Aragon Huesca, Jaca, Teruel, their cathedrals at tne same time that zona and Veruela. Tudela ranks with Burgos, Leon and Toledo were building Lerida and Tarragona in importance, and them in date while full-fledged Gothic; yet Tarragona and precedes ; Veruela, Lerida have apses, rounded-headed win- even earlier, is the second Cistercian Ab- dows and doors, and richly carved detail bey founded on Spanish soil and re- THE ARCHITECTURAL RECORD. garded as one of the completest exam- military governor's office hours did not ples of Twelfth Century work. The old- accord with our time of arrival we est part of the cloisters resemble Tar- climbed the hill, large camera and all, ragona. It was founded in 1141 by a merely to look at as much of the build- prince of Navarre whom the Virgin res- ing as was visible behind the ramparts. cued during a storm and whom she di- Somehow we found ourselves within the rected to form an abbey for Cistercian gates; a sentinel asked for the permit monks. Up to that time, none of them which we explained we intended getting had come to Spain, so the prince had to the next morning at the governor's pre- send all the way to Gascony in France scribed hour. The sentinel bowed politely for both builders and inmates. There is, and let us pass on. All the garrison must naturally, a great resemblance between have been taking their siesta, for we Veruela and the earliest Cistercian houses wandered at will and took several photo- in France, both in plan and in workman- graphs and walked out again unmolested. ship. All the rules which the reforming As the interior has been used for Saint Bernard had laid down for his military purposes since 1717 it is friars are carefully observed severity in entirely spoiled for the architect, a the details, absence of sculpture, the low second flooring having been laid steeple, the cloister with its chapter-house some ten feet above ground in the and projecting hexagonal chamber for a nave, thus obscuring the fine roof and lavatory, and the great dormitory run- capitals. Three very early Romanesque ning along one side of the cloister. All reliefs in the north aisle are almost un- these are similar to the under whitewash but the very plan and distinguishable ; the severe richness already seen in the massive strength of the piers is undis- later Cistercian nunnery of Las Huelgas, figured and likewise an occasional bit of and are absolutely uninfluenced by the exquisite detail. Byzantine elements that were then per- Outside, the west cloisters have been meating Eastern Spain. bricked up to make a dormitory. A great But Veruela is far to seek, and one late Gothic octagonal tower, set askew to who knows Spanish branch lines is apt to these cloisters, further hinders one in get- cling to the main road and take the daily ting an impression of the original build- express (at a speed of fourteen miles ing from this side. The east side may be an hour) to Lerida. Lerida, command- better appreciated, though there, too, the ing a superb view of the Pyreness, is a arches are mostly walled up and their forsaken little place with as bad a cli- tracery gone; but even in their muti- mate as Burgos; but it is comforting to lated condition, Street pronounced them know that they feed one there with quan- the finest he had ever seen. From the tities of delicious filberts toasted and tower just mentioned one may get a fine salted, or boiled and mashed like pota- idea of the plan of the building and toes. Even a student absorbed in archi- enjoy, spread below him, the richly tecture could not forget how good they stained stone roofs that have defied so seemed midst the other stranere, untempt- much bombarding. The nave will be ing dishes. made out to be very short compared with The town is backed up by a craggy the transept (the actual lengths are one hill and this is crowned by the cathedral, hundred and one hundred and sixty-nine which was started in 1203. It is now feet). From here also may be viewed a fortress, and is furthermore almost the fine Romanesque clerestory windows the that has withstood and the Gothic only building early lantern ; but no the repeated sieges, captures, lootings photographs being permitted we had to to and recaptures which poor Lerida content ourselves with those surrepti- has been subjected. The guide-book says tiously obtained the day before. that the cathedral, being now a fortress Lerida possesses three fine round- and one of great strategic importance, arched side doorways in the north tran- cannot be entered without a special per- sept, the south transept, and one leading mit from the goblerno militar. As the into the south aisle. The south transept TARRAGONA CATHEDRAL, FROM THE CLOISTER GARDEN A COMPOSITION OF UNRIVALED FREEDOM. 474 THE ARCHITECTURAL RECORD.

Transatlantic trade became im- doorway is dated 1215. These three more horizontal cor- than Mediterranean one's im- doors are surmounted by portant ; beled cornices with rich detail that shows pression, therefore, is of a rich old Gothic that the men who made it had been reared town, and it is for the monuments of this in Lombard Romanesque traditions. period that the city is chiefly interesting. There are many resemblances to be re- Of its three very early churches, San called later between Lerida and Tarra- Pedro de las Puellas, consecrated in 945, be- is most curious as gona cathedrals, while the comparison showing the strong tween their predominating Lombard feel- Oriental influence then predominating in Barcelona a Greek cross with a ing and the Burgundian and Aquitanian single and a cim- type previously ex- apse amined in the Sala- borio or dome over mantine district is the crossing. This highly interesting. dome is carried by With every slow- four columns with be- elaborate Eastern ly gained mile tween Lerida and capitals, and the Barcelona the air nave and south becomes gentler. transept have wag- The scenery pre- on vaulting. An- sents some extra- other church quite ordinary features as old is San Pablo such as the lofty del Campo, which flat-topped salt has passed through mountain five miles all sorts of vicissi- t e long, with its glis- u d s, including tening crystals tak- serving as a bar- ing on wonderful racks, until it was hues in the sun- declared a national the monument some light ; and great lonely Mont- thirty years ago. serrat sharply out- It is cruciform, lined on its every triapsidal, wagon side and diversified vaulted in nave with the most fan- and transepts, and tastic rock forma- has a very well tions constructed ; and, finally, octag- close to the sea, onal vault on pen- the scowling dentives over the Montjuich that crossing. Every- overlooks the city where the masonn itself. is massive anc Barcelona is the somewhat un finest and and t h ( largest, HARMONIOUS USE OF TWO FORMS OF couth, most comfortable ARCH AT TARRAGONA. sculpture in the city in Spain; but tympanum of th( because of these very qualities, perhaps, it west door is very Byzantine. Dowi has but little Romanesque left. However, at the harbor's edge lies the quaintes of the period before the union of Cata- of this primitive group, though onb lonia and Aragon in 1150, three very in- one chapel with its facade am teresting little churches remain. From porch remains. This is the Capill then till about 1600 came the period of de Marcus, built in the Eleventh Centur; the Kings of Aragon, when the city by a rich Constantinople merchan waxed very rich and, from the beginning, named Marcus, then residing in Barce imported the new French style Gothic. lona. It is not its architecture that en Then Barcelona's glory departed for gages the attention so much as the curi INTERIOR OF TARRAGONA CLOISTERS. 476 THE ARCHITECTURAL RECORD.

ous remains of the fact that from this side doors or windows below the cleres- little chapel, after the priest had blessed tory, and with its apse forming part of them, the Compania de Correos, or Com- the city wall. Nowhere about the church pany of Postmen, started out on horse- is there a tinge of French. In fact, as back to deliver letters and parcels through Street remarks, San Pere de Galligans is Catalonia as far back as the Twelfth the earliest example of the Lombard Ro- Century. There is a cedar bench in- manesque type in Spain. Its main door

scribed in Catalan : "Bench of the Cav- deserves particular attention. Its deep reveals alry Postmen," while under this legend are set back in a series of five are the arms of the Company, a mounted steps, and the second and fourth arches postman with raised whip in hand. Why are carried on columns that are fluted these three almost Asiatic buildings vertically and spirally respectively, and should have survived in a city that so whose capitals show a curious procession of early became addicted to Gothic is hard conventionalized beasts. The outer- most to say. toothed band has a rugged harmony One of Barcelona's few Romanesque with the time-worn, fortress-like walls. bits is the chapel of Santa Lucia, to Above is the wheel window with orna- which the south side of the Gothic mental stone spokes and little arches con- cathedral was joined. It has a fine round- necting them. In fact, this door, like the headed doorway leading into the street, Saint's name, suggests Ireland, for its with most delicate carving on the archi- exquisite low-relief ornament is very like volt but the is the Celtic bits found in that ; photographer discouraged early country. by the indescribably poor and gaudy The cloister here is now a provincial modern painting of the Saint lately placed museum and resembles the beautiful en- in the closure at the Cathedral for tympanum. ; although Not twenty kilometres from Barcelona the present Cathedral is Gothic, its clois- is Tarrassa with three Tenth Century ters are Romanesque, being the remains (and earlier) churches which must be of an earlier Cathedral destroyed by the seen. And still farther, on the same rail- Moors. Deserted now, and overgrown road, is Manresa with its busy cotton with weeds and shut in from every sound mills. Its high-perched Gothic Colegiata of the village below, these cloisters have is very striking with its double flying a picturesque melancholy about them buttress, while inside is a magnificent less stern and more appealing than de- embroidered altar front, pronounced by serted cloisters back in grim Castile. Street the finest of its age (late Four- Their architectural interest lies mainly teenth Century). In another direction, in the lovely coupled columns and the north along the cost, lies Gerona, a city piers that carry the rounded arches. of remotest antiquity, as is proven by its Their capitals show a naive mingling of Cyclopean walls. In its numerous har- animal and vegetable life carved with a rowing sieges, where women too fought delicacy almost equal to the cloisters of desperately on the ramparts, it makes Tarragona. The every-so-often interrup- Lerida's bloody story seem tame. It is a tion of columns in the little arcades by wonderfully picturesque town beloved of piers is amusing a juxtaposition of mas- painters, whose sense of smell fortun- siveness and lightness. The Cathedral ately, is less acute than that of ordinary itself does not come within the scope of mortals. this article, but it contains a celebrated San Pere de Galligans is its most com- piece of Romanesque tapestry represent- plete Romanesque church, built probably ing the Creation. This is probably Tenth in the early Twelfth Century. The name, Century weaving, and the arrangement to one unaccustomed to the Catalan lan- of the subject is not unlike the "Crea- guage, suggests that the Saint may have tion" mosaics in St. Mark's, Venice. been Hibernian, but he was an authenti- Near San Pere de Galligans is the cated native of Gerona who. I believe, church of San Feliu, built on the very early suffered martyrdom on the spot. holy spot where St. Felix and three hun- It is a massive fortress church, with no dred other early Christians were mar- A STUDY OF ROMANESQUE IN SPAIN. 477

tyred. For a building as late as this, Barcelona was erecting her full-blown 1392, there is a surprising amount of Ro- Gothic Cathedral. The explanation is manesque for, simultaneously, nearby that Gerona, still a bone of controversy,

THE INTERIOR OF TARRAGONA OWES ITS MAJESTY TO ITS VAST PROPORTIONS WHICH ARE LITTLE DISTURBED BY DETAIL. Capital in the Cloisters. "Burial of the Cats. Reveal of Cloister Doorway. Detail of The "Butcher Shop." Capital. CAPITALS AT TARRAGONA. A STUDY OF ROMANESQUE IX SPAIX. 479 needed fortress churches with massive to be a mass of unfinished projects that unpierced walls like at Avila. San Feliu somehow combine to make a composition is the last of this type built in Spain. of unrivaled freedom, sparkling with ex- Finally, in our quest of Romanesque quisite color. Whether regarded as of comes Tarragona, about as far south late Romanesque, Transitional, or Early from Barcelona as Gerona is north. The Pointed style, it is wonderfully consist- railroad skirts a fascinating bit of coast ent in its variations. Nothing is markedly at the of the blue Medi- out of its arches are very edge deep period. Most round ; terranean, and gives one, at the last min- where they are pointed it is because the ute, almost as good a view of the per- point was decided on after the building- fectly curving harbor as if one had come was started, or else they happen to belong by boat. The color around Tarragona is to the latest part of the work. How wonderful on the one side the intense harmoniously Catalan builders could use blue and green sea broken by glittering the two forms is shown in the beautiful sunshine, on the other, stretches of hills cloisters where the structural arch is soft gray green with olive trees, or pur- pointed while the little subdivisions are ple with grapes and figs. The ancient round-headed and exquisitely orna- city (it once be- mented by the longed to the same arrangement Phoenicians) is on as the plainer ones a rocky hill, and at Veruela. Again, still surrounded on on the fine west three sides by an facade the two imposing and gi- different arches g a n t i c Roman are close neigh- wall, built on pre- bors, for the fine historic or "Cyclo- central door is pean" foundations. Gothic and is On the highest flanked on each point of the hill, side by a Roman- some five hundred esque one. In fact, and fifty feet the whole exterior above the sea, rises is a felicitous as- the Cathedral. sembling of un- Of the countless c o PLAN OF THE ROYAL MONASTERY ntemporaneous temples and other OF POBLET. features, with monuments erect- Romanesque pre- ed when Tarragona was the capital dominating at the eastern end, where of Roman Spain and had a popula- each of the five apses is roofed by tion of nearly a million, but little re- a semi-dome. As it was customary mains. The Moors, who were always in Romanesque times to build the vandals when they needed building ma- eastern or altar end first, this was nearly terial, pulled down during their four cen- finished before Gothic-looking parts were turies of occupation almost every ves- commenced. The large central apse has tige of Roman civilization, except the a particularly early flavor, lighted as it is walls and the aqueduct. Since the Re- by two rows of round-headed windows conquest from the Moors Tarragona's and around its top a rich projecting cor- bishop has shared with Toledo's the title bel table. The west side shows at a of Primate of Spain, and so the Cathe- glance its later construction, and pres- dral is, owing to its Episcopal dignity, in ents the mixture of styles mentioned excellent preservation. above doors leading into the aisles It is a brilliant Twelfth Century exam- round-arched and the one leading to the ple. The exterior, as far as one can make nave pointed. Above the south aisle out from the houses that hem it in, seems doorway is a very early Romanesque 480 THE ARCHITECTURAL RECORD.

THE RUINS OP THE ROYAL CISTERCIAN MONASTERY OF POBLET, FROM WITHIN THE OUTER WALLS. relief of Our Lord entering Jerusalem. ship. All this west front has taken The wooden doors themselves are Gothic on a deep golden tone, like the diapered with iron plates and fitted with stonework of Salamanca. Of the magnificent wrought iron knockers of great tower only the lower stages are Ro- Sixteenth Century Catalan workman- manesque, the octagonal steeple having

THE NEGLECTED ROMANESQUE CLOISTERS OF GERONA CATHEDRAL. RUINED CLOISTER AT POBLET. 6-o 482 THE ARCHITECTURAL RECORD.

well be simpler than these massive coupled columns, nor more graceful than the slender single one. Altogether, there are fourteen piers supporting the roof. They are thirty-five feet in circumference with their bases broken by four seats, one in each corner these in con- ; making tour an agreeable line that breaks up the severity of the base. All the piers are capped with square Romanesque capitals whose delicate carving is a remarkable contrast to the unadorned massiveness of the mighty piles and arches. Street was highly enthusiastic over Tarragona Ca- thedral, and in classifying it he remarks that if the capitals were plain it would be called an early pointed building, while being carved gives it a Romanesque look.

But impressive though the interior is, it will always be the cloisters that one will like best. The court is a beautiful garden, with date palms, fig-trees and oleanders crowr ding each other in semi- tropical profusion. Then, too, the gentle

CLUSTER OF COLUMNS AT A CORNER IN GERONA CLOISTERS.

been built with the main Gothic portal. The interior of Terragona Cathedral produces an effect of great solemnity and majesty and this without any recourse to Gothic gloom, for it is full of light. It is an effect produced by wonderful proportions and scale. The plan is cruci- form with nave and aisles of three bays, transepts, a large lantern, three apses corresponding to nave and aisles, and in addition, an apse on the east side of each transept. All the main arches are slightly pointed, but the transepts are lighted by a round-headed window in each bay. Undoubtedly the nave also had round-headed windows in the be- ginning, before the large three-light cle- restory pointed ones were pierced. There are fine rose windows in the transepts and a great traceried circle in the west end (made in 1131) all of them contain- ing fine glass. The nave piers are com- posite; that is, the main arches spring from coupled half-columns, while the quadripartite groining springs from columns which run up between them at THE BEAUTIFUL DOORWAY OF SAN the corners of the pier. Nothing could PERE DE GALLIGANS, GERONA. A STUDY OF ROMANESQUE IN SPAIN. 483

period equaled. It reaches its best in the door leading into the cloisters out of the north aisle of the church a door round-arched with a series of heavy mouldings following the contour and four engaged shafts in each jamb and a central dividing shaft supporting a huge lintel. In the tympanum above is Our Lord with the emblems of the Four Evangelists. It is all of marble and, ac- cording to the sacristan, was originally in the west fagade where the fine Gothic door is now. The marble in the exposed columns of the cloister has taken on a deep golden hue, but this more protected door has turned that exquisite illusive sort of sea-green that one sees in the early Romanesque churches of Ravenna. Marble abounded around Tarragona and so was freely used. The three richly moulded round arches of each bay of the

A SURREPTITIOUS PHOTOGRAPH TAKEN IN THE FORTRESS OF LERIDA.

old sacristan is part of the garden and one will always remember how he loves his flowers, and how he chuckles when ex- plaining the humorous carvings of the cloister caps the company of rats> for instance, burying some supposedly dead cats who suddenly revive and spring upon their "undertakers." He also loves the story of Noah and will never cease puzzling how "all those people and animals are to get into that very, very small ark." And in the Descent from the Cross, where one of the characters is pulling the cruel nails from the Saviour's hands with pincers twice the size of his own body, the sacristan is again mildly amused nor does the visitor ever fail to ; find the cloisters a museum of quaint conceits excellently carved in that pecu- liar sort of primitiveness that no other DETAIL OF THE CAPITAL AT LERIDA. 484 THE ARCHITECTURAL RECORD. cloister, the two round windows above the ruins put in sufficient repair to keep filled with thin slabs of alabaster richly them from toppling. Some parts the traced in arabesques, and the whole en- massive outer wall within which is an- closed in a great pointed arch make this other with an enormous gate flanked by archi- martial part of Tarragona a fascinating two towers, and the severely tectural compromise. plain early pointed church with its dome Tarragona Cathedral owns some rich and its beautiful cloisters are still suf- furnishings in the way of choir stalls, ficiently intact to be studied. Like Veru- retablos, iron screens and lanterns, ela, it obeyed all St. Bernard's mandates last carved pulpits, and tapestries. These as to unembellished capitals, etc., and is are magnificent Flemish examples and therefore an interesting contrast to the are hung around the walls and columns freer ornament at Tarragona. Unlike to do honor to Saint Tecla, Tarragona's Yeruela, it is not Romanesque, for it is patroness, every twenty-third of Septem- a much later building, when Cistercian ber. Only then and on the Octave of friars had learned the new or pointed Corpus can these be seen. Hung thus. style. But though they set this example and filled with the sensuous music and to the province, Tarragona was com- incense and color of the robed proces- menced a half century later by Catalon- sion. Tarragona's vast cathedral yields ians mostly laymen, in Romanesque. to no full-blown Gothic one in majesty But there is enough of the Transitional and impressiveness. about Poblet to make it worth a visit. Some thirty miles northwest of Tar- From this despoiled and deserted mass ragona and easily accesible, lies Poblet, of grey stone one is glad to come back the most famous Cistercian monastery on again to Tarragona, where the splendid Spanish soil. It was widely known as cathedral still stands firm against time the burial place of the early Kings of and wars, a monument to Catalan genius Aragon, but as it was plundered and of the Twelfth Century, and the finest partly destroyed by the Liberalists in efflorescence of Romanesque in Spain. 1835, there is not much left to tell the tale of its once fabulous wealth, but what Editor's Note. Castile and Leon for there is deserves a visit. It has lately were studied in the issue April, been declared a national monument, and 1912.

EARLY ROMANESQUE TOMB AT LAS HUELGAS SHOWING STRONG BYZANTINE INFLUENCE. TOGETHER WITH AN APPRECIATION OF THE AVTHOR, A.D.F.HAMLIN

PROFESSOR OTTO WAGNER, Imperial- in an equally remarkable portfolio of Royal Surveyor-in-Chief of Buildings for "projects" or unexecuted designs from Austria, and since 1894 Professor of his office, and in a number of pamphlets Architecture in the Imperial Academy of and articles in which he set forth his Fine Arts at Vienna, is the unquestioned ideas and conceptions of the art of which head and leader of his profession in the he was and is so enthusiastic a devotee. Austro-Hungarian Empire and one of the Every one of these productions bears the most fertile and original of modern archi- impress of a remarkable personality. tectural designers. He was born July 13, They are characterized by a striking orig- 1841, at Pentzling, a suburb of Vienna, inality and an exuberant imagination, and after a course of preparatory studies held in bounds by a cultivated taste and in the Ober Gymnasium of Kremsmiins- the discipline of a thorough training in ter, received his professional education in construction. For it is worth noting that the Vienna Polytechnic, the Berlin Bau- during his years in the office of Siccards- Akademie and the Academy of Arts at burg and Van der Null his most intimate Vienna. The earlier years of his profes- association was with the first-named, who sional career were spent in the office of was the practical man, the structural de- Siccardsburg and Van der Null, the ar- signer of the firm, rather than with Van chitects of the Opera House and of many der Null, who was the artist. other important buildings. From 1862, As every one knows, the "Art Nou- when he won the first prize for the "Kur- veau" movement was just beginning to salon" in the Vienna City Park.* until his make itself felt in 1894 or soon after. In appointment in 1894 as Professor of Vienna its advocates took to themselves Architecture in the Imperial Academy of the name of Secessionists, and this move- Fine Arts, he was engaged in indepen- ment away from tradition and in favor of dent practice of steadily increasing vol- freer individual expression in design rap- ume and importance the miscellaneous idly acquired strength and spread practice of a successful architect in a through Austria. It produced much that but it is in was eccentric and bizarre great city ; these last fifteen merely and years that he has won the pre-eminent some things that reached the limit of position he now occupies. His appoint- extravagance. Professor Wagner, with ment to the Kunst-Akademie, not only his sound training and cultivated taste gave him a new outlet for his artistic ac- knew how to avoid the extravagances, tivity and an occasion for formulating while he hailed with enthusiasm and ap- and giving to the world, both in print and propriated the merits of the new move- in the more intimate converse of the ment. A thoroughly scientific construc- class-room and studio, his thoughts on tor, he designed nothing that does not architecture, but also a new stimulus and appear to be rationally and soundly put a certain direction to his creative activity. The re- together; and dignity and sim- sult is seen in a series of remarkable plicity of mass, silhouette and proportion buildings in Vienna and neighborhood, characterizes all his works. The details of classic architecture he uses "The prize did not carry with it the execution sparingly of the project. and as if they were plastic to his touch; 486 THE ARCHITECTURAL RECORD.

he is not afraid of broad flat surfaces ner's writing the article which follows, and ample walls. His details in general and which will be read with interest by are highly original; it is in regard to every student of the problem of city these that his works offer the most fre- planning. It is interesting as much for quent opportunity for criticism. Some what it contains that is inapplicable to will welcome their originality, their inde- American problems, as for what is of all traditional universal It so far in pendence of precedents ; significance. goes others will consider many of them freak- the direction of what is sometimes called ish and unwarranted, if adequate warrant municipal paternalism, sometimes state exists only when and where the new and socialism, as almost to take away an original feature is a manifest improve- American's breath. It is based on condi- ment upon the traditional feature which tions which can only exist under a strong- it is intended to replace. Thus the re- ly-centralized, not to say imperial, gov- markable church at the Steinhof, here- ernment. The topographical conditions with illustrated, will shock some and under which alone the particular scheme please others, but no one will, I think, it sets forth is possible exist in Vi- deny the high artistic quality of the weir enna, but hardly in most American and gates at Mundorf shown in another cities, and not at all in New York or illustration, or of the admirable elevated any maritime city. It is doubtful structure of the Vienna City Railway, whether in this country we shall ever which so puts to shame everything of like or at any rate within the lifetime of any purpose thus far erected in the United now living who read this paper reach States. the situation in which a municipality will Professor Wagner's fame rests in large expropriate the entire outlying territory measure upon his studies and teachings for development on preconceived lines. relative to civic design. When, in 1894, And yet in the propositions laid down shortly after his appointment to the by the Austrian professor there is abund- Kunst-Akademie I had the pleasure of ant food for thought for us Americans. visiting him at that institution, he put The principle of excess condemnation, into my hands a brochure he had recently so blindly rejected by the electorate of published, on the true principles that New York State at the last election, is should control the improvement and de- here shown clearly to be fundamental to velopment of his own city. It had been any thoroughgoing and extensive civic prepared to accompany his competitive improvement. Above all, it seems to me, design for the improvement of the city this paper exhibits the importance of plan and bore as its title the motto in- large views, of the long look ahead, of scribed on the competitive drawings : taking under rational control many forces "Artis sola doniina necessitous" "Art and resources which we in America knows no mistress but necessity." His squander by abandoning them to chance design had won the first prize, and this or to speculation. And it emphasizes pamphlet embodied the artistic creed on the fundamental importance of carefully which that design was based. planned thoroughfares and transit facili- Professor Wagner was the President ties, laid out ahead of the need, not long of the International of after the need has become for Eighth Congress acute ; Architects at Vienna in 1905 and has public service rather than for speculative been the recipient of numerous honors profit; facilities which shall guide urban from his own and other countries. His development into favorable conditions seventieth birthday, last July, was the and not follow the haphazard growth of occasion of an impressive tribute of ad- ragged and unrelated fringes of specu- miration and affection from his fellow ar- lative suburbs. chitects in Austria. He was in- Perhaps fifty years hence Professor vited to participate in a proposed Wagner's propositions will appear Ies5 congress on city planning in New fantastic and chimerical to American; York in 1910. This invitation was than they will to some who read therr in part the occasion of Professor Wag- for the first time today.

PROJECT PORTAL OF AN IMPERIAL WAR MUSEUM. OTTO WAGNER, ARCHITECT. DAM AND GATES AT NUNDORF. FOREWORD

A FLATTERING INVITATION which came to resents neither the radicalism of the icon- the author in March, 1910, from Profes- oclast nor the wail of the traditionalist sor A. D. Hamlin of Columbia Univer- on the subject of city-planning, but pro- sity, conveyed the request to prepare a ceeds from the fundamental assumption paper for an international congress that the most important element in the on municipal art, which it was proposed solution of any such problem is the prac- to hold in New York under the patron- tical fulfilment of a definite purpose, and age of the City and State. This gave the that art must impress its stamp upon first impulse to the preparation of these whatever may result from the accom- while the of an- of this pages ; repeated urgings plishment purpose. other committee to attend the city-plan- Since our manner of life, our activities ning exhibition in Berlin in 1910, and and our technical and scientific achieve- later the conferences on the Vienna ments are different from what they were Building Ordinance, finally confirmed the a thousand years ago or even a short time author's desire to give to the public his since, and are the results of constant de- views on the subject of city planning; the velopment, Art must give expression to more so in view of the contention of the the conditions of our own time. Art Association of Austrian Architects that must therefore conform its city plan to the Vienna conferences had failed to give the needs of the mankind of today. adequate consideration to the artistic side Those favorite catchwords "the art of their problem as well as to the im- of the home." "co-operation in city plan- portant questions of street-circulation ning." "sentiment in city-planning," etc., and building lines. taken in the sense in which they are used This paper contains certain proposi- by people who know and judge Art only tions which the author feels himself from text books, are empty phrases to bound to present because thus far all the which such people cling because they are exhibitions, treatises and addresses on destitute of ideas on the real problem of this subject have failed to produce defi- the city plan. Only the true architect nite results. can distinguish between what is old and The considerations about to be pre- beautiful, and what is merely old; he will sented apply to no one city, but to large favor neither the wanton destruction of cities in general, although there may be what is beautiful nor the copying of the cities nor will care for particular which stand out promi- antique ; he the much- reason of their need lauded "embellishment" of a all ar- nently by pressing city ; for the solution of the problems of future chitectural extravagance is foreign to his expansion as well as of the improvement nature. of present conditions. What follows rep- Our democratic existence, in which the 490 THE ARCHITECTURAL RECORD. masses feel the pressure of the necessity ditions of circulation, traffic, topography for economy in their methods of living, or the like. and call for homes at once sanitary and The characteristic impression produced cheap, has resulted in a certain uniform- by a city results from its existing or in- ten- herent and its ity in our dwelling houses. This beauty potential beauty. dency will therefore find expression in The city's general "physiognomy" is the the plan of the future city. Individual most important consideration in its plan. dwellings of like cubical contents and Upon it depends the success of the effort plan are cheaper in first cost and rental to make the first impression as pleasing price if combined in houses of many as possible. This impression is further- in of the cost of more "on the life of stories than houses few ; dependent pulsating the lot, of foundations and of roof enter- the city as a whole. With regard to this ing into account but once. And since the it must be remembered as a fundamental proverb "Time is money" is truer to- fact that the great majority of the com- day than ever before, the increase in munity, including, of course, visitors to height of residential and office buildings the city (we are dealing now with the in the city's center to seven or eight general mass) are quite ignorant of ar- stories, indeed, to skyscrapers (if the tistic matters. Therefore Art, if she city permits) is a natural development. would arouse the interest of and give In any given city the number of dwell- satisfaction to the average man, must ing houses must greatly exceed that of seize upon every opportunity that gives its and their of a favorable public buildings ; contiguous promise producing impres- multiplication inevitably results in long sion. Industry, trade, fashion, taste, and uniform block-fagades. But our comfort, luxury, all provide media for modern art has turned these to monu- artistic expression, and must all be mental account by the plotting of wide availed of to attract the attention of the streets, and by the introduction of pic- average man towards Art, so that he may turesque interruptions of their monotony l)e disposed to bestow favorable judgment is able to give them their full artistic upon works of art. The uninterrupted effect. There can be no doubt that when vista of a main thoroughfare flanked by Art rightly handles such cases all talk fine stores displaying the artistic products about a "city pattern" is beside the mark. of the city and of the country to the view This kind of talk is of the crowds other streets possible only when hurrying by ; Art is left out of the question. Unfortu- through which one may stroll for an out- nately the effort to avoid the uniformity ing and regale himself to the extent of of dwelling-house types which has re- his pocketbook; a sufficient number of sulted from practical and economic con- good restaurants, where one may find has led to an ob- both satisfaction and relaxation siderations, altogether ; open jectionable and artistically worthless squares, where public monuments and overloading of the exteriors of these util- buildings in artistic settings present itarian structures with purposeless fea- themselves to the gaze of the beholder tures, meaningless projections, turrets, and many other like factors not here gables, columns and ornament; although enumerated such are the things that wide streets serve to mitigate somewhat give to a city its characteristic physiog- the effect of these ungainly absurdities. nomy. To these may be added an effi- Quite as unjustifiable and as objection- cient system of transportation, a fault- able from an artistic viewpoint are in- less street-cleaning department, living ac- tentional but unwarranted curves and ir- commodations provided with every com- regularities in the lay-out of streets and fort and suited to every social grade- squares, intended solely to produce arti- all these are conditioning factors of i ficially picturesque vistas. Every large favorable impression on the artisticalh city possesses of necessity a greater or indifferent average man. In the applica smaller number of winding and irregular tion of a criterion of excellence to thes< streets but these ; have artistic warrant things beauty, that is, artistic quality when result is the factor this alone make only they naturally from con- deciding ; THE DEVELOPMENT OF A GREAT CITY. 491 it possible to produce a satisfactory ing now come into power, it devolves first impression on citizen and stranger upon it to provide the necessary artistic alike. Thus impressed, both citizen and initiative. stranger will be better disposed towards On the extreme periphery of a great the city; less moved by a hypocritical city private boundaries, paths, water pretense of art-interest to martyrize courses, small differences of level, a tree, art treasures and themselves "doing" the even a manure pile, may determine the museums of the town. later location of particular structures. The more completely a city fulfils its These in turn influence the position of practical ends, the better does it minister roads, squares, etc., so that at last out of to the of its inhabitants and these chance pleasures ; beginnings the permanent the greater the part played by Art in plan of the city grows up. this ministry, the more beautiful the It will never do, however, to elevate

THE DEVELOPMENT OF A GREAT CITY. As Proposed by Otto Wagner, Architect. city. Neatness and scrupulous cleanli- such things to the plane of determining ness go hand in hand with Art; city influences in artistic development. For governments please take notice ! if they were so, what would become of One chance for the influence of Art our hopes and efforts for the ideal city on the development of the city, and plan, the carefully thought out placing of hence upon its future aspect, is well-nigh public buildings, of parks, of vistas? closed in these not the What would become of the scientific days ; by pressure lay- of economy, but by the complete indif- out of circulation, the practical and eco- ference of the masses to artistic work, nomically necessary straight boundaries and the consequent lack of artistic crea- for building lots, and last of all, the con- tiveness. The masses have been for ages trol of building lines, so essential in any accustomed to leave all matters of art to great city? the ruling classes, and they overlook the From this it may be seen that the form- fact that the autonomous community hav- ing of the city cannot be left to chance, 492 THE ARCHITECTURAL RECORD. but must be founded on well-weighed itual and physical necessities of life, pos- considerations. To determine these con- sibilities both good and evil of recrea- siderations and point the way by which tion, and lastly Art, are all factors in this of this goal is to be reached is the aim of tendency. Most the forces which of cities this paper. favor the growth great are op- There can be no doubt of the fact that erating with constantly increasing energy. forces are in all this. the majority of mankind prefer living in Economic potent or It should excite no that a great city to living in a small one surprise city of cities. * in the country. A large proportion of councils favor the growth large the inhabitants of a great city are forced The exertion of the influence of every to do this by their occupations. Profit, city administrator to encourage the in- of inhabitants and is social position, comfort, luxury, low flux strangers there- a of death rate, the presence of all the spir- fore matter course.

REGULATION OF THE CITY PLAN

TJIE SKELETON OF A GREAT CITY IS with the unsurmountable "too late." Reg- formed by its lines of traffic, by its riv- ulation on a large scale of the housing ers, lakes or bays, its topography and like and living conditions of the future in- permanent conditions. The regulation habitants, the possibility of conveniences or systematizing of the city plan can, as and appliances at present unknown, the I have intimated, be carried out by fol- provision of "safety valves" for expan- lowing a definite principle and scheme, sion, last and not least the development This scheme falls naturally in to two of the city's growth along lines of beauty, divisions : must all be taken into account in the 1. The regulation of the old. already scheme. and existing part, How important, how fraught with ter- 2. The of future regulation develop- rible responsibility this duty of foresight ment and expansion. in regard to future conditions of living The of the old is lim- regulation part is, may be gathered from the fact that ited to its maintaining already existing great cities double in size in from thirty and use of it advanta- beauty making to fifty years. Hence their governing geously in the city plan. bodies are forced to take care that houses, Conditions of traffic, sanitary require- public buildings, main streets, sanitary the circumstance that so much ments, arrangements, etc., shall be properly lo- that is beautiful is in private cated in of possession, advance ; otherwise, instead that a work has reached the limit many the hoped-for ideal, a chaos would result, of and and social age usefulness, finally which could be restored to order only at and economic relations all these demand enormous expense. a special consideration of each individual We may consider it axiomatic that the case in the regulation of the old part. administration of a great city demands its On these the advance deter- grounds division into wards. The situation and mination of future lines in the building boundaries of the wards or boroughs existing parts of the city, however great- form the foundation of the systematized ly to be desired, is scarcely practicable. regulation of the great city. It goes without saying, however, that in While it may be wise and proper to lay the case^of new buildings or remodelings out each ward or borough with careful the city administration should avail it- consideration of its business cen- self to the utmost of any artistic advan- schools, from their to tages proximity existing *"Es darf daher nicht Wunder nehmen dass die elements of beauty. But it is the new and Stadtvertretungen das Anwachsen der Grossstadte that can and must fordern." I take this to mean that the represen- undeveloped quarters tatives of every city desire the increase and ex- be systematized, if coming events are not pansion of their own city to metropolitan dimen- sions. (Witness the "Million Clubs" of certain to bring the city authorities face to face sizable American cities). Translator. THE DEVELOPMENT OF A GREAT CITY. 493

ters, industrial requirements and domes- in the resulting zones, is therefore in tic conditions, there is no use in planning accord with this design. entire wards for particular classes or pur- In any systematic lay-out special care since of must be taken that the chief radial streets poses ; workmen, employees high and low rank, officials, and so on, will have a sufficient width to meet all future and must make their homes in their own demands of traffic, while the zonal streets particular wards. Certain things must should be planned so as to suffice for un- however be common to all wards to a looked for and unknown requirements. or less for The width of the zonal streets be greater degree ; example, may parks, (public) gardens, playgrounds, set at from 80 to 100 meters (262-328 schools, churches, traffic routes, markets, feet). The laying out of zonal streets municipal buildings (courts, police build- in the already built-up portion of the ings,' building department, borough city will present great difficulty, but they hall), department stores, centers for the can be made in part to coincide with handling of inward and outward bound streets already existing, and need not traffic, garages, morgues, even theaters, measure up to the above mentioned di- special museums, libraries, barracks, asy- mensions. lums, workshops, public halls, etc. this Since, as will be shown later, the sep- on the ground that, since there are a great arate wards or boroughs will be devel- number of public buildings whose useful- oped at exact intervals fixed in advance ness can scarcely be determined for more according to a well laid plan, and thus than a century in advance, future build- form a group of small cities around a ings for the same or like purposes can center, it seems more advisable to give only be provided as new wards spring each separate division its own open spaces, into being. such as parks, public gardens and play- Naturally the wards will DC arranged grounds, than to plan a belt of woods circularly in zones around the center of and meadows. Such a girdling of the the city; whether the zones are closed city forms a hard and fast limitation that circles or segments is of no consequence. is certainly to be avoided. In the light The distance from the center of the city of our present experience the expansion will always be the determining factor in of a city must be unlimited. Moreover, regard to reaching the permissible build- such a belt would be spoiled by the in- ing limits or the beginning of rural sub- evitable building along the radial streets urbs. that must of necessity intersect it, and The division of the wards into zones, thus would fail of its purpose. The sys- in most cases naturally arises from the tem of city building set forth in this ar- discharge or out-reaching of the streets ticle is illustrated by two plans and a that radiate from the city's center. bird's-eye view. The first of these plans The maximum population of a ward presents as an example the future Vienna may be taken experimentally at a hun- with its zones and wards extended in dred to a hundred and fifty thousand. It every direction to the limit of a radius of need hardly be mentioned that, until this 14 kilometers (8^ miles). It is how- limit is reached, two or even three such ever needless to say that the length of boroughs may have one administrative these radii can be increased at any time, center. and thus the addition of new zonal streets A population of from 100,000 to 150,- is unlimited. 000 corresponds to an area of from 500 A second plan shows the proposed de- * to 1,000 hectares, if the houses are velopment of the future twenty-second built to the allowed limit of height. The ward of Vienna as it would be when idea of surrounding the city center with completely built up. The height of the zonal streets from two to three kilo- buildings is limited to 23 meters, exclu- meters apart, and of laying out the wards sive of roof-story or attic, and the mini- mum width of streets is 23 meters (75 *1.300 to 2,600 acres, or about two to four square feet). miles. This is equivalent to a population of from 58 to 77 to the acre. By applying the propositions made 494 THE ARCHITECTURAL RECORD. later in this article, and by systematic large city will soon be in a position to- planning, it is possible to deter- limit the transportation of corpses to mine the fundamental arrangement railroads, and it seems therefore proper of each division or borough with regard to provide each ward with a mortuary to artistic, mercantile and hygienic con-- station for this purpose. siderations before the city administration It cannot fall within the limits of this opens it to development. In this way a article to clear up all questions pertaining series of beautiful and at the same time to city design, especially that of the practically convenient miniature cities grades and levels of particular cities. will arise. They will present to posterity This, however, is certain: That present an uninterrupted plastic history of Art, way connections must in the future be and thus exclude all mechanical uniform- either elevated above or depressed below the street ity. A pleasing variety will be presented level, and that present water by such sections as are devoted predom- supply systems cannot be altered. In the inantly to special purposes, such as art same way it can only be suggested here centers with their new collections and that it is the duty of the city administra- schools, or university cultural centers tion to obtain control of all transit facili- with a national library, and so forth. ties. The lots destined for public buildings This being granted, rapid transit must in any ward or borough can of course be provided for in such manner that there serve other purposes temporarily until shall be a constant circulation through the the actual construction begins. zones, and a constant movement to and Apart from buildings for state and na- fro through the radial streets, so that tional parliaments, and for great art col- any desired point can be reached with a lections which must be located near the single change of cars. Elevators should municipal center, and apart from those provide the means of connection between buildings claimed by the several wards elevated, subway and street car lines at respectively, there will be in every large points of intersection. city many edifices whose location is abso- The carrying out of the proposals here- lutely determined by topographical condi- in set forth insure to every city, through tions, water courses, harbors, local re- systematized regulation, an untrammeled quirements, and so on. development for all time, and the omi- In the same way there will be buildings nous "too late" vanishes from view. which are suitable only for particular There is one point, however, that must wards, such as warehouses and factories, be emphasized in this connection. Art the larger workshops, markets, bazaars, and the Artist must be governing etc. and such establishments as in ; finally factors, order that the beauty-destroy- must be located at a distance from the ing influence of the engineer may be for- citv, such as cemeteries, depots, balloon- ever destroyed, and the power of the sheds, barracks, fields for sports of all vampire, Speculation, which now makes sorts (including aviation). Cemeteries the autonomy of the city almost an illu- are on certain of the so fre- ; days year, sion, may be reduced to a minimum. The quented as to tax all means of transpor- means of realizing this, and the way in tation to the limit, so that it is obviously which it may be effected are illustrated better to or three. in have two Distance in the following discussion of the pro- this for for case counts nothing, every posals :

ECONOMIC CONSIDERATIONS IF THE SYSTEMATIZATION outlined above, such an undertaking it not to be though and the desired amelioration of the great of, for the best is in this case scarcely city are to be realized, the undertaking sufficient. One mieht suggest a sort o demands abundant means. Economy in competition of administrations in relatioi

496 THE ARCHITECTURAL RECORD. to the regulation and amelioration of the of raising sufficient funds for the city is of offered city plan. The late able mayor by the very increase of the city Vienna, Dr. Karl Lueger, pointed the itself, in the city's buying surrounding way most clearly, in that under his land which is little or not at all built up, regime the city took over the ownership and holding it until it is ready to be and operation of a number of public utili- built on and incorporated into future ties, such as gas and electric plants, zones. It is obvious that this land by high-pressure water service, street rail- being farmed out or leased immediately ways and control of burials, from which after its purchase can furnish a sufficient it received large returns. interest on the investment, while at the A further resource is suggested in the same time its increase in value will be in following remarks: favor of the city. A continuous increase in land values It is certainly to be expected that the

A CHURCH IN THE STEINHOP. Otto Wagner, Architect.

follows the growth of a large city. It is value of such lots, even if they at fir t therefore logical that this increase should paid scarcely sufficient interest, will in i accrue to the weal that to the short have increased to such a i general ; is, time - city. Movements towards this end have extent as to far surpass the original ir made the question of taxes on the in- vestment and its interest, and to brin^ crease of land values a living issue, and in a profit amounting even to hundrec ? this tax has already become law in Ger- of millions. many. It is doubtful, however, whether All the unoccupied land in the neigl - - the question can be solved in that way borhood of a city, it may be fairly a: - at all, for it is hard to find the right place sumed, can be obtained at a comparativi to apply the lever with success, unless ly low price. The increase of populatic i the taxes, as is already the case in indicates, however, that a part of th s

r Vienna, are to be raised to an enormous land will have been built up certain \ figure. within fifty years, and will therefore haA e A simple method of attaining this end reverted to private ownership again (it > ENTRANCE DETAIL, CHURCH IN THE STEINHOF. OTTO WAGNER. ARCHITECT. 7-o 498 THE ARCHITECTURAL RECORD.

of assumed that the city has obtained owner- apartment houses many stories, the land values of ship by condemnation). This procedure whereby will, course, is followed again and again. It is possi- increase. ble for the city by regulation of prices, The possibility of maintaining munici- allotments, etc., to direct its growth in pal apartment houses and lucrative mu- certain directions, to reserve the neces- nicipal establishments, such, for example, limit as is sary public lands in each ward, to city brickyards, opened up estab- the present flourishing speculation in real lishments which will be a further source estate, and with the resulting profits to of revenue to the city. Two things are carry out plans for city improvement on necessary for the carrying out of such a a large scale. According to the accom- scheme by the city : panying illustration, the future twen- First: a suitable condemnation law,

DWELLING IN THE 13TH WARD, VIENNA. Otto Wagner, Architect. ty-second ward of Vienna has, for ex- which is the more easily obtained since ample, 5,100,000 square meters;* 50 every city will support a movement for per cent of this is held for public pur- its own development into a metropolis poses and hence there remains 2,500,000 such a law is moreover the best and surest square meters (one square mile), which of tax-reducers. represents, at an increase of only 20 Second: the creation of a general mu- kroner per square meter, a gain of 50,- nicipal sinking fund (Stadtwertzuwachs 000,000 kroner. fonds) by which the house may be re- This total may be still further in- lieved of the risks and contingencies ol creased, for the city administration is in protection, profit and safety. a position to regulate the building up of The advantages to be secured for th< the ward in such a way as to encourage community by an expropriation law fal naturally into two categories : *510 hectares, about 1..120 acres, or two square miles. I. The expansion of the city. THE DEVELOPMENT OF A GREAT CITY. 499

II. The improvement of the existing and sanitary dwellings, and that the fur- part. ther needs and wishes of the city dweller With the proposed legislation to build can be fully satisfied. And one must on, the city authorities can seriously con- admit also that only in this way is the sider undertaking those projects which problem of our future way of living to be are in keeping with the development of solved. the city and are imperiously demanded The longed-for detached house in the by a progressive culture. still more longed-for garden city can never The greatly increased income will put satisfy the popular need, since as a result the city in a position to erect peoples' of the pressure of economy in living ex- clubs and dwelling houses, municipal san- penses, of the increase and decrease in atoriums, city warehouses, promenades, the size of families, of change of occu- fountains, observatories or belvideres, pation and position in life, there must be museums, theaters, waterside pavilions, constant shifting and change in the de- valhallas, etc., in short, things which are sires of the masses. The needs which

PROJECT FOR A UNIVERSITY LIBRARY IN VIENNA. Otto Wagner, Architect. now scarcely thought of, but which can- arise from such changing conditions can not be omitted from the plan of the fu- be satisfied only by rented apartment ture metropolis. dwellings, and never by the individual houses. Although the scale of this study is only Last of all, it must be stated clearly and that of a general sketch, yet it may justly decisively that homes in buildings on city be maintained that in these proposals the blocks divided into from four to six lots, means are presented of enabling the city each block fronting on a garden, square to satisfy the enormous demands of ad- or park, and bounded on three sides by a ministration, commerce, hvgiene and art. street 23 meters wide, are in accord with If one examines the plans and the pic- the demands of our progressive culture, ture presented here (they are not offered are healthy, beautiful, comfortable and as models to be copied), even the layman cheap, and are better fitted to our de- will be convinced that houses built in city mands, than those whose design is based wards thus planned afford good, cheap on fundamentally false principles. To 500 THE ARCHITECTURAL RECORD. hark back to tradition, to make "expres- while the Ringstrasse owes its existence the to a chance and when one con- sion" or picturesqueness controlling lucky ; consideration in designing homes for the trasts with this a future, artistic, rational man of to-day, is absurd in the light of planning and disposition of the several modern experience. The number of city wards brought into systematic relations dwellers who to-day prefer to vanish in with each other, the thought must arise the mass as mere numbers on apartment even in circles untouched by Art, that doors is considerably greater than of without that largeness of conception and those who care to hear the daily, "good breadth of vision suggested by these pro- " morning, how are you from their gos- posals, and without the constant hand and touch of Art sipy neighbors hi single houses. upon every detail, a However, it is self-evident that the beautiful city can never be built. the It will single dwelling will not vanish from not do to leave the expansion its will be of a to blind chance and artistic im- city plan : presence, however, city due to the wishes of the upper ten potence as in the past, and to consider thousand. artistic efforts as superfluous, or to aban- The manner of life which our era has don the development of the city to the produced, will yet bring to maturity many most miserable land speculations. The re- things of which we can now form scarce- sulting injury to the inhabitants and gov- such for the ernment of a is, from a ly a conception ; as, example, city politico-eco- movable house, the portable house erected nomical point of view, nothing short of on land leased from the city, and many colossal. It will continue to grow greater, others. for the noward march of time will When it is considered that Vienna, for make it ever more and more irre- example, in sixty years, in spite of the parable. most favorable situation, has not pro- May the representatives of the people duced a city plan of artistic value except in city governments keep particularly be- re- Semper's outer Burgplatz (after the fore their eyes the fact that a great city moval of the city gate and the re- can only fulfil its end which is to be the modelling of the castle) and the Schwar- satisfying dwelling place of a population zenbergplatz, not altogether unobjection- counted by millions when it is a beau- able (the City Hall and Votive Church tiful city, and that this is only to be squares may be considered failures), reached through Art. PORTFOLIO | O E RECENT SVBVRBAN HOVSES DESIGNED BY WILLIAM M.KENYON, ARCHITECT.

1 MINN EAPOLIi . 502 THE ARCHITECTURAL RECORD.

Floor Plan. Sitting- Room Second Story.

RESIDENCE OP WILLIAM M. KENYON, ESQ., MINNEAPOLIS, MINN.

Wm. M. Kenyon, Architect.

The ideals and the variety of the bet- ter American Architects receive their highest and fullest expression in the sub- urban and country house. In the six houses herewith illustrated by photographs and plans there is a cer- tain local propriety and individual de- stinction imparted. Each house shows that there is an increasing number of people of moderate means who demand a dwelling with some distinction and of propriety appearance. The Library.

504 THE ARCHITECTURAL RECORD.

Floor Plans. RESIDENCE OF MRS. WILLIAM DONALDSON. Minneapolis, Minn. Wm. M. Kenyon, Architf :t. THE WORK OF WM. M. KENYON, ARCHITECT. 505

Entran<

The Hall. RESIDENCE FOR MRS. WILLIAM DONALDSON. Minneapolis, Minn. Wm. M. Kenyon, Architect. Entrance Detail. RESIDENCE OF DR. A. A. LAW.

508 THE ARCHITECTURAL RECORD.

The Library. RESIDENCE OP MR. P. H. CARPENTER. Minneapolis, Minn. Wm. M. Kenyon, Architect. THE WORK OF WM. M. KENYON, ARCHITECT. 509

Street Elevation. RESIDENCE OF MR. F. H. CARPENTER. Minneapolis, Minn. Wm. M. Kenyon, Architect. 510 THE ARCHITECTURAL RECORD.

Recreation Room in the Basement. Stair Hall.

RESIDENCE FOR MR. GEO. P. THOMPSON Minneapolis, Minn.

Wm. M. Kenyon, Architect.

Garden Elevation. THE WORK OF WM. M. KENYON, ARCHITECT. 511

Floor Plans.

Street Elevation. RESIDENCE OF MR. C. H. COCHRAN. Minneapolis, Minn.

ARCHITECTVRE OF AMER- ICAN COLLEGES THUEE WOMEN'S COLLEGES WELLE5LEY & SMITH MONTGOMERY SCUVYLER,

WAS TENNYSON, in his "Princess," the to say nothing of the pathetic collapse "onlie begetter" of the actual women's of the imaginary institution. colleges of Great Britain and America? Tennyson is not, in fact, in the least Sir Walter Besant was unquestionably, likely to get a statue in the vestibule of by his novel "All Sorts and Conditions any college for women, at least not on of Men," the beginner of the movement the score of his "Princess." And yet which resulted in the erection of the who can say that the beauty of the poet's "People's Palace" in London. Over the vision of a separate and equal higher completion and "inauguration" of this education for women, irrespective of the edifice the novelist had the happiness of post-graduate lot in life of its beneficiar- surviving to preside. Whether it has ies, may not have appealed to some more since fulfilled the bright previsions of his serious and strenuous dreamer who suc- imagination one does not accurately cessfully strove with some affluent bene- know. However that may be, and even factor to make the dream come true. if the project has turned out to be a dis- The dates, at any rate, are instructive. appointment to its projectors, the disap- "The Princess" was published in 1849. pointment is not his. Twelve years later, the germinal idea of It is true that one cannot exactly "see" a college for women, equal in its require- the author of "The Princess" presiding ments and advantages to those of the ex- over the inauguration of a women's col- isting colleges for men, took root and lege. Feminine as some critics may sprouted into the charter of Vassar Col- have found some of his verse, nobody lege. American soil is perhaps more ever found the versifier himself other congenial to new ideas in general than than exclusively masculine. He was not that of Europe, and particularly than to in the least a prophet of sexual equality, that of the British Islands. To this par- but only, as we may say, of sexual equiv- ticular order of ideas it is certainly so. alence. The head of a female college Nobody can doubt that who has read could no more invoke him as a prophet Charles Reade's "Woman Hater" on the of her cause than could Mrs. Pankhurst. struggles of American women to obtain There is in his "medley" a vein, not of medical education in Europe, or the masculine mockery, but of genial and tributary letter from female American superior masculine banter of "a certain medical students which his chivalric condescendsion" in his treatment of the championship of their cause evoked. The .theory which he imagined to be em- charter of Vassar bears date January bodied in practice, the theory 18th, 1861. Pretty well a decade had Maintaining that with equal husbandry elapsed before "the sincerest flattery" of The woman were an equal to the man, imitation was bestowed upon this pioneer and about his equally vision, long ago by the establishment of other women's become everybody's colleges endeavoring to supply the now the Pretty were sight demand to which it was either If our old halls could change their sex, and recognized flaunt demonstrated or assumed that the pion- With prudes for doctors, dowagers for deans, And sweet girl-graduates in their golden hair. eer was not entirely adequate to sup- 514 THE ARCHITECTURAL RECORD.

plying. Smith was incorporated in lay that the distinction of being further 1871, Wellesley in 1875. On the other behind the age than any other body of hand, or the other "side," the oldest of the English people is one which that the women's colleges is Girton, at Cam- learned body acquired early and never bridge, established there in 1873, though lost. Somerville College was the first of to be sure after a tentative and provi- the Oxonian experiments, and Somer- sional start at Hitchin, where it had lan- ville dates only from 1879. Lady Mar- guished for the four years since 1869, garet Hall is of the same year. Then and was thus at its earliest eight years follow St. Hugh's Hall, 1886, and thus junior to Vassar. The second of the a year younger than Bryn Mawr, and St. Cambridge colleges, Newnham, namely, Hilda's Hall coming down to the re- dated from 1875 as such, though it or its cency of 1893. Upon the whole, it predecessor had been a "hall of resi- seems that we are entitled to claim the dence" for women taking such special woman's college, as distinguished from university lectures as were open to them, the "Seminary for Young Ladies" as, from 1873. As to Oxford, one recalls essentially, an American develop- the remark of the Cantabrigian Macau- ment.

THE BEGINNINGS o* in- means, have married and endowed the stitutions even of quite public." Matthew Vassar was of an VASSAR recent establishment are entirely open mind as to the form which apt to be obscure. That his "endowment of the public" should (1861) that is not the case with take. He had serious thoughts of ai: Vassar is due to the fact hospital, determined very possibly by the that in 1867 Benson J. circumstance that he was a kinsman oi Lossing, one of the trustees of the the Thomas Guy who founded Guy's young college, and a painstaking and Hospital in London. It seems to hav< accurate historian, was requested by his been in the first place the enthusiasm ir fellow-trustees to prepare a memoir of behalf of the higher education of womei it. This he did in a volume "Vassar of a niece of his who conducted a "Cot- College and Its Founder," which, quite tage Hill Seminary" on the river ban! apart from its literary contents, is nota- near Poughkeepsie, but who died befon ble and worthy of preservation as an ex- her uncle's project took shape, and sec ample of the best that American presses ondly and even more influentially, th< could do in 1867, the year of its publi- counsels of a certain Dr. Jewett, a fel cation, in printing and wood engraving. low Baptist of the benevolent brewer From this it appears that Matthew Vas- and the successor of his niece in the con sar, though he happened to have been duct of the seminary, of which he ha< born in England, had been brought to taken charge as early as 1855, which di Poughkeepsie at the age of four, four verted the benevolence of Matthew Vas years before the close of the eighteenth sar from a hospital to a college fo century. His interests were entirely women. Dr. Jewett became, in fact, th< identified with that place, in which his first President of Vassar, and in th' seniors had begun, and he had taken early sixties made a tour of Europe it over and enlarged a brewing business quest of information relevant to the so which yielded him in turn a livelihood, lution of his new problem. The question i a competence and a fortune. Having no of the buildings suitable to his enterpris children, he cast about for ways and and capable of accommodating "fou means to make his fortune profitable to hundred students" on the selected sit his fellow citizens, according to Bacon's two miles eastward of Poughkeepsu , famous sentence that "the best works, had concerned the founder from the firs , and of greatest merit for the public, ha\ e and he had employed an architect, Tefi : proceeded from the unmarried or child- by name, who had a special standing i i less men which, both in affection and school building, to devise plans for th x THE ARCHITECTURE OF AMERICAN COLLEGES. 515 new institution. The plans were pre- chosen style. More simplicity and more pared but not used. Tefft went to Eu- variety of treatment would be sought by rope to study college architecture, and an architect limited to these materials. died at Florence, and James Renwick, But at that time nobody questioned that still "Jr.," and fresh from the recent a building as big as possible, and answer- laurels of the Smithsonian Institution in ing as many communal purposes as pos- Washington, was employed in his stead. sible was the correct basis for an "insti- Although the civil war supervened al- tution." The "pavilion system" had not most immediately upon the granting of come in for hospitals, let alone colleges. the charter, the work went steadily on, Accordingly, we have the huge building, and by the autumn of 1865, at an ex- five hundred feet long, two hundred

Plan of the Grounds and Buildings, VASSAR COLLEGE. Poughkeepsie, N. Y. pense of something less than half a mill- deep, and nearly a hundred high, mainly ion, the buildings of the original scheme devoted to "dormitories," or studies and were so far completed as to be opened bedrooms, but with an extension which for the purposes which they have ever is or was a dining hall on one floor, and since been subserving. a chapel and gallery on two more. In Nothing could be less like the irregu- spite of the contrast between the pom- lar "Norman" of the Smithsonian than pous style and the simple material, the the formal and symmetrical and man- Ludovican facade has an impressiveness sarded Louis Quatorze of the huge prin- of its own, even to-day. This is much Its cipal building of the new college. enhanced by the effective placing of it, humble brickwork would hardly be well back from the road, with a broad adopted now in connection with the and straight way leading to the central 516 THE ARCHITECTURAL RECORD.

THE LODGE OR GATE HOUSE, VASSAR COLLEGE (1863). James Renwick, Architect. entrance from the porter's lodge, homo- case has doubtless been added since the geneous with it in style and material, of original erection, with no other effect which the archway frames the vista that upon the irreverent undergraduates than is closed by the central pavilion. The to make them nickname it "Soap Hall." innocent pomposity of the little porter's The architectural detail is not very good, lodge with its big pavilions has an at- from any point of view, but the grime of traction of its own. The original plan half a century gives some venerableness was rational and comprehensive, and evi- to a front which by its extent alone dently the architect had the co-operation would be sure of making its impression. of a landscape gardener, traditionally re- Other buildings of the original scheme ported to have been Mr. Olmsted, are what is now known as the Museum though there seems to be no document- and Music Hall, but was evidently in- ary evidence on that point. The interior tended at first as a riding hall, its queer luxury of a multi-colored marble stair- curvilinear roof denoting a truss span-

THE MUSEUM AND MUSIC HALL, VASSAR COLLEGE. THE ARCHITECTURE OF AMERICAN COLLEGES. 517

ning the entire interior space without in- successors to the extent of making itself termediate supports. The form had a thus respected. Truly, as to these real relevancy to the original purpose, things, and as to their preservation of which it has of course lost with the de- the history of nearly half a century, and parture from that purpose and the sub- a half century certainly very eventful, if division of the interior to adapt it to not so certainly fruitful, in the history of purposes far from the purview of the American architecture, one would not original designer. Small blame to any- wish Vassar different. That effect of body concerned. the porter's lodge, the long avenue and It was some years before Vassar felt the big building behind, even though you itself outgrowing the original nucleus of may be disposed to smile at it as so old- its archietcture. And it has to be owned fashioned, you cannot deny to be worth that that original scheme was laid while. It is much better worth while out with such precision as to allow for now than when "its new cut ashlar took and encourage the whole subsequent de- the light," for at that time, according to

THE PRESIDENT'S HOUSE, VASSAR COLLEGE (1895). Rossiter and Wright, Architects.

velopment. When the visitor even of to- Lossing's account, at the time in the sum- day recalls his impressions of the college, mer of 1861 when ground was broken the deepest of them is that winsome if for the college, the site, which had pre- absurd porter's lodge, that spreading viously been the Dutchess County Race front and towering Ludovican pavilion Course, "was without tree or shrub." But behind, and the long straight avenue that this bareness was speedily clothed. The connects them and that places the big effect of the long straight avenue would building at its proper distance and in its have been very depressing if it had not proper place "in the picture." To have been. Plantation and gardening went maintained this primary effect is "equal- on pari passu with the work of construc- ly creditable to all parties," to the sub- tion, and when the buildings of the orig- sequent architects wr ho would not have inal foundation were ready to fulfill their done at all what the original architect intended uses, suitable surroundings had did, if they had been in his place, to the begun to be supplied. At present the original architect whose conception im- gardening of Vassar is an integral part posed itself upon his otherwise minded of its architectural effect, and the appro- 518 THE ARCHITECTURAL RECORD.

THE OBSERVATORY, VASSAR COLLEGE (1865). James Renwick, Architect. priatencss and copiousness of it count considered scheme. That was not com- for very much in the total effect. For mon in 1861, and there was much virtue the near future, one hears of an exten- in that. The alternative to the Louis sive arboricultural and horticultural pro- Quatorze would probably have been the ject, under the direction of Mr. Samuel polychromatic Gothic with which the au- Parsons, for the still further enhance- thor of the original architecture of Vas- ment of the inherent and acquired sar was concurrently diversifying anc charms of the place. variegating so many peaceable land- Upon the whole, Vassar has been for- scapes. As between Mr. Renwick's secu- tunate in its architectural development. lar Gothic and Mr. Renwick's Ludovicar The original grandiose manner of de- classic, the choice would be difficult sign may have come to wear a slightly That the adopted manner was less am- comic aspect in comparison with the bitious, even if more pretentious, anc manner of its execution, certainly not more humdrum than the rejected man- grandiose. But it was a scheme, and a ner has come, after half a century, to

LATHROP HALL, VASSAR COLLEGE. THE ARCHITECTURE OF AMERICAN COLLEGES. 519

THE ALUMNAE GYMNASIUM, VASSAR COLLEGE.

seem a positive advantage. The original tinct architectural jar. Otherwise each foundation, costing some half a million, group of buildings, and each important was fairly complete in itself, and might, building has its own environment, pre- better than most architectural nucleuses, venting it from being seen in any dis- stand by itself in an environment of sub- cordant relation with architecture with sequent erections composed in an avow- which it has no affinity. The fashions edly different manner, provided they which have prevailed since the original were so segregated as not to seem part foundation are pretty much all represent- of the original scheme nor to come into ed at Vassar, the Romanesque of the direct competition with it. This require- chapel and the Romanesque of a differ- ment has been secured, and the securing ent inspiration of the Alumnae Chapel, of it was made possible by the original the "American suburban" of the Presi- scheme, considered as a work not less dent's house, the Collegiate Gothic of the of landscape architecture than of the Library, the different modes of "collegi- building. The "New England Build- ate" in Lathrop Hall and Rockefeller ing" alone one is pained to note as a dis- Hall, the nondescript of the new North

ROCKEFELLER HALL, VASSAR COLLEGE. 520 THE ARCHITECTURAL RECORD.

it is of Hall with its steel framed and many- saying that a negotiable specimen storied tower. In the description this its time and style, the style being the accurate- threatens a mere higgledy-piggledy, like Richardson Romanesque which wherever so many others we know and deplore. In ly enough dates itself, you as of the or ninth decade fact, thanks to the original scheme and .find it, eighth nineteenth and the accu- to the successful pains that have been of the century, is not in taken in modifying and expanding it to racy of which, as a specimen, this case disturbed meet new exigencies, the original ex- by any "personal mul- Neither Hall nor penditure of half a million has been equation." Lathrop is not that of Rockefeller Hall need detain us, after tiplied by five and the effect of we have each to be a ne- higgledy-piggledy, but of a series acknowledged of and well behaved of groups, including the original group gotiable specimen its The President's half a century ago, of which each has its respective "style." called an own character, and none violently con- House, which we have example of the Suburban in domestic flicts with its neighbor. American makes rather more of an This segregation and seclusion of each architecture, individual it be of the possibly belligerent elements are impression. True, might "American residence" al- not the same thing as conformity, though an gentleman's most but it does nevertheless they tend to the same result of peace anywhere, and even rather fit and quietness. They are effected by the actually exquisitely and is a art rather of the landscape gardener than its collegiate surroundings, pret- of the architect, and it is of the value of ty little success, all the more successful its But the two show the gardening to the effect of the archi- for environment. tecture that Vassar is one of the most buildings upon which money has been is not re- exemplary American evidences. For in most lavishly spent one only but a little relieved to find fact a college ought to be a park, when- joiced worthy and ever it can afford the space so to be, and of their elaboration expensiveness. two show as natur- ought to be willing to make considerable The buildings are, sacrifices to the end of becoming so. Is ally they should be, the Chapel and the it rather not that the most alluring of all the de- Library. Of the former seems the and successors of scriptions of Oxford which gives equal odd that pupils weight to the gardening and the archi- Richardson, determining upon Roman- tecture; "Oxford, spreading her gardens esque as the style in which they would to the moonlight and whispering from work out a college chapel, should have her towers the last enchantments of the abandoned the Provencal Romanesque Middle Age"? One result of this mode in which the master had won such suc- of designing a college is that the behold- cesses, and reverted to the "Norman" er is not so exigent as he otherwise phase of the style. However that may might be as to the strictly architectural be, it is certain that the actual chapel re- merit of the buildings. If an edifice calls rather the abbey churches of Caen fills its place and comports with its sur- than any example further to the South- roundings it will very fairly pass, and ward. One hastens to add that the re- in these respects, taste counts quite as sult of their labors justifies them. It is much as skill. Not that the buildings of hard to imagine any edifice fitting this Vassar need any special allowance on particular site more appropriately thar this score. They are all, all the recent the edifice which occupies it. It is verj ones, fairly up to the average of Ameri- prettily placed, with one of its flank.' can college building, and the best are mirrored in the pool which, whether 11 considerably above that average. Luck- be in fact natural or artificial, is equall) ily, the show buildings, those upon which a feature which we owe to the origina most money has been spent, are also plan of Vassar. Thanks to the isolatior those which most conspicuously show enforced by judicious plantation, the site that the money has been well spent. We though distinctly enough a part of ; need not waste time and space in discus- rather crowded and busy campus, ha: sing the Alumnae Gymnasium, beyond still its seclusion, and nothing could be

522 THE ARCHITECTURAL RECORD.

View from the Lake.

Rear Elevation. THE CHAPEL AT VASSAR COLLEGE. Shepley, Rutan & Coolidge, Architects. THE VASSAR COLLEGE LIBRARY. ALLEN & COLLENS, ARCHITECTS. h-3 02 2 O H

K o THE ARCHITECTURE OF AMERICAN COLLEGES. 525 come its surrounding's better than this "multitudinous pinnacle and diademed flank of rough stone, with its lighter tower" of the latest phase of English wrought work, this peaked transept and Gothic very suitably crown the low and circling apse and this square squat tower. weighty mass, and find a function, as The piece of Norman is quite where and one divines from without, and ascertains as it ought to be. There is no purism from within, in enclosing and embracing about the design, all the same, and the an impressive central hall which is one interior is developed, in the open-tim- of the most successful of our efforts in bered construction of a Gothic much this country at a consistent and appro- later than the rude Norman of the ex- priate collegiate architecture. These two terior, into a spreading "auditorium" culminating features of the architecture adequate and appropriate to its purpose of Vassar are noteworthy and impressive

THE VASSAR COLLEGE LIBRARY. Allen & Collens, Architects. as the most solemn place of assemblage in themselves. But they gain greatly in of the inmates of the institution. noteworthiness and impressiveness from Equally appropriate to its purpose and being simply a higher power of the sub- its surroundings, though of a date of ordinate and accessory architecture erection some years later, and of an his- which surrounds them. And this in turn torical style some centuries later, is the proceeds from the fact that Vassar start- This Library. is, perhaps, when one has ed, fifty years ago, with a comprehensive won his way inside, and escaped from scheme, in which architecture and land- the straight way which leads from the scape gardening were combined and co- porter's lodge to the central pavilion of operative, and which has been found the old Main Building, the most con- adequate to the development of the in- spicuous object on the campus, and it is stitution, in spite of the wide divergency, fully worthy of its conspicuousness. The in the technical style of the later work, 526 THE ARCHITECTURAL RECORD. from that of the nucleus of the early of college buildings, this is a clever and sixties. The moral seems too plain to be considered design, in which the central missed hereafter. tower is prevented by the treatment of There is still another building at Vas- the other parts from too outrageous a sar very worthy of consideration. This spindling, and where it does really take is the "North Hall," the latest addition its place as the dominant feature of its to the architecture of the institution, and own group. However horrifying the in- clearly the most questionable. Here, the novation may be to conservative archi- latest developments of commercial and tects of college buildings, they have to residential architecture, enforced in re- recognize that "to this complexion must gions far more crowded than the campus it come at last" if not with the architect- of Vassar, have been utilized, in so much ure of so secluded and spacious an insti- that a steel-framed tower of nine or ten tution as Vassar, at least with the archi- stories rises from what one has come to tecture of colleges more cramped for regard as the normal limit of altitude of room, in which the vertical dimensions is collegiate building. One does not "see the only one left that is available for ex- the necessity" of beginning at Vassar. pansion. Such architects may profitably

NORTH HALL, VASSAR COLLEGE. Pilcher & Tachan, Architects.

There are so many other campuses more employ themselves with the question crowded. At the same time, one has to and where, if the "donnee" of North recognize that the innovation has been Hall at Vassar were imposed upon them attempted at a point where it works the they could improve upon the result at least derangement of the pre-existing tained in this initial experiment, th< building of the institution. One also conditions of which are so sure to b( has to recognize that, given the steel- repeated and even aggravated else framed tower as an element of a group where.

SMITH is remarkable dowed the public." Born in 1796, sh among other things for was already sixty-five years old whei SMITH being the only woman's her brother, Austin, died and left he COLLEGE college founded by a a large fortune. She had no way o woman. Smith and no one on whom t< (1871) Sophia spending it, was not only childness, spend it. She consulted her pastor, wh > like Matthew Vassar, worked out two alternative schemes fo but unmarried, and, like him, "en- its disposition. One was the woman' i THE ARCHITECTURE OF AMERICAN COLLEGES. 527

resulted the oth- tention of to found an- college, which actually ; leaving enough er an institution for deaf mutes. To other, a special library of research. this latter she inclined, and in 1861 made Northampton was also abundantly pro- the site a will founding- the institution for deaf vided with churches, to which mutes; but in 1867 private munificence chosen for the college was convenient, and State aid had combined to meet this one of them recalling by its name the need. Accordingly Sophia Smith changed memorable pastorate of Jonathan Ed- her will and became, in 1868, the found- wards. There was thus, it was decided, of the er of Smith College. Her last will was no occasion for spending any executed in March, 1870. She died the funds of the college upon a library or a Col- following June, and the charter of Smith chapel, and for many years Smith which College was granted March 3, 1871. lege had neither of the buildings Hadfield had been the lifelong home are commonly assumed to be primary of Sophia Smith and would seem to be requisites of a collegiate institution. the natural habitat of the institution she There was no urgent need of them, for founded. In fact, a section of the char- to this day it is evident to the stranger in

THE DEWEY MANSION, SMITH COLLEGE (1826). Northampton, Mass.

ter provided that the college should be Northampton, almost at first glance, that established in Northampton if the citi- Smith College "owns the town." zens or the town should raise and hand In another respect the choice of site over to the trustees thousand was fortunate one of the estates twenty-five ; pur- dollars otherwise the was to be chased for the had it the ; college college upon established in Hadfield. But Northamp- Dewey homestead. This was a mansion ton promptly seized its opportunity, and dating from 1826, one of the early exam- the money required was voted by the ples in this region, if not the very town in March, 1871. It just about half earliest example, of the Greek revival. sufficed to pay for the site, composed of 1826 was about as early as an authentic two adjoining residential plots, those of example of the Greek revival could Judge Dewey and of Judge Lyman. The have been erected, except from the establishment of the college in 'North- designs of one of the few architects then ampton was fortunate for several rea- in the country who were able and dis- sons. In the first place, the town itself posed to possess themselves of copies of had a good library, and one of the Stuart & Revett's monumental and cost- townsmen had already declared his in- ly "Antiquities of Athens." In 1824, ' 528 THE ARCHITECTURAL RECORD.

Music Hall. College Hall. SMITH COLLEGE, NORTHAMPTON, MASS. Peabody & Stearns, Architects. however, Gwilt began the publication of released from copyright. Classical Gre- a new edition of Sir William Chamber's cian detail was thus brought within the "Treatise on Civil Architecture," with reach not only of the architects of the some illustrations from the "Antiquities larger cities, but also of the rural me- of Athens," which was at about that time chanic. The probable builder of the

HILLYER ART MUSEUM, SMITH COLLEGE. Peabody & Stearns, Architects. THE ARCHITECTURE OF AMERICAN COLLEGES. 529

Dewey homestead was a mechanic of a pie of its style and date than this initial superior kind, no other than George Cut- building of Smith College. ler, who, upon his graduation from Am- Other buildings followed from the herst, in 1826, took up the profession of same hand, and of the same character, "housebuilder." The Dewey homestead, though the polychrome of College Hall it will be observed, dates from the year is subdued in Music Hall and also in of his graduation, from a college only a the singularly attractive and artistic Hil- few miles away. An Ionic temple at yer Art Museum, no doubt to their arch- Amherst, the Boltwood house (1828) is itectural advantage, while the expressive- known to be by Cutler, and the presump- ness is retained. To be sure, not all of tion is strong that he was also the author the early buildings of Smith are as good of this example of the revival in North- as these. The "pavilion system" of dor- ampton two years earlier. The detail is, mitories was early adopted. Such a in each case, that of the Ionic of the building as Wallace Hall, still designed Erechtheum, and the order is, in each, under the Gothic inspiration, is a con- tetrastyle, the chief difference being that geries of cottages suitable to their pur- the columns are more widely spaced in poses, and negotiably composed in an Northampton than in Amherst, where architectural sense, but in such a build- classical precedent is strictly followed. ing as the Lilly Hall of Science, it is In either case the example of a refined clear that the designer has succumbed to piece of architecture was an especially the temptations of his style, and that the lucky acquisition for the college of features by no means compose a coun- which it was the architectural patrimony, tenance. In this respect a later dormi- so to speak. tory, Baldwin House, commends itself by The Dewey house became the first simplicity and unpretentiousness, being, residential building of Smith. The first .in fact, a piece of "Old New York" or academic building was College Hall, the possibly of "Old Boston," which, never- dedication of which, July 14, 1875, was theless, looks very much at home in its also the occasion of the formal inaugu- actual surroundings A still later pair ration of President Seelye, who had been of dormitories by the same architect has performing presidential functions al- the additional advantage of attaining the ready for two years. Here also the same simplicity, solidity and homeliness, young institution was fortunate in its without invoking reminiscences of other architect and its architecture. The times or other places They seem quite to Gothic revival was at its height in 1875, have grown out of the soil. and the choice of no other mode of The need of a college chapel, which building would have been considered was so little felt in the early days of compatible with a seat of "culture." Smith, has not, even yet, been urgent There are few better examples than Col- enough to produce a special building for lege Hall of Victorian Gothic at its best. that purpose. An Episcopal church, a The specific and detailed expression of very spirited and individual piece of each important part of a building the Gothic, stands almost within the college revivalists felt to be imposed upon them. grounds, and is quite extensively ac- The danger of this mode of design is, of cepted as the college church, although, course, that variety and expressiveness in fact, it has no other connection with will be attained at the cost of unity and the institution than that of proximity repose. The expressiveness in this case and of natural affinity. A library, how- is specific and detailed, and the "feat- ever, has lately been added, which is ures" are animated and picturesque, but among the noteworthy buildings of the the animation does not entail restless- college. It is of excellent material and ness. The general grouping of the workmanship, and in design it is evident building and the union of the features that the aim has been to obtain simplicity secured by the predominance of the tow- and repose. The ranges of equally er combine the "features" into an archi- spaced openings, the modest scale of the tectural physiognomy. One would be at detail, and the large expanse of the roof a loss to name a more creditable exam- all conduce to this expression. The de- 9-o

532 THE ARCHITECTURAL RECORD.

of the signer appears to have feared that he purposes institution has been rec- was carrying the simplicity too far, and ognized and supplied in what is doubtless the most that it might become monotony. Some monumental and imposing of the of spectators of his work would not agree buildings the institution. The mo- with him, or at least would not agree tive will be recognized by those who that the central feature with which he know Dartmouth as in effect the motive has diversified the otherwise unbroken of Webster Hall, which is, perhaps, the expanse is a successful diversification. most imposing of the buildings at Han- This central feature is an arch, flanked over, but at Northampton the design has been by columns carrying a balcony and sig- carried out on so much larger a nalized above by a pedimented break in scale, and with so much greater afflu- the line of the eaves. It is questionable ence of means, as to increase the im- whether the gain in variety compensates pressiveness of the result in a geometri- for the loss in unity and simplicity; cal ratio. The seating capacity is twen- whether it would not have been better to ty-five hundred, which is to say that the make the central arch of entrance sim- interior will hold one thousand more than the fifteen ply one equal member of the continuous hundred undergraduate arcade and to omit altogether the order population of the college. The material and balcony and the pediment, which so of the monumental order is itself monu- an- it is clearly exist for the sake of one mental, and everywhere clear tha': other. All the same, the building un- the architect has not been stinted. The doubtedly makes the impression of an result is not only by far the most im- artistic and refined piece of architecture. pressive building of the college, but one Although the need of a special place of the most successful and impres- of religious assembly has not yet de- sive edifices of its kind in the col- manded its supply at Smith, the need of legiate architecture of the United a general assembly hall for the common States.

WELLESLEY, like some judged to be the most meet device to other advertised secure their was enacted. It was WELLESLEY widely object, institutions, had no ori- in 1875 that the actual institution wa: COLLEGE, gin "peculiar to itself." chartered under the name of Wellesle\ (1875) In fact, Mr. and Mrs. College. Mr. Durant died many year: Harry Fowle Durant, ago, but Mr. Durant servives, or ven Mr. Durant being a lately survived, and from her own com Boston lawyer, had what in Colonial paratively humble abode, also on th< days would have been called a '"seat." shore of Lake Waban, has seen the con within negotiable distance of Boston, jugal purpose fructify beyond the utmos even in the 60's. It was not in those days aspiration of the conjugal dreams. within the limits of commutation but As in the case of Vassar, the origina was "a summer residence." A beautiful scheme of Wellesley consisted of on< little lake was the cynosure of the estate rather tremendous building. This build which the Durants acquired, and which, ing, considering its date, almost had t< since they also, like all the other public be in Victorian Gothic, like the archi benefactors and benefactresses, were tectural nucleus of Smith. Its name i childless, became the cynosure of their the same, "College Hall," and the archi interesting life and of their hopes to be tect whose work most commended hin remembered. To secure their "improve- to the founders was chosen to design it ments" and the continuous expansion of This architect was Hammatt Billings, ; their improvements, seems to have been draughtsman, painter, architect, illustra more the purpose of the Durants than tor, a person of exquisite artistic sensi to benefit their species. It was during bilities, entirely anomalous and unpro the lifetime of both that the charter of vided for in the general social and po Wellesley Female Seminary, which they litical scheme of the New England, an<

534 THE ARCHITECTURAL RECORD.

:

THE FARNSWORTH ART BUILDING, WELLESLEY COLLEGE (1889). Rotch & Tilden, Architects. perhaps particularly of the Massachu- grims' monument at Plymouth, the com- setts, of the period just before the Civil memoration of an event which in its ori- War. A born artist was distinctly "not gin was then, as it has ever since beer, at home" in any part of the United regarded as, in its own neighborhood, by States during the first half of the nine- far the most important in the history of teenth century, but he was probably the world. It is considerably to the credit further from home in Massachusetts than of the artistic sensibilty of the Durants anywhere else. This stray artist had, that they should have chosen him as the however, already had his successes. He "instructor" of their institution, and it is had been chosen the architect of the Pil- not their fault if the result is, upon the

THE WELLESLEY COLLEGE LIBRARY. Shepley, Rutan & Coolidge, Architects. THE ARCHITECTURE OF AMERICAN COLLEGES. 535 whole, disappointing. The big building, pride ought to be preserved from ordi- 475 feet long and five stories high, is nary suburban subdivisions and allot- very well placed, right across the access ments, and kept as an object of beauty to the main view, which is the view of and of public benefaction. It is true, the lake. The result of this situation to one meets with curious anomalies even in the stranger who passes through the this winding walk. For instance, the ob- building to the view, is very much such a servatory seems to have been intrusted to surprise as that familiar to visitors to an architect who, quite contrary to the old Catskill Mountain House, which also usage, had too much money to spend. is built directly across the view, and The exquisite marble, exquisitely which, when he has traversed the build- wrought, serves neither its practical nor ing, he finds to be a view of what Feni- its picturesque purpose any better than more Cooper describes, in the Catskill rough brick work would have done. On case, as "Creation." Nevertheless, the the other hand, the power house, of building is by no means so effective as which the votive designation imports that it ought to be. We were just saying the college owes it to the most ruthless about the original "College Hall" of and promiscuous benefactor now living, Smith that the specific expression of the bar one, does not transcend appropriate- parts and the details has there been over- ness to its function in material or in ruled by a general notion of architec- workmanship, but is an entirely congru- tural unity. This is not the case with ous and appropriate object. the "College Hall" of Wellesley. It It is unhappily not to be denied that "scatters." You have to infer and re- the recent architecture of \Vellesley construct the architectural idea instead shows what Homer Martin, criticising of having it forcibly impressed upon you. the "Dramatic Symphony" of Rubin- Nevertheless, the building has its own stein, described as "great variety of impressiveness, and one is glad to record purpose." As often, and indeed com- to the credit of the architect that it is monly, happens individual benefactors still satisfactorily performing the func- and individualistic architects have im- tions for which it was erected. posed their individual notions, to the det- It was almost immediately evident that riment, or rather to the nullification, of Wellesley met a long-felt want. Hardly anything like a general architectural had it begun to furnish graduates before scheme. The consideration how very de- graduates began to furnish benefactions. sirable it is that a consistent scheme, in Apparently it has never lacked for means almost any negotiable and well-prece- to carry out its ends. It has been ob- dentecl manner, should be determined served already, as to Smith College, that upon and held to in the architecture of it "owned the town," but Wellesley is the an institution receives as striking and town. One alights at the station and melancholy illustration, of the negative naturally betakes himself to the local kind, at Wellesley as in most other simi- photographer's and newsdealer's, close at lar institutions. It is true that when hand, where he gets a sudden suggestion segregated, and separately considered, of local manners and customs, which the individual works have their individual might not in the least astonish him in interests. In fact, they have all been done a barroom, but which is rather paralyz- by American architects of the better ing at the entrance to a woman's col- class. At the same time, what has the lege, and a place which seems to rely ex- mild Colonial of Wilder Hall, for exam- clusively upon sweet girl undergraduates ple, to do with the strict classic of the for its support. This is a placard, con- Farnsworth Art Building or with the spicuously hung inside the door, setting equally strict classic and equally pure forth that "Swearing is positively pro- white marble of the College Library? hibited not that care a but it the confusion of Babel has fallen ; we damn, Truly sounds like hell to strangers." upon our architects, and the lay observer The walk from the station to the main may readily be pardoned for standing building entirely justifies the Durants in aghast in the presence of such a collec- thinking that the estate which was their tion of incompatabilities, and longing for 536 THE ARCHITECTURAL RECORD.

Groups of Dormitories. WELLESLEY COLLEGE, WELLESLEY, MASS. J. A. Schweinfurth, Architect. THE ARCHITECTURE OF AMERICAN COLLEGES. 537

Where that Pentecostal when the observers, grateful Science still adores day Her Henry's holy shade, and eke the authors, of this heterogene- one must to ous aggregation should "come together go Wolsey's building at afterwards so con- and be confounded because every man Hampton Court, temned and classicised the irrelevan- heard them speak in his own language." by cies which one finds it so hard to The precision and purity of an ex- forgive Sir Wren. Court ample of any historical style simply lose Christopher Hampton seems to have furnished the motive of their due effect when one has only to the double which is undoubt- turn around to see possibly an equally quadrangle, the most and the pure and peaceable expression of an al- edly striking, perhaps most of the later work at together alien manner. Is it the indi- interesting, vidualism of benefactors or the conceit Wellesley. There is no pretense of pur- ism about this as indeed how could of architects that gives rise to these "for- work, there be tuitous concourses of atoms? This is any about work founded on that wilful architecture of the a question which ought to induce some very English later sixteenth and seventeenth cen- searching of hearts among both the bene- early turies? factors and the architects, but most of Details and even features of the all among the presiding authorities of Tudor architecture are drawn from the collegiate institutions. These authori- time of the Stuarts. is ties, it should seem, should make an early Jacobean adjoined to Henrican. But, whencesoever commitment of their respective institu- derived, tions to some uniform and understood the features and the details go very fair- well and it is a scholas- way of working, and should "highly re- ly together, only tic that is offended the solve" that they will have the courage to sensibility by jux- refuse unconformable benefactions. taposition. To see what "a promise and of life" there in that In its later developments, Wellesley potency was con- fused and architectural has been rather exceptionally fortunate, irregular period it is to consider the however, in its architects. A college necessary only gym- nasium of This is an abso- chapel, of all buildings, one would say. Wellesley. and un- is committed to Gothic, using that term lutely modern, unprecedented tutored of in its largest signification, and the build- assemblage ordinary building materials to fulfill a rather ing is distinctly on its defense if it be commonplace There are even other than Gothic. Wellesley Chapel is requirement. details, of such as the projection of the by no means an example purism ; segmental there are even in the elaborated wood- arches of the basement, which have no work of its interior some erraticisms of historical precedents that we are aware timber construction which one has diffi- of, but which justify themselves by the and which culty in reconciling with elemental me- great projection emphasis they assure to the main The chanical principles, but the general im- piers. diapered decoration is a sensitive and ra- pression, outside and in, is, nevertheless, merely tional of the most available that of appropriateness to place and pur- employment materials. But not pose. The ground plan, considered as building yet, only how effective is the in but that of a place in which the spectators thing itself, how in with the more so largely constitute the spectacle, is ef- perfectly keeping architecture of the fective, ingenious and well worked out. precedented great be at a In the most recent of its developments double quadrangle. One would loss to name of Wellesley seems to have fallen into ex- any example collegiate architecture in this which has ceptionally good architectural hands. Of country more realism in all the phases of English Gothic, that of more modernness, and, a Henry the Eighth seems to be most ap- spite of its historical filiation upon pe- riod of architectural more propriate to collegiate uses, and yet it degeneracy, "life" than this latest work at Is singularly little illustrated at Oxford Wellesley or Cambridge. One must go to Eton, College.

AND THE DESIGNED OF LANDSCAPE S2^ssx HA.CXPARN

IN RESPONSE to many requests extend- knowledge and ignorance there have ing over several years, a course in land- always been for two centuries some few scape design has been arranged at who by their ability and force could The command the of other artists Columbia University. complete respect ; course will occupy an average of four but they have not owed their success to years, and will be made up of subjects training in any school, and until 1899, from the courses in architecture, en- the year of the founding of the Ameri- gineering botany, and Pure Science, and can Society of Landscape Architects, will include surveying, geology hydrau- there was no concerted attempt to crys- lics, and optionals in advanced building. tallize the current thought into a body TYench and German. The lectures and of opinion, or to create a school of land- other instruction in the specialized side scape design. Inasmuch as two of our of the subject are undertaken by three greatest universities have given so seri- visiting instructors, all members of the ous attention to this subject, it will be 'Society of Landscape Architects. They worth while to inquire why and how it are Mr. Charles W. Leavitt, Mr. Harold differs from the thought and the work A. Caparn and Mr. Ferruccio Vitale. both of the architect and the horti- The curriculum wiil lead up to the De- culturist and why its place among the gree of Bachelor of Science in Land- arts is even now undefined. scape Architecture as soon as funds shall Up to the beginning of the eighteenth TDC provided for the permanent support century garden design was entirely for- of a Art. mal it did not differ in department of Landscape ; any principle Meanwhile the University awards a pro- from that of the building to which it fessional Certificate or diploma (without was usually an appendage. But about this the Bachelor's degree ) to all who com- time garden design began to degen- plete the curriculum above described. A erate, its symmetry and quaintness were somewhat similar course leading to a de- exaggerated and its charm missed, and gree has been given by the Lawrence it became the butt of wits like Addison, Scientific School at Harvard for the Pope and Horace Walpole. As these past twelve years. men ridiculed the prevailing style, not as Previous to this time, authority in garden haters, but as garden lovers, landscape design was claimed by land- they naturally cast around for some scape gardeners, architects, park super- other sentiment, some other suggestion, intendents, nurserymen, and in fact by and, having been repelled by formalism, almost anyone who could control the they naturally ran to the other extreme development of a piece of ground, of the most untrammelled informality. whether in the diverse manners of the They looked out on the face of nature, trained architect or the more or less un- wild or tamed by the hand of man, and trained horticulturist, and most of them saw that it was always more or less with more or less contempt for and in- good; and Kent, the first to practice in difference to the point of view of the this new and free manner, was said to others. Amons: all these men of have "leaped the fence and seen that all 540 THE ARCHITECTURAL RECORD.

nature was a garden." That is to say, models them only to meet the needs of they saw everywhere innumerable com- the problem or for better harmony in- binations of foliage, flowers, grass, stead of contrast. It takes the natural rocks, water and the natural forms of forms of the earth's surface, its inci- the earth's surface that would suggest dents and irregularities, its materials, motives for new combinations in a new textures and colors, whether wild or manner and with a new feeling, all modified by man, and uses them as sug- manifestly applicable to almost any sit- gestions for the work in hand. It is an uation and to any scale. It is no wonder epitome or conventionalizing of nature that folk lost their balance over the fas- its exemplar as much as the work of the cinating discovery, that they often painter or sculptor. Its practitioner

Photograph loaned by Mr. Warren H. Manning. A certain stately effect of large trees well placed on level ground. Notice the feeling of motion given to the lawn by the slight rises at the base of the trees and the per- spective effect of the successive masses carrying the eye through the opening on the right with the aid of the curved path. missed the point of it and committed goes to the works of nature, wild or absurdities in the name of "imitating tamed, as the designer in other arts goes, nature" as great as any of the formali- to the works of his predecessors in or- ties they ridiculed. der that he may better express, not them,, This informal, natural or naturalesque but himself. as it is style, variously called, differed In order to do all this effectively and from that radically in vogue from the with convincing authority, the designer of ancient days Egypt downwards, in in landscape must have a special and that instead of imposing arbitrary, rigid peculiar equipment. He should have a. and geometrical lines on the ground, it natural sympathy with the things that those accepts already existing, uses them grow out of the ground, the materials irk as motives as far as possible and re- \vhich he works, so that he may, like any/ LANDSCAPE DESIGN AND THE DESIGNER OF LANDSCAPES. 541

Photograph loaned by Mr. Warren H. Manning. Cottages at Bristol, England. Informal grouping aided by foliage and especially by the single large tree towards the left. other designer, be able to think in their terials, his trees and plants, the most terms. He should have an intimate difficult, elusive, uncertain, complex and knowledge of ways and means of the fascinating of all, and, in short, of an possibilities and limitations of these ma- entirely different order from those of

Photograph loaned by Mr. Warren H. Manning.

A free and pictorial setting of a country house. The effect is greatly increased by the suave lines of the lawn and the movement of the curved path. 542 THE ARCHITECTURAL RECORD.

have travel miles of streets with trees and any other artist, for none other any interest in themselves beyond what they bushes and green lawns without seeing of receive from the painter, sculptor or one them well and consistently han- architect who uses them. He should dled matters not : the style's the thing, have not merely a sense of color, form and the example before us may no more and texture, but also of quality in foli- show its capacities than a Harlem flat shows the of archi- age, of fit or unfit to surroundings building capacities because of character of growth, origin tecture. But the snare and impediment or sentiment attaching to them. It is not to the common understanding of infor- enough to refrain from injecting masses mal design is that, when best done, it is scarlet salvia into least obvious it often looks so natural of hydrangea p. g. or ; the greenery of a rough country because that it does not occur to most people

: should that they make fine color effects he anything very much has been done. feel when trees or bushes would be out We are so used to art of which the con- their structed or artificial nature is and must of place, not because of form, size, or character, but because they came from be its most apparent character, that good Japan or the nurseryman's hybridizing landscape work seems artless, and it is to accused grounds. He should have imagination by many who should know bet- see from the present to the future, from ter of lacking "design." Thus its best the mean little sticks he sets out to the quality, that of perfect fitness, becomes spreading bushes or towering trees of its greatest danger. I have known an twenty or fifty years hence. These and eminent sculptor walking in Central many more should he have, but over and Park to remark that he knew no park : above all patience and serenity to wait that owed so little to art not perceiv ng for results which he can demonstrate to that Central Park in creation and ex- no one, and ability to impose some of his pression is as artificial as one of his own own confidence and fortitude on the man statues. It is a paraphrase of nature as who pays the bills, and his candid friends a statue of the model. with their ignorant criticism and glib ir- The general principles of formal or responsible advice. It is no wonder that architectural design out-of-doors are, of landscape men of ability and force to course, the same as they always were, make an abiding impression on their art but its conditions have changed, more and times are rare, but they have existed, especially in this country. People are such as Repton, Alphand and Olmsted looking on a garden more as a place to the elder men in the first rank of con- grow flowers, and less as a mere setting temporary artists; and their work, their to a building or a thing of mere decora- personality and the atmosphere investing tion. In this climate of extremes it is them, and with which they invested the difficult or impossible to reproduce the things they did and those they touched, rich evergreen leafage of Europe, whose were so individual, so little dependent on mild and moist summers and winters the thought and traditions of other men foster the growth of box, yew, holly and of creative gifts, as to place them in a other evergreens that submit cheerfully class of their own as exponents of a fine to be trimmed into set forms, and which art different from .the others. have largely influenced the style of gar- This style, vastly misunderstood as it dening in Western Europe by provid- mostly is, has proved, so practical, so ing the architect with easily realized adaptable to nearly all conditions, so at- rectangular forms in living foliage of tractive to innumerable people for two rich color and texture. Moreover, there hundred years, that it is and must remain are evergreens in the commonest use by far the most popular way of treating over there which here can only be kept the earth's surface. It is the style of through the winter by protection practically all modern public parks, large euonymus, Portugal laurel, aucubas, ar- or small, it must predominate in private butus, orange trees, bay, cypress, and so country places of any extent, and it on, according to latitude which give a is beyond comparison the prevailing character to the planting not attainable fashion in suburban lots; that one may here. In the Northeastern States, we can

544 THE ARCHITECTURAL RECORD.

GARDEN AND COFFEE HOUSE, VILLA ALBANI, ROME. Formality serving as an extreme contrast to the picture of informally arranged scenes. grow hardly more than two large broad- without which he will not be able to fitly leaved evergreens, the rhododendron and express himself; for it is no longer suf- the kalmia, and our planting material ficient to block out a scheme (excepting in consequence is largely deciduous and a purely architectural one) and trust tc of a different aspect from that of Eng- the nurseryman to plant it; and those land and France, looser in habit, less rich who think that good outdoor design car in color and less close in texture. In be made in this way show an imperfect short, our natural development in land- knowledge of the subject and lack o1 scape design, formal or informal, is understanding of the good work the} away from the laborious and imperfect themselves have seen. imitation of European models and to- As the demand for landscape art and wards work which is the outgrowth of the number of those who practice it anc our climate and the class of vegetation take it seriously has increased so mucl which flourishes in it. of late years, its future seems to becom< After being eclipsed for several gen- continually larger and more assured erations by the fashionable informality, Its scope is continually widening, unti formal design in landscape has returned it logically covers or touches almost an} to its proper place, and the modern scheme into which the artistic dispositior landscape man can no longer consider of any features of natural scenery en himself properly equipped without a ters. Those who have studied it most sound knowledge of architectural design. are most optimistic about it, and loot But to work in the modern spirit in any forward with most expectation to whai style, he needs also an intimate knowl- it will become, what they may give tc his edge of materials, which are now and learn from it, and what, when it ha; vastly more varied than when the gar- found itself, it will be to the gen- dens of the Middle Ages were planted, erations to come. Though inseparabh of tree, shrub and plant culture, and from architecture on one side, yet, 01 many other things of craftsmanship another, landscape design is so differen LANDSCAPE DESIGN AND THE DESIGNER OF LANDSCAPES. 545 in expression and requires so different the completion of many works of archi- a training and sentiment in those who tecture, and the setting of a building is practice it, that it has claims to be con- often as specialized a matter as its sidered a separate Fine Art. And in decoration. It is to pave the way for an view of the continually increasing education as authoritative as that of the specialization and technical knowledge painter or sculptor without whom the necessary, both to the architect and architect cannot fully express himself, landscape man, the truest unity will result that the courses in Landscape Design in works to which each contributes the at Harvard and Columbia and many best of his own knowledge. Sculpture other universities have been insti- and mural painting are both necessary to tuted.

TERRACE VILLA ROSAZZA, GENVA. Illustrates very well the preciseness and charm of formality in an irregular setting. DEERFIELD CHURCH. EARLY AMERICAN CHVRCHES PAJLT 1 DEER,FIELD,~ WINSTON, SALEM OLD SOVTH, BOSTON, MASSA CH VSE TTS OLDDVTCH, TAP~!3^^SPANj% AYMAR,EMBVRYE

DEERFIELD CHURCH is been built before 1675 with the Reverend architecturally a very in- Samuel Mather as its first minister, and one it was like most of the teresting ; early congregations nr.r.iu-ii.i.n erected in 1824, but the (whose edifices were apparently very CHURCH. author of its design is poorly constructed) two buildings fell to not known to me. Were pieces in succession before the present we to assign churches to one was begun. It is said that some their authors as we do pictures I would of the interior work in the present say that Isaac Damon was probably the church was saved from the older one, architect, but I have no evidence what- but the only thing which seems to be ever to support this suggestion aside definitely known to have belonged to from a certain quality of its design. the older church is the weather cock Deerfield congregation was a very old which was bought in 1757 for twenty one, the original meeting house having pounds.

THE IT is A LITTLE known on certain occasions, and the burying of HOME fact that at about the the males and females on separate sides MORAVIAN same time the German of the church Another CHUlRCH, yard. interesting WINSTON- Moravians settled in feature of the old life which has been SALEM, Bethlehem, Pennsylva- preserved is the announcement of a death NORTH nia, another colony es- of a member of the church by blowing CAROLINA. tablished themselves at six brass trumpets in the steeple, the Salem, North Carolina, a town which various tunes indicating the age and sex has now been combined with its neigh- of the deceased. While the building has bor Winston, and is known as Winston- much of Colonial sentiment, its propor- Salem. The original settlement was tions, the tower and the treatment of the made in 1753 and the Home Church cornice indicate a certain remembrance was built in 1788. As is the case with of German traditions. While the church the Bethlehem settlement the church is perhaps not architecturally of the in- forms part of a little seminary or col- highest merit, it is, I think, properly lege the buildings of which may be seen cluded in this collection of early Ameri- on either side of it. Little seems to have can churches because it is the best of a been recorded in permanent fashion re- number erected by the early German garding the church or that part of its settlers of this country. history which has to do with its design One might also add that so far and construction, in spite of the fact that as is known, this is the only surviv- many of the old Moravian customs are ing church built before the Revolution still preserved in Winston-Salem, even in which George Washington did not to the use of a band in place of an organ worship.

THE HOME MORAVIAN CHURCH, WINSTON-SALEM, NORTH CAROLINA. OLD SOUTH CHURCH, BOSTON, MASS. Hi p 02 O < Kg J O fa O

O - M ^tz OS ? SB a o Eg 554 THE ARCHITECTURAL RECORD.

THIS CONGREGATION was and repentance for the part he had taken and in the witchcraft also OLD the third in Boston, delusion; Benja- SOUTH the present building is min Franklin was baptized in the orig- CHURCH, perhaps the most famous inal church. The present building was BOSTON, of all our old American built in 1730, Robert Twelves being the MASS. churches. The part that architect, and the church was built of it and its congregation brick laid in Flemish bond, the steeple has taken in Colonial and Revolutionary continued up in wood 180 feet high. The American history has marked it as church became the favorite place for a genuine "cradle of liberty." Every holding mass meetings of the people of child knows that the Puritans came Boston, the first meeting being held in to this country because they were 1745 to pray for Divine intercession to not allowed to worship in freedom prevent the destruction of Boston from in their own land, but the fact a French fleet then on its way. Curi- that in the Massachusetts colony they ously enough, during the meeting the forbade any one not a church member news arrived that the French fleet had from voting or taking any other part in been destroyed by a storm. It was in the public affairs is not so generally this church in 1773 that the Boston Tea known, and this Old South Church was Party was organized and in 1774 Bour- founded by twenty-nine members of the goyne's cavalry, the Queens Light Dra- first congregation who seceded because goons, used it for a riding school and of their disapproval of this stand. These one of the pews for a pig-sty. The build- twenty-nine members worshipped to- ing is not at the present time used as gether, their wives and children not be- a church, but belongs to the women of ing permitted to join them until the Gen- Boston, who keep it as a sort of his- eral Council voted that "whom God torical museum. The present interiors had joined no man should put asunder." are as they were restored after the Revo- It was in the old church that lutionary War, but the church is un- Judge Sewall made public confession changed from its original condition.

TlIE FIRST SETTLEMENT the building is in character rather Colon in Tappan was in 1640 ian than Neo-Grec, and in spite of the Till-: OLD DUTCH by one Captain David date belongs distinctly to the Colonia CHURCH AT Petersen de Vries who period especially in the treatment of the TAPPAN. bought five hundred windows, the lightness of the pilaster: acres of land (which and cornice, and in the profiles of th< constitute now practi- moldings and general design of th< ally the whole town of Tappan) from the tower. This is probably due to the fac Indians, pn the fifteenth of April in that that the building was copied very closel year. He called the place Vriesendaal, after the Cedar Street Presbyteriai but in 1643 after he had built some Church in New York City, long sino buildings and secured some more settlers destroyed. No architect, apparently the Indians on second thought regarding was employed, the necessary drawing the purchase burned the buildings and being made by John Haring, the carpen drove him and his comrades out. It was ter contractor, and William Ackermar . ' between twenty and thirty years after the mason. I have found in the case o that before a permanent settlement was most of the old churches which were re - made and the original predecessor of this built, that the movement to rebuild cam church was built in 1716, enlarged in from the dissatisfaction of the congre 1778 and after with their then mir - being partly destroyed by gation quarters ; the fire was in the main torn down and the isters in few cases seemed to have ha 1 structure erected in - present 1835. While much to say about the rebuilding, eithe the date of this church is late ; somewhat because they were such godly men tru i THE OLD DUTCH CHURCH AT TAPPAN. 556 THE ARCHITECTURAL RECORD. earthly surroundings mattered little to the minister, and was very dissatisfied them, or else, and more probably, be- with the dingy old building in which he cause they lived in mortal terror of their had to conduct worship, preached from

it is were also this text : "Is it time for to congregation ; who, true, you, Oh ye, often in just as much fear of them. A dwell in your ceiled houses, and this very old gentleman, who is still alive, re- house of God lie waste." The congre- members the beginning of the movement gation felt it was not time for them, and to build the new Tappan Church, when built the church, which stands substan- Dominy Lansing, who had just come as tially as when completed.

EDITOR'S NOTE. The Early American Church Series began in the December, 1911, Number of The Architectural Record. The complete list of subjects pub- lished up to date are:

Bruton Parish .' Williamsburg, Va. First Congregational Guilford, Conn. First Congregational Bennington, Vt. St. Paul's Augusta, Ga. St. Peter's Philadelphia, Pa. Meeting House Farmington, Conn. Christ Church Hartford, Conn. "Old Swedes" Wilmington, Del. North & Center New Haven, Conn. Christ Church Alexandria, Va. Pohick Meeting House Alexandria, Va. Old Slip Meeting House Hingham, Mass. St. Peter's New Kent County, Va. St. Luke's Smithfield, Va. Old Meeting House Lancaster, Mass. First Presbyterian Sag Harbor, L. 1.

Meeting House Springfield, N. J. King's Chapel Boston, Mass. St. Michael's Charleston, S. C. NOTES AND MMENTS

The exhibition of the California architects are doing their most Architectural League of interesting work. The bungalow, sometimes EXHIBITION the Pacific Coast, which very artistic and nearly always attractive, OF was held in Los Angeles and the great mansion with its formal gar- CALIFORNIA February 23d to March denan Italian villa stamped with American ARCHITECTS. 15th, was of interest dollars, but still having possibilities made from several points of up the bulk of the strictly architectural ex- view. It was only the hibits. A gallery was devoted to trade ex- third exhibition to be held, and the marks hibits, and here also the domestic predomi- of infancy were upon it in various ways. It natedeven to laundry tubs and like things was held in a department store, and on the which are dear to a shopper's heart. In ground floor at that, with an entrance di- fact, architecture was broadly interpreted on rectly from the street as well as from the the ground floor, the decorative arts having store. Occupying such precious space, the a prominent place. There was also an in- exhibits were greatly overcrowded. Neither teresting collection of architectural books, was there any discoverable system about including some rare volumes; and sixteen their hanging. Exhibits of one man or of sets of "one thousand dollar prize competi- one subject were scattered all about the tion drawings" from San Francisco attract- room, some of them so skied that it was im- ed a good deal of attention. The subject possible to read the legend. Also the works was an open air theatre and festival hall of two men Myron Hunt and Elmer Grey for a world's fair, and the prize a year of until recently in partnership, greatly pre- study and travel was won by a San Fran- dominated. But if these were the faults of cisco lad. Another exhibit, interesting in its infancy, the infant showed much sturdiness novelty, was a collection of photographs and promise for the future. showing the work of Mrs. Hazel W. Water- The rooms were so crowded that the news- man of 'San Diego, in restoring to its original paper estimate of an attendance of over beauty the famous Estudillo House, which 30,000 for the whole period, about double visitors best know as "the marriage place that of last year, seemed conservative. of Ramona." It is an adobe structure, which, There was no way of telling exactly, for after falling into such sad neglect as to be without charge for admission people wan- actually dangerous, has been now rebuilt dered freely in and freely out, and no doubt and planted in its old time splendor, and all many a shopper, with her mind not so much this with such skill that in the photographs on elevations as on bargains, took a look. at least there is never a hint as to what is But even so, the attendance was highly sig- old and what is new. Finally, if the work nificant and encouraging. It was the more of two men seemed unduly to predominate so because the emphasis of the exhibition in the exhibition, it must be added that was on the domestic side that side in which theirs was exceptionally good work. 558 THE ARCHITECTURAL RECORD.

Though Delhi is to be plan advocated is that of inviting private replanned, as an im- architects to compete for public work. As it is not an argument for such a the IMPROVEMENTS perial capital, change, super- ^ be suppose

Recent action by the cil, ex-officio, and of eight citizens appointed Islington Borough Coun- by the mayor and confirmed by the council. in In March, 1908, the new mayor made the ap- A cil, England, refusing to permit the use of the pointments. In so doing he sent a letter to CITY'S borough arms on a pro- the council in which he expressed the opinion ARMS. gram of entertainment, that "Probably no more important appoint- has been heartily en- ment will be made during the present mu- dorsed by "Municipal nicipal year than the members of the com- Journal" of London. It is quite too com- mission," and he congratulated the munici- mon, says the paper, for the arms of a town pality on the fact that "men of such ability to to be used in connection with advertise- and standing" had consented serve on the ments. The like criticism could not be justly new commission. These men included an made in the United (States, where the city architect, a construction engineer, a builder, 560 THE ARCHITECTURAL RECORD. a civil engineer, a trained legislator, a finan- to the business district, where alone conges- traffic cier, a lawyer and a business man. tion of exists, it strongly urges the The nominations were confirmed and the construction of an outer circumferential appointees promptly met and organized, mak- street and the necessity for the city's more ing Arthur W. French, chairman, and Clellan complete control of all street platting in new Waldo Fisher, secretary. The members were sub-divisions. To the lack of that control divided among half a dozen sub-committees. in the past is ascribed much of the present Though the commission was authorized to congestion, and the commission adds: "On supplement its recommendations by the the same principal that the city now con- preparation of estimates of cost and an ap- trols the sanitation and fire hazard of private portionment of betterments, it early deter- property, it would seem possible and proper mined not to undertake that very consider- that it should control street development, able labor, since the creative order did not which is a matter of the greatest public bestow on it the power to carry any im- importance." The commission urges, in provement into execution. With costs con- this connection, that "the city, through its stantly changing, it would be futile, the street and engineeering departments, should commission believed, to estimate costs until formulate in advance a comprehensive plan, the work was imminent. In two other di- in outline at least, along which all street rections also the commission felt itself ham- development should be carried in those sec- pered, or at least limited as to the recom- tions of the city at present only partly de- mendations it might make. One was the veloped." city's lack of the right to excess condemna- In taking up specific recommendations for tion a right which it has been privileged to street changes in the business section, the seek only since last November, when the commission calls attention to three "the- State constitution was amended in that re- oretical principles." One is that natural cen- spect. The other limitation, imposed by the ters, or foci, should be connected in the commission's own modesty, is ascribed to the most direct manner possible. A second is rise of "a new art or science, that of city that streets should be given a width ade- planning." On this point the commission quate to modern needs. The third is the de- says: "Starting in Europe, it has spread to gree of relief which may be secured on nar- America, and has taken a place beside engi- row streets by a restricted use of them. Tht neering, architecture and landscape archi- commission pleads for the community point tecture with its own literature and period- of view, instead of that of private interests icals and its skilled experts." The commis- in passing judgment on its recommenda sion consequently felt that "such an exten- tions; and it answers the criticism of exces sive and complete study as it at first thought sive cost, 'both actual and in comparisor to give to Worcester should 'be made by those with what might have been done a few having expert fitness for such a task." It years ago, by pointing out the anticipatec states the belief that an expenditure of ten benefits and the indisputable fact that th< thousand dollars to secure such recommen- cost now will be less than a few yean dations and plans for Worcester "would be hence. Because Worcester's problems ar<- money well spent." Nevertheless, the com- typical, and because their discussion vb> mission did devote a great deal of time and local men is sane and conservative whil< study to the city; and while, in response to broad in its grasp of principles, othe the specific implication of its title, its par- communities will find the report suggestlv ticular recommendations are largely confined and stimulating.