SEPTEMBER 101 THE ITECTURAL
PUBLISHED IN NEW YORK 35? A COPY s 3.5. .A YEAR 7S tuccoHome will be as beautiful 10years from now as today ! Residence built ly Roscdalc Land Co., Detroit, Michigan. Architects, Stratton cf- Schneider. Detroit. StiK-fn <'o)iti-a<-tt,r. Detroit Stucco Co. Bishopric Stucco Board used on all e.rteriors.
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p-' VoLXLVI. No. 3 SEPTEMBER, 1919 Serial No. 252 g5] Editor: MICHAEL A. MIKKELSEN Contributing Editor: HERBERT CROLY y Business Manager: J. A. OAKLEY
COVER Water Color PAGE By Arthur Byne
THE RESIDENCE OF A. L. GARFORD, Esq., Oak Knoll, Pasadena, Cal.:
Marston &- Van Architects < - 195 Pelt, '.--, t , '.;>< ''"$. -''^'' "..* :' By Charles Over Cornelius
HILGARD HALL, UNIVERSITY OF CALIFORNIA: John Galen Howard, *A* r >" JV5 Architect ...... -fi'j . . . v".V 203 By Richard F. Bach M
AND RENDERING. v',V> SUGGESTIONS MODELS FOR ARCHITECTURAL The ftV 'rf .. 4 ' Lithographic Work of David Roberts, 1 796- 1 864- \* 211 By Leon V. Solon
: '' " ENGLISH ARCHITECTURAL DECORATION. Part -r "; . V" 221 X ^ . By Albert E. Bullock * THE ARTISTIC TREATMENT OF CONCRETE SURFACES . . . 237 r.*M By H. Vandervoort Walsh rtio
ITALY. Part II. . . . 243 WORKINGMEN'S HOUSES IN '*$ 1 By Alfredo Melani
PORTFOLIO OF CURRENT ARCHITECTURE ...... 251 n
THE ARCHITECTS LIBRARY . ... 278 jvt' NOTES AND COMMENTS 286 w**
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Yearly Subscription United States $3.00 Foreign $4.00 Single copies 35 cents. Entered May 22, 1902, as Second Class Matter, at New York, N. Y. Member Audit Bureau of Circulation. S5 PUBLISHED MONTHLY BY
THE ARCHITECTURAL RECORD COMPANY ^< 115-119 WEST FORTIETH NEW YORK STPxEET. S8 F. T. Pres. . D.. . . S. MILLER, W. HADSELL.. Vice-Pres.-. 3. W. FRANK,, Sec'y-Trema.-. E. DODGE. Ylce-Pre*
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VOLVME XLVI NVMBER III
SEPTEMBER, 1919 RESIDENCE OF A L.GARFORD, OAK KNOLL, PASADENA, CAL.C
Marslon & Van Pelt, ~4rchilectsf
N the history of patronage, the culti- tecture in the United States. As in no vated taste of the patron is accorded other branch of architecture, the client i a degree of recognition almost and the professional man meet upon a equaling that which is given to the crea- nearly equal plane; and an entente cor- tive work of the artist, and not without diale of real spontaneity is created due to reason. Appreciation of an artist's work a mutual respect for each other's opinion, and of his point of view in doing what he an association which, when multiplied by does, has such a positive effect upon his the number of its frequent occurrences, accomplishment that it is difficult at times has led the more optimistic critics to feel to assign justly the original source of the that in this branch of the art will be impulses which determined a given artis- found to lie America's most genuine con- tic result. Folk art of all kinds is built tribution to architecture. upon this sympathetic interrelation of the In the design of the dwelling house, creative and appreciative points of view, the development shows a remarkable and and folk art is not so far removed from rapid response to the varying and chang- the great art of a people as many would ing needs of society, a definite approxi- have us suppose. mation to the individual family groups. It is in this circumstance that we find Here are reflected the esthetic tastes of the explanation of the quick develop- the more cultivated element of the coun- ment and gratifying results in the design try, the presence or absence of formality of country and suburban house archi- and ceremony in the relations of every-
Copyrighted, 1919, by The Architectural Record Company. All rights reserved. THE ARCHITECTURAL RECORD. day life, the relative pleasure derived and is connected by a covered way with from the outdoors, in beautiful gardens the garage beyond it. The whole plan and magnificent views, or from indoor presents an open-minded approach to the life with its drawing-rooms, music-rooms problem, which has been solved with the and libraries. It is this aspect of the greatest economy of space consistent subject of house planning which gives with dignified effect. it its unusual interest in its de- exterior very ; The presents an adapted use velopment can be traced the social his- of Spanish baroque detail, sparingly used tory of a people for any given time. upon a building whose mass, quite indi- The house of A. L. Garford, Esq., vidual in form, is a direct expression of in Pasadena, Marston & Van Pelt, archi- its plan. The porch which connects the two tects, is particularly interesting because units of the group is the chief, one may of its plan. In a land of such unrivaled say the only, unifying element. The en- and individual beauty as that in which trance bay of the main house forms the this house is placed, a predominant con- dominant motif upon the south elevation, sideration was the site, in relation to the while its corresponding face upon the view which may be enjoyed from it and north side forms here the most strongly to the design of the house. The location marked element, both in design and deco- of the house, on the crest of a small hill, ration. This bay suffers somewhat from has permitted a certain regularity of roof an over-emphasis upon verticality, which line and irregularity of plan which is a would have been avoided by a closer hori- natural response to the ground levels. Its zontal tie to the right as well as to the left. main axis gives a clear vista over the tree The wings of the house reach out at tops to the sunny country beyond them, either side with a fenestration which and the terraces, porches, and belvidere appears to be less studied than casual. all concentrate upon this aspect. There is a certain lack of unity in the The plan of the house itself follows design of the exterior, and a disregard of the natural land grades, and in its some- any subtlety of composition or study of what irregular form satisfies the neces- effects of light and shade, both so import- sity of a desirable faqade toward the ant in work of this type. Of the exterior street from which it is entered, as well details, the entrance doorway comes as toward the view to the north and east. nearest to a successful treatment. Yet The group is composed of two entirely here, too, the verticals are too insistent in self-contained dwellings, served with the absence of any balance of horizontals. equal convenience by one driveway, and This bay, which is repeated in a different united by long porch and porte-cochere form on the north side, would have The smaller house is not unusual in its gained in effect by a different roof treat- arrangement and meets all the require- ment, something which would break up ments of a house of its size, its chief in- the general uniformity of the roof-line terest lying in the treatment which makes and give a more special quality to the bay it an integral part of the whole plan. itself. In the larger house a more formal The treatment of the walls surround- arrangement is adopted with a cruciform ing the service yard is unqualifiedly suc- plan as its key. The entrance on the main cessful. The flat white surfaces sur- axis for the vista is directly opposite the mounted by the molded coping are long doors to the terrace. To right and straightforward and a pleasing back- left open library and living-room, well ground for any planting which is antici- proportioned in themselves and of good pated, and the smaller gateway is charm- relation to each other, whose fireplaces ing in its form. respond invitingly. The transition to the The choice of the adapted Spanish wing, at an oblique angle, is simply made, style demands a very considerable skill with no waste of space and with a dis- on the part of the designer. The train- tinct feeling for the forms of the rooms. ing of American designers as applied to The service wing is compactly arranged decoration is by no means so great as in
196 ENTRANCE TO SMALL HOUSE-RESIDENCE OF A. L. GARFORD, ESQ., OAK KNOLL, PASADENA, CAL. MARSTON & VAN PELT, ARCHITECTS. Of Mil* L
^ALSTON I VAN IUUT, AtcrHITCCTi
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BLOCK PLAN RESIDENCE OF A. L. GAR- FORD, ESQ., OAK KNOLL, PASADENA, CAL. MARSTON & VAN PELT, ARCHITECTS. FRONT ELEVATION-RESIDENCE OF A. L. GARFORD, ESQ., OAK KXOLL, PASADENA, CAL. Marston & Van Pelt, Architects.
NORTH ELEVATION RESIDENCE OF A. L. GARFORD, ESQ., OAK KXOLL, PASADENA, CAL. Marston & Van Pelt, Architects.
199 NORTH ELEVATION RESIDENCE OF A. L. GARFORD, ESQ., OAK KNOLL, PASADENA, CAL. Marston & Van Pelt, Architects.
DETAIL OF NORTH ELEVATION RESIDENCE OF A. L. GARFORD, ESQ., OAK KNOLL, PASADENA, CAL. Marston & Van Pelt, Architects. 200 GATE TO SERVICE COURT RESIDENCE OF A. L. GARFOKD, OAK PASADENA, CAL. Marston & Van Pelt, Architects.
GATE TO SERVICE YARD-RESIDENCE OF A. L. GARFORD, ESQ., OAK KNOLL, PASADENA, CAL. Marston & Van Pelt, Architects.
201 STAIR HALL RESIDENCE OF A. L. GARFORD, ESQ., OAK KNOLL, PASADENA, CAL. Marston & Van Pelt, Architects. its application to planning, and it is in the its plan arid interior treatment with the planning of a dwelling house that the co- life which is passing within it, fails to re- operation between client and architect is spond to the most important demand laid in closest, the trained man interpreting upon it, while its success in this regard is his technical terms the wishes and re- an ever new reason for approbation. The quirements of the owner. This art of residence which we have just considered planning comes very close to expressing presents a truly gratifying success in the the life of a people and in its range nv treatment of its plan, which is clever and run all the way from the so-called folk unusual in its combination of use and art to a dignified expression which makes comfort with a just consideration of the full claim to beauty for its own sake and relative importance of the units in the surrounds life's daily activities with a design, and, in addition, furnishes a meaning above and beyond its merely most individual interpretation of a house routine motions. A house which fails to for two families, united yet each register this accomplishment of unifying distinct. HILGAFLD HALL -University of Qalifimia- John QahnJCoWard.
By Richard F. Bach
buildings of our larger univer- these the University of California is one. THEsities are representative of the At California the rule of sunlight and steady advance of American archi- color has been obeyed. There are seen tecture. No other type of building re- in all the buildings refreshing plain areas flects so promptly the trend of thought not tortured by conflicting shadows, and in a land of democratic thinking. Out of there is ample evidence of regard for the universities come the guiding ideals the possibilities of color in American of our life as a nation and as individuals. buildings. In the molding of character architectural Hilgard Hall is one of four units ulti- environment has inspirational and incen- mately to constitute the group of build- tive value, and this is particularly true ings to be devoted to agriculture. Agri- with respect to colleges and universities. culture Hall, already in place, was the In America we are still building our first of the units to be completed. As is collegiate institutions; their traditions seen in the block plan, Hilgard Hall are still green and their architecture flanks this first building and forms the therefore is not so well seasoned and second side of the trapezoid that will in tried as are the old quads in England or the end be the agriculture quadrangle. the moldy walls of Continental universi- The quadrangle will, however, not be so ties that date their beginnings before the severely hemmed in by buildings as is Renaissance. Yet we have certain ad- usually the case, first because the halls are vantages because of our youth. There is all no more than two stories in height, the matter of group planning, and the second because the fourth side of the matter of safety for numbers, there is quad will consist of greenhouses. the matter of scientific perfection of Hilgard Hall is on plan in the form of equipment for buildings in which science a shallow letter U. Its important ex- is to be taught. Of these the group plan terior face presents an engaged Doric has the most to offer to the imagination. order, set upon a high base, itself broken Not the least interesting feature of the by window openings and by a stairway newer plans is the factor of local color. approach occupying the central inter- There are projects in pure Collegiate columniation. The order embraces two Gothic reflecting Oxford and Cambridge, stories, the floor level being indicated by there are other Gothic derivatives, there decorative panels between the shafts. are projects in pure Italian Renaissance The entablature presents a series of deli- of the municipal type, and there are still cately treated moldings, in keeping with others that have responded more faith- the decoration of the frieze, which is fully to the demands of their own soil, worked out in a combination of relief and while harking back to Italian or other skull motives, or bucrania, and sgraffito motives nevertheless seem to have struck plaster ornament in several colors. a decidedly individual track expressive Sgraffito likewise appears at several other of their own environment and future. Of points of vantage, notably the pilasters
203 ~ V 1. T - '4-tr A Kl -rmr-nrr
204 HILGARD HALL, UNIVERSITY OF CALIFORNIA. John Galen Howard, Architect.
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HILGARD HALL, UNIVERSITY OF CALIFORNIA. John Galen Howard, Architect. 205 HILGARD HALL, UNIVERSITY OF CALIFOR- NIA. JOHN GALEN HOWARD, ARCHITECT. HILGARD HALL, UNIVERSITY OF CALIFOR- NIA. JOHN GALEN HOWARD, ARCHITECT. HILGARD HALL, UNIVERSITY OF CALIFOR- NIA. JOHN GALEN HOWARD, ARCHITECT. HILGARD HALL, UNIVERSITY OF CALIFOR- NIA. JOHN GALEN HOWARD, ARCHITECT. THE ARCHITECTURAL RECORD. which emphasize all vertical angles of the examples of a technique fraught with building. These features achieve an many possibilities. During the Renais- added value because of the pale gray sance in Italy this method of plaster stucco background offered by the walls. decoration, consisting in effect of nothing The design of the sgraffito has been more than the overlaying of thin coats carried out on a variegated system of of plaster of differing colors and of ground colors, against which the orna- scratching through these coats to the de- ment is relieved in white. In the door- sired depth to bring out the color wanted ways the ground color is a pale neutral in a given place, found frequent applica- yellow or cream color; the same is true tion. Narrow streets, wall areas of con- of all reveals and soffits. The main siderable extent due to reduction of win- pilasters, borders and friezes were dow space made necessary in the south- executed in a Tuscan red ground color ern climate, all coupled with the Italian's with a cream face color for the orna- inborn desire for movement and color, ment. The ten symbolic panels appear- found a ready servant in the lively and ing between columns were developed in responsive medium of sgraffito. Notable three colors, gray interposed between a examples are the Palazzo Ricci and the Tuscan red ground and a creamy face Palazzo Torrigiano, both in Rome. color. Other notable features in the ornament These experiments in sgraffito as used in Hilgard Hall are seen especially applied to American architecture were in the treatment of the main doorway, supervised by Paul E. Denivelle, who was where the symbolic use of floral and fruit Supervisor of Texture and Modeling at forms blends well with the convention- the Panama Pacific International Expo- alized motives used in the door frame, sition. We may say without reserva- consoles and metal gates. Other en- tion that the results are splendid. Un- trances are surmounted by balconies and doubtedly critics will demand stronger decorative window treatments reminding colors in certain parts, perhaps strong one of the Certosa at Pavia. blues will be desired by some, but color Oilman Hall is likewise of stucco like other types of beauty may be said to finish. Both of these buildings differ lie very much in the beholder's eye. from the others at the University of Cali- There is no question whatever that fornia, most of which are of marble. In sgraffito is an amenable type of ornament Oilman Hall there is less opportunity for for It the skilful of color Ionic American buildings. can be use ; an order of handled with no undue amount of effort Greek chastity is used. This building and it has advantages for flat color com- forms one short side of a minor group bined with relief semblances equaled plan, which is to take the stereotyped by no other medium. Above all it is square-sided figure eight shape, with two characterized by firmness and mural courtyards. quality derived from the fact that the John Galen Howard, architect of the color is an integral body color mixed in buildings of the University of California, the material used. is director of the College of Architecture Several other experiments have been at that institution. In the buildings with made in this direction in which are ; New York we they constantly associated his have in mind the Alexander shoe shop on students have inspiring examples to emu- Fifth Avenue, the building erected as the late, and in the high caliber and restrained Astor Market on Broadway at Ninety- processes of thought which these build- fifth street, a phonograph establishment ings illustrate they have unfailing guides on Forty-second street and the Booth to leadership in the architectural profes- and Shubert theatres. These are isolated sion.
210 LITHOGRAPHIC WORK OF DAVID ROBERTS, 1706-1^64
LEON V7 SOLON
manner in which an architec- appreciation of the value of line-quality tural drawing is to be prepared or, as an element in atmospheric effect and THEto use the professional term, complete obliviousness to one of the "rendered" for the client's consideration most powerful resources available for involves a problem of increasing impor- conveying a pictorial or decorative im- tance to the architect, one worthy of pression chiaroscuro. unbiased analytical study. Judgment THE COMMERCIAL VALUE OF and experience are unanimous in pro- RENDERING. claiming analysis an inflexible process; candor, therefore, is an elementary The "rendered" drawing might be in a likened to the it is the necessity stating premise* Accuracy prism ; instrument in the statement of our case compels us through which the fixed professional to admit reluctantly that professional in- angle of the architect's perception is terest in "rendering" proceeds from a diverted to one appreciable by his client. commercial motive rather than from a Pictorial quality, existing independently disinterested desire for progress. A of realism, is the most natural and direct frank recognition of this fact calls for agent for the transmission of an archi- no apology; the time is surely ripe for tectural conception to the lay mind, un- discarding the foolish custom whereby accustomed to think in terms of plan and the work of art is of necessity enveloped elevation. The extent to which the client in a web of fictitious romance. Is it not may be influenced by a skillful rendering also time to abolish the illogical preju- is illustrated in the following incident. dice that assumes art degraded by any A prominent banker decided to erect new association with methods practiced by banking premises of considerable pre- the trader? This fallacy has been main- tension. When the contract was tained in the face of direct contradic- awarded, a clause figured therein to the tions recorded in the lives of many of the effect that if either architect or contrac- most famous masters, until it assumes tor submitted a perspective before the almost the status of an article of faith. building had reached the second floor, MAIN DEFECTS IN THE AVERAGE such action would render the agreement RENDERING. with either void. The banker explained that in previous enterprises he had been For a considerable period a mechani- colored has unduly influenced by clever, per- cal type of rendering prevailed ; for which reason he excluded well-conceived designs have suf- spectives, many them as to a free exercise of fered a heavy discount of appreciation prejudicial his judgment. through grossness of pictorial technique, and an treatment intensely "bourgeois" THE QUEST FOR MODELS OF If a number of the in composition. TECHNIQUE. average type be examined, they will re- for the veal certain common defects, the most Models are necessary guidance of those who desire to leave the beaten serious being the absence of any appar- rut of the author conse- ent intent to compose the subject, lack of mediocrity; 211 THE ARCHITECTURAL RECORD. quently has explored many unfrequented credential of value. In the immature of paths in pictorial art in which the archi- days of the author's studentship tectural subject constituted the motif, painting, when youthful enthusiasm either by reason of its intrinsic beauty could not recognize merit apart from or because, through the picturesqueness vogue, this particular school embodied all the to the favorite creeds of its surroundings, it became a source opposites ; of pictorial inspiration. it is interesting now to discover so many In seeking a new fund of influence it beauties in works formerly discriminated is necessary to direct our attention to against. schools that had aims identical with or For our present purpose we must com- corresponding to our needs, or that pos- mence by transferring the laurels of sess those qualities we aspire to emulate. leadership, placed by his contemporaries The elementary basis of the "school" on the brow of Prout, to that of David lies in this whose in in the arts specialization ; .Roberts, works exhibit the specialization concentrates on certain .greatest degree that combination of qual- qualities, pre-eminently sensed. One ities which our students of architectural group of painters, for instance, recog- technique and pictorial composition are nized as a school, indulges an intense most deficient in. It has frequently hap- affection for minute and precise state- pened that a later generation, with cor- ment; another cultivates breadth at the responding sympathies and selective of detail a third loves sensu- reverses the of expense ; prejudices, arrangement ousness of form more than voluptuous- contemporary esthetic valuation. ness of color; the next, sumptuousness Any object meriting the title of "work of tone to the elimination of extreme re- of art" is an aggregate of diverse intel- of and so lectual elements such are finement form; on, through ; works gener- the range of qualities and beauties, in- ically classified according to the predom- tellectural and technical. inance of distinctive qualities or charac- It is necessary, therefore, to designate teristics, imaginative or technical. The those qualities that are, for the moment, creators of works so grouped were at- essential to the "rendering," and find the tracted to their common points of view, school which possesses the greatest num- through an abnormal susceptibility to ber in the most sympathetic form. If specific esthetic qualities, which con- these essential qualities are technique in trolled their instinct in selection. This draughtsmanship, versatility in composi- magnetic force, the genesis of the school, tion, and a command of the subtle and is only generated in individuals of strong dramatic resources of chiaroscuro, ap- personality, and is reacted to in their plied to architectural subjects, certain work after their various manners; the members of the British school of painters prevailing cachet of thought of their day and lithographers of the late eighteenth adding yet another distinctive imprint to century and early nineteenth century its character. stand forth pre-eminently endowed with It is precisely the change of these pre- what we seek. vailing modes of thought, reflecting so- Though many eloquent phrases have cial conditions, which causes a later gen- been written regarding the leaders of eration to rearrange the order of preced- this school by writers as eminent as Rus- ence determined by contemporaries. kin, we are unable to accept their judg- Though the esthetic aspirations of the ment concerning the relative values of generation reviving a point of view may each, for the reason that conclusions coincide with those of the generation were arrived at through weighing other creating it, the appraisal of relative qualities than those we consider. values is often as much influenced by ex- A long period of neglect has elapsed traneous considerations as by intrinsic since Ruskin lauded their beauties, and merit, all these indeterminate and un- it is not proposed here to give the en- stable qualities giving varying totals in dorsement of this master of prose as a their combination.
212 THE ARCHITECTURAL RECORD.
The main argument for placing raggedness is affected, with the object Roberts in the foremost place is that he of augmenting romance by exaggerating most successfully combines those con- decay. This was a reflection of the in- trasting qualities so essential to our idea tellectual attitude of his day, which pre- of an adequate architectural rendering ferred to consider in an architectural precision in the general statement of masterpiece the hoariness of its age
GATEWAY AT CORDOVA. form and mass, and freedom in its gra- rather than the indestructibility of its for Prout to phic transcription. beauty; antiquity appears The foible of our day is for poetic ver- be synonymous with disintegration. of mathematical calculations, any sions DAVID ROBERTS' WORK IN LITHOG- welcome that leaves our license being RAPHY. facts intact. Our predilection for accu- Incidents in life of rate information impels us to reject the the David Roberts, such as his record as an ad- Prout technique. In Prout's treatment exhibitor, of architectural detail a conventional mission to various art societies, his suc- 213 THE ARCHITECTURAL RECORD. cesses, and his travels, must perforce be undue extent as a means to that end. An eliminated from a brief appreciation of anecdote is handed down at his expense, peculiar qualities in his work, which aims which recounts that on one occasion to stimulate interest in his technique Roberts was expatiating on the merits rather than curiosity concerning his per- of this favorite pigment, saying: "It is in finest color out it will sonality. He was born Stockbridge, the ; stand damp,
LOGGIA.
Edinburgh, in 1796, and died in the year gas, or cleaning; there's nothing like it." 1864. His father was a shoemaker, and C. R. Leslie, the painter, who was one of apprenticed him to a housedecorator and the group present, retorted: "I will tell painter for seven years. In 1822 he went you one thing it won't stand it won't lo London, where he worked as a scene- stand looking at." painter while pursuing his career as a P. G. Hamerton, the British art landscape painter. As a painter he ac- critic, was evidently not a believer in the quired considerable reputation, being recurrence of esthetic influences as a finally elected Royal Academician. The general rule. He wrote of Roberts in record of prices paid for his work at ex- the "Portfolio" in 1887: hibitions proves that esthetic apprecia- "As an artist David Roberts shone tion was supplemented by financial suc- rather by the quality than by the extent cess. of his powers. He composed well. His As a painter he was much influenced sense of architectural detail was fine and by Turner and other members of that his drawing of detail suggestive. At the school in their endeavor to realize atmos- present moment Roberts is out of pheric quality in landscape, causing him fashion, and it is not likely he will ever occasionally to make use of cobalt to an come in again. But the sterling quality 214 THE ARCHITECTURAL RECORD. of his work will always preserve his ner, but was quite content to translate it name from oblivion." all into "Haghe." There is practically no direct informa- In the lithographs of Roberts' sketches tion concerning his lithographic work, or in Spain, we find the Roberts manner of himself as a lithographer. Louis and technique in its full force, delicacy Haghe made the lithographs from his and distinction, the antithesis of the
CHURCH OF SAN JACO.
studies and drawings in the Holy Land Haghe formula. Signatures on such
identi- works are ; his and Syria. Haghe's work can be superfluous personality fied in innumerable proofs; it is untem- shines out of every tint and line. The reference to his work in stone is re- peramental in the extreme, and his only of corded in connection with this work. proofs savor of transcription devoid It states that Roberts was so sympathy. He made no attempt appar- disgusted the with the manner in which his drawings ently to reproduce or reflect pecul- done on stone that he remade iarities of his model's technique or man- had been 215 THE ARCHITECTURAL RECORD.
the work himself, a fact needing no cor- publication of his lithographic drawings roboration outside the work itself. entitled "Sketches in Spain." Black ink In these admirable impressions, the is used to print the key-plate of all. The richness and delicacy of tone bespeak the impressions are taken upon a smooth, painter, and a wonderful range in flexi- heavy paper. A preparatory ground of bility of touch reveals the habit of one yellow ochre is printed to enable Roberts
THE GATE OF ALCAIA, MADRID. skilled in the passage of light in pigment. to make use of white; this he employs No trace is to be found of the conven- to focus interest in a characteristic man- tional manner of Haghe and his contem- ner. Touches of other colors are spar- porary workers on stone, whose ponder- ingly used to enrich secondary detail and ous technique so often reduces graphic accessories. poems in light and tone to uniform state- GATEWAY AT CORDOVA. ments in lithographic formula. An excellent example of the manner His departure from contemporary in which he manipulates light, shade and convention shows us work in which ig- tone to attain an imaginary or artificial norance of mechanical methods is com- pictorial result is the rendering of the pensated for by a breadth of view and gateway at Cordova. The focal point, or skill of hand acquired in higher walks centre of composition, is placed on the of art. We feel that he commanded a left of the picture, comprising the near "vista" denied his brother craftsmen in columns and the adjoining small house. lithography, and that he possessed a tem- The entire scheme converges on this cen- perament of such pliability that unfamil- tre of interest, accentuated by the use of iarity with a medium could not dwarf his white. Tone adjustment is deliberately sense of space and scale. contrived, with a calculation which might INGREDIENTS OF EFFECT ADOPTED BY be open to the imputation of theatrical DAVID ROBERTS. intention. The deep tone enveloping the Our illustrations are all taken from a near entablature has no other reason for
216 THE ARCHITECTURAL RECORD. its presence than to serve as a foil to the to their translucency. A comparison focal point, regardless of realistic aims. of a number of Roberts' composi- His figures are so skillfully scattered tions reveals his antipathy to an un- that their function of bridging over broken base line in foreground buildings. lapses in architectural interest is not ap- The figures, animals and household ac- parent at first sight. cessories are so arranged that the curved
THE BRIDGE AT TOLEDO.
LOGGIA. line on which they are grouped breaks This example reveals Roberts' keen the horizontal base line, which might architectural sense by the manner in otherwise have tended to separate the which structural detail is rendered and subject from the immediate foreground. suggested. The carving over the Moor- CHURCH OF SAN JACO. ish arch, the caps and bases are inter- The white color which is used to focus preted with the greatest freedom, but interest is more apparent in this cut than with such understanding and truthful in the original, the ochre yellow on which effect that it is possible to recognize and it is applied in the lithograph being in less identify the minutest detail. He evi- violent contrast than the gray halftone. dently considered the masses of shadow The manner in which it has been used in the building itself awkwardly placed; and its purpose are worthy of study and he consequently carried the deep tone note. Many recent renderings of Gothic of the shadows through the picture by fagades defeat their object by a mechani- the clad child on uniform distribution of interest introducing sombrely cally ; the left, and the group of dark earthen to concentrate, Roberts chose to draw vessels on the right. The granular tex- the eye with his "spot-light" method to ture of the cast shadows adds much a comparatively limited area, correspond- 217 MARKET PLACE, CARMONA.
ing to the radius which would be cov- the servant of the artist, not as his ered by the eye in one phase of atten- master. tion or observation, were we studying THE GATE OF ALCAIA, MADRID. the building itself. While the remainder The great shadow projected across the of his subject is subordinate, it is exe- left of the arch is a typical example of cuted with conscience, much suggestion a license he claimed to attain pictorial and data being conveyed with the freest advantage. Recourse to this particular of line. means was popular with his contempor- THE BRIDGE AT TOLEDO. aries. Prout in his instructions on land- scape painting enlarges upon its advan- We might suspect Roberts in this tages and justifies the use of shadows of difficulties to exhibit drawing seeking for the concentration of interest in any his versatility in overcoming them. He part of the composition, on the ground has chosen a top-heavy subject, and that a passing cloud before the sun might stabilized it by the picturesque grouping account for any shadow mass the artist and powerful lighting of the foreground could desire. Here again we find the details. These also mask the lack of in- base intersection concealed by serried terest around the pier bases. His use masses of cattle and human beings. The of reflected lights from the river softens distant town seen through the arches is and breaks up the massive slanting sil- rendered with great delicacy. houette of the bridge overhead. Great liberities have apparently been taken with MARKET PLACE, CARMONA. nature's habit of reflecting light on planes Color figures here to a greater extent at he missed no than usual in his but there given angles ; opportun- lithographs, ity of demonstrating one of his strong is no attempt at a solid treatment, and convictions that nature should act as no to realism it is pretense convey any ; 218 THE ARCHITECTURAL RECORD. pure illumination. Roofs are tinted to a ical reproduction can retail to us; the tone delicate and minute light reddish ; photograph and the halftone are totally touches of brilliant color enliven costumes inadequate and very disappointing to one and trappings. The figures are indicated who has studied the originals at the New with great spirit. York or the Avery library, where ex- THE FORTRESS OF THE ALHAMBRA. cellent impressions may be seen. In this Were this lithograph better known, great composition, realism has paid hand- it might be awarded a place among some tribute to pictorial effect; a dram- masterpieces. An incredible sense of atic moment of nature is recorded in its vastness is conveyed by subtlety of tone, velvety tones. The power of this work though, curiously enough, it is deficient should shake the faith of those who re- in that atmospheric quality which we gard nature as the final court of appeal. associate with remote horizons. The It is the poet's conception of a grandiose proofs possess qualities which are not subject, through which the painter scat- transmissible in any medium but lithog- ters rays of sunlight like jewels, with raphy, and which no process of mechan- lavish hand.
THE FORTRESS OF THE ALHAMBRA. 219 FIREPLACE WITH OVERMANTEL IN HALL EXETER COLLEGE, OXFORD. MODERN JACOBEAN. English Architectural Decoration lexf and Measured Dtaw- inas by Albert E. Builock.
Part X. Overmantels and Mirrors
dealt with various types instances, while in the Wren period in the last two re- HAVINGof chimneypieces panels and carved frames were often articles, some account and descrip- sorted to with the object of providing tion of overmantels and mirrors will space for oil paintings. doubtless prove of interest. Mirrors were not adopted to any ex- The transition between late seven- tent until the end of the seventeenth cen- teenth and early eighteenth century tury, the beveled crown glass being dis- mantels appears to be exemplified in the tinct from the modern British rolled plate illustration of an example from an old in two particulars namely, the obtuse house at Hertford, which will be no- angle of the level in old examples and architrave the ticed to have a heavily molded ; the irregularity of the thickness of the frieze is ornamented at the extreme sheet due to spinning. ends and in the centre, and the cornice The illustrations given show a Chip- has carved acanthus leaf similar to the pendale period room from Sudbury, Suf- of the main cornices to rooms mirror of the bed molds folk ; a small pier Chippen- of the preceding era. dale era compared with a walnut and gilt In Jacobean times the overmantel was mirror of late William and Mary or designed with and formed part of the Queen Anne period and an Italian type chimneypiece, which was invariably of mirror. The neglige character of the made the full height of the room when two smaller mirrors compare favorably paneled, or to the frieze level when plas- with the stateliness of the gilt walnut tered above the capping. These fire- example, which at this early date (post places were frequently of two orders, 1700) exhibits the French influence in superincumbent, having single, double or the carved border members. This orig- triple columns supporting the entablature inated with Jean Baptiste Pineau (1652- to the overmantel or upper portion, with 1715) who, with Boffrand and de Cotte, one exception, viz., the Jerusalem Cham- created the style Regence at Versailles. ber, Westminster Abbey, which has three The style is sumptuously shown in the orders in the tier, the whole chimney- beautiful wood carving of the Petit Salon piece being carved in cedar, a very excep- at the Chateau de Rambouillet. Had the tional wood to use at this time when oak, English Joiners, in following this style, stone and marble were the most usual not been satisfied with the few details materials in vogue. At Hatfield House, they represented ad nauseum, they could marble is the chief medium, having have developed a much more lasting polished insets of precious marbles in style with a flow of invention as generous jewel formation, while instances exist of as is exhibited at the Salon de la Prin- stone architraves, lintels and friezes com- cesse Soubese. bined with oak carved overmantels, as at Very bold carving obtained during the the old Palace of Bromley-by-Bow. reign of Charles II and until the middle During the reign of Charles I this of the eighteenth century when the Chip- principle of combining the overmantel pendale era flourished, after which a with the fire mantel still obtained, as at quieter tone prevailed with the Adam Wilton and many other edifices designed Brothers, for whom the younger Chippen- by Inigo Jones. John Webb seems to dale worked in conjunction with Per- have adopted the lower order in several golesi, C. Richardson, the designer, and
221 THE ARCHITECTURAL RECORD.
various marble and stucco workers, in- spiral designs, being made up of closely Gelder. which cluding Rose, Spang and Van compressed hard wood shavings, The mirrors of the late seventeenth when polished are very effective. al- Gibbs a of century were not always beveled, With James high grade win- for interiors and con- though beveling of clear glass for carving developed dows was adopted both at Hampton siderable skill was displayed in the dis- Court Palace and Chats worth. position of ornament to mantels, over with carved cartouches of the Owing to the early glass, being spun doors, etc., and not cast or rolted, as at present, irreg- character of the Rysbrack sculpture. ularities .of the surface are. more patent Most of the architects of the eigh- cri- mural tablets by which it can be detected, being a teenth century designed terion for its originality, but the silver- and cenotaphs for various churches and will of which Westminster ing, suffering from age and damp, cathedrals, Abbey re- is of some of the frequently be found to have been the happy possessor newed. most famous examples. William Kent were for Scheemaker's Many of the early frame carvings designed the framing intended for oil paintings, but were con- ''Shakespeare" in 1740; James Gibbs de- verted into mirrors subsequently, the signed the monument to Katharine transformation of the inset enhancing the Bovey, which was probably carved by value of the carving. A variety of treat- Rysbrack, the sculptor of the tomb to ments were attempted besides gilding. Matthew Prior in the Poets' Corner of Tortoise shell and mahogany; walnut Westminster Abbey. Read carved monu- dark carved or- ments for Robert whose was with gilt moldings ; oak; Adam, style namental glass framing of Venetian followed by Richard Hayward, Bacon, type, and, in the Adam era, the convex Eckstein and others of contemporary circular mirrors invariably had an ebony date. Cheere favored the French motifs hued inner molding edging the mirror to of Chippendale's time, which are not a throw up the large gilt molding forming little florid for a sacred edifice. the frame. The principal architects of the century, Large sizes in glass not always being in addition to those above mentioned, obtainable, the joiner had recourse to the were Edward Tufnell, Hawksmoor, Rip-
subterfuge of subdividing the . horizonal ley, Payne, Sir John Vanbrugh, Colin mirrors or putting an openwork edging Campbell, Sir William Chambers and Sir and glazing around the main glass in John Soane, with many of the lesser smaller pieces. This naturally led to the lights who flourished in the provinces introduction of colored glass at the edges working upon the principles in vogue in in some instances, which, however, was their eras.
of short life. . The artisans employed are not often The process of inlaying the overmantel recorded except where the accounts were panels in geometrical designs and star kept of the more monumental buildings, patterns occurred in the latter half of the as Chatsworth, Hampton Court Palace, seventeenth century and is a feature of etc. A joiner by the name of Gibbons some of Watson's work at Chatsworth. was employed by Inigo Jones and Webb The carvings upon the surround were on staircases. Samuel Watson and his thus subservient to the ornamental flush son spent forty years at Chatsworth with interior treatment of the panel surface. several assistants, working to the de- The method of giving a texture to a signs of William Talman, who had pre- plain surface in wood was of Jacobean viously been associated with Sir Christo- origin and is to be seen in the panels of pher Wren at Hampton Court Palace, the Sizergh Castle Room from West- where the fine work of Grinling Gibbons moreland, where several different veneer and his assistants, Selden and others, are hardwoods are employed in the inlay. so much in evidence. James Gibbs em- Even the columns to chimneypiece over- ployed a carpenter and joiner named mantels of this period occasionally exhibit John Phillips at the Radcliffe Library,
222
THE ARCHITECTURAL RECORD.
Oxford, the two Townsends, Lionel and pare this with the carved mahogany William Smith of Warwick, as masons frame from the W'oodwork Section of and carvers, with the Italian plasterer the Victoria and Albert Museum, and it Artari and the famous sculptor Michael will be noticed that the example is of a Rysbrack, who had previously worked much bolder nature, and, being in mahog- for William Kent. any, would be later, since walnut was the By the middle of the century joinery chief medium of Chippendale. There is became a prominent and artistic business, another example of fine carved scroll which increased in power and notoriety work recently in my possession, which is, with each succeeding decade. We have I believe, in oak, but of very dark hue, at any rate more detailed information of almost black in appearance. It is diffi- the ability of the artisans from articles cult to date, but is somewhat characteris- which remain and the published works tic of the late Wren period. of current practice, with some records of With the Adam work, as has already the personality of many of the more been indicated, mirrors took various famous joiners who based their work forms, and the modern copyists are le- upon the fine walnut type of the William gion, because with slight modification and Mary period. they are very adaptable to light drawing The influence of the work of Sir John room decorations, being circular with Yanbrugh had a very definite result, as convex mirror, oval and rectangular, had the building of Montagu House, some of the latter shape having glazed which was decorated by Monnoyer and paneled borders. The tops are usually Rousseau under the direction of de la ornamented with carving of Grecian or Fosse. The publication of designs by Egyptian period ornament, of which the Daniel Marot, who had worked with favorite motifs were sphinxes, lions, Berain for Andre Charles Boule, the eagles^ and rams' heads, these being easily work of the Caffieri family, the Adam stereotyped. family and many others of Louis XIV's Modern copies of triple oval form time, all tended to inculcate fresh ideas joined together by festoons of beads or to the art of the age. husk .ornament, the centre oval being the Chippendale was naturally influenced largest of the three, are not uncommon. by the Continental movement^ as. well as EaxljC^idor examples were small, with by the publications of the many volumes a glass hkrdly exceeding a foot by nine of designs and ornament by Cauvet, inches, With wide needlework bordered Marot and several English works, which surround ia a narrow tortoiseshell frame. induced him to publish the "Gentleman The Georgian examples were usually and Cabinet Makers' Director," when gilt, with pilasters and pediments that is Edwards and Darley brought out their to say of George II's time. Between this "Chinese Designs" in 1754. period and the Chippendale era there The severity of the style adopted dur- were variations of oblong mirrors sub- ing the reign of George II did not appeal divided into three or more panels, some- to Chippendale, who wanted freedom for times having a painting in the top half his chisel, and saw his opportunity in a with the subdivided beveled mirrors be- combination of Chinese with Louis XIV low, the frame being of gilt wood with detail. The type of carving and design angles broken and mitered to take which will always be associated with him rosettes at the corners. In these ex- is exemplified by a drawing I have made amples the scallop shell was not an un- from a rough sketch of a mirror from usual feature and the top was frequently Highgate and the photograph of a fine treated with carved ornament. mirror from Aston Hall, Birmingham. With Adam examples the addition of Were it not for the brackets and certain bracket candle holders became a common French elements I would place this latter practice where sconces were not used, the example as pre-Chippendale, it has al- light being reflected by the mirror. These most a William and Mary touch. Com- were very tastefully designed, but often
224 GILT CHIPPENDALE MIRROR (HIGHGATE), SIX FEET SIX INCHES BY FOUR FEET THREE INCHES OVER ALL. ABOUT 1750. ct *
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THE ARCHITECTURAL RECORD. of too delicate construction to be per- nament. The carving of the fire screen manent. The designers of the period is seen in the photograph to be of bold character and of tasteful spent much time and ingenuity in the de- design. velopment and manufacture of brass and A similar idea is exhibited in the Hall at where the vari- silver plated candlesticks or ornamental Weavers' Exeter, sconces and candelabra of wood and ous tools and instruments used in the metal, the former frequently being processes are carved in the oak paneling. This has an historical value painted in green and gold tints or colors. principle cast the in- For these lights the tallow chandlers quite apart from archeological ornamental wax candles in special molds, terest it gives, and forms an original basis which must have been very effective, even of operation for the designer. Fire screens if the light was dim as compared with were occasionally included modern usage. within the purview of the joiners provid- The modeling of Pergolesi was less ing the wainscoting, in which case some formal than the sterner Grecian manner very fine examples are to be seen. of pure Adam work, although the main Where mirrors and frames were not lines followed the general theme of this provided plaster relief plaques were usual period. He was more lavish with his and were employed by the Adam Broth- floral embellishments, which possess a ers, Richardson and others. They were naturalistic character in the leafage at- not necessarily connected to the man- tached to the scroll work, the effect be- telpiece, but were frequently part of ing both graceful and decorative. the general decorative scheme of the During the reign of Charles II until room. the advent of James II carving was free Tastefully designed mirrors, whether and bold, of designs frequently descrip- placed centrally over the fireplace, used tive of definite objects concerned with as pier glasses, or embodied in the fram- the building or room so treated. This is ing of a door to obtain vistas through a especially noticeable in the halls and series of rooms, rarely fail to enhance board rooms of the Livery Companies of the general effect of an apartment, add- London. For instance, in the Brewers' ing a lustre and brightness befitting a Hall, Addle Street, in the City of Lon- well designed interior. They reflect the don, the hall screen is surmounted by pattern of the ceiling, the furniture and amorini astride beer barrels, while in the walls, and by their peculiar virtue reduce board room the chimneypiece and over- the scale to a proportionate value that mantel have hops, wheat and sheaves in- is coincident with the dimensions of the troduced into the detail of the carved or- room.
236 Tfie ARTISTIC TREATMENT OF CONCRETE SURFACES*
' B7 H VANDERVOORT WALSH
is coming into its own brick or stone. Nor does it mellow with as an all CONCRETEaround building mater- age, but crackles under the heat of time. ial. Its progress to this point has To the observing person this is no ex- been slow, for it was considered to be a aggeration. Particularly ugly have been purely structural material, too ugly to the concrete blocks, manufactured by leave uncovered. Since the days of the machines to resemble stones with quarry Romans it has been used for mass work, cut faces. but under cover of some other material However, in recent years artificial that hid its grey, monotonous surface. stone makers have developed notably Far more attention has been given to the satisfactory methods of surfacing con- development of the structural strength crete. Under many commercial names of concrete than to its artistic surface concrete is now manufactured into build- treatment, because it was taken for ing units of beauty, possessing much of granted that it was hopelessly ugly. The the charm and appeal of our natural has devoted time to rein- stones and the is in a engineer much building ; designer forced concrete, but the architect has not position to obtain concrete surfaces as given the same attention to its possible interesting as any, provided the princi- finishes. ples back of the art are known. It is not difficult to see why this in- These principles may be classified into difference has been shown towards the three distinct groups which are however development of the artistic use of con- intimately linked together. First of all, crete, for the average concrete wall that some mechanical means must be used to remains uncovered presents a surface produce variety of texture, either by without texture or color. When the making a surface which is pitted to give forms are removed from concrete, the valley shadows and peaks of high-lights, surface bears their imprint, and if they or by securing the same effect with a were made of rough boards, the concrete peppering of light and dark aggregates. has the appearance of a poorly con- Secondly, the color must avoid the dead structed fence, painted with a dull grey, greys by using whites, creams or rich mudlike paint. On the other hand, if the warm tones, eliminating all colors which surface has been troweled smooth, there give a dry, thirsty appearance to the is no texture or sparkle. It has in both wall. Thirdly, the surface must be cases a dull, pasty, dead surface. In damp-proof or colored in such a way that time this develops hair-cracks into which' rain water will not make large patches the dirt of the air lodges, giving the real- of dark, damp stains. istic effect of dead skin. Often the sur- The mechanical operations necessary face is seen to peal away in thin scales are varied, but certain well tried proces- as if it were suffering from some disease, ses can be followed for securing origi- and after each rain storm a very dark nal effects. The earliest and best known water stain develops as if it were bruised, treatments for producing surface texture as although it may not have absorbed as are those which have been developed much moisture as the ordinary wall of applied coatings. The concrete is molded 237 THE ARCHITECTURAL RECORD.
of roughening the surface into pits and peaks. The last two secure texture by impressing aggregates into the surface or by peppering the same with dark and light aggregates. The stippled surface is made by ap- plying a coat of stucco to the concrete and then roughening it with pats from a brush of broom straw. The texture se- cured is but a slight improvement over the smooth, trowelled one, and is very monotonous when viewed from a dis- tance, especially when gray cement is used. White cement and white sand im- prove the appearance greatly, since the shadows of the rough pits and the high- lights of the projections are in more Economy Is Secured by Casting the Surface Material contrast. As an Part of the Block. Integral The sand-float finish is not much better, but it is another mechanical method of in the usual and then a stucco is way, securing a fine texture which appears best spread over the top of it in which tex- ture is developed by pitting, casting and dashing. Many beautiful effects are pos- sible with these treatments, but they are not the true solutions. The right method is in its infancy, and consists in securing texture and color by exposing the beauty of the aggregate with which the con- crete has been made by removing the surface skin deposited from the forms. The first class of surface treatments includes stippling, sand-floating, sand- spraying, rough-casting, pebble-dashing and mosaic inlaying. All of these se- cure texture by application of stucco over Interior of Circle Is Pebble Dash; Rim of Circle Troweled and Surface Sand-Floated. the surface left by the forms and may Body be called the "over-coat" methods. The when stucco is used. The i. first four secure texture by some means light applied stucco is rubbed with a wooden float in a circular motion, and sand is spattered under it to give a roughening action. The sand-sprayed finish is the thinnest treatment. Over the surface of the con- crete, which should be green from the molds, is spattered, with a whisk broom, a creamy mixture of cement and white sand. This should be mixed fresh every thirty minutes and kept well stirred. However, even this may develop a mon- otonous appearance, since a thin film of cement covers the sand particles and hides any sparkle from them. The rough-coat surfacing is the most An Over-Coat Finish Called Sand-Sprayed. It Gives a Finer Texture Than Rough-Casting. rugged of all, and presents a great vari- 238 THE ARCHITECTURAL RECORD.
ing results. Such aggregates reflect the sunshine in sparkling points of light and give that life to the surface which we admire so much in nature's products, es- pecially in the granites and marbles. The use in this country of a base coat of cement and sand into which the pebbles are thrown is not nearly so satisfactory as the use of a base of neat white cement. This is the English practice and when the aggregate is thrown into this pure cement it will stick as long as the wall stands, while the use of a sand mortar as An Over-Coat Finish Called Rough-Casting, Which a base does not offer the same of Gives the Coarsest Texture. power adhesion, resulting in patchy work. Some workmen pat the pebbles with a wooden ety of heavy spots of shade and light. paddle into the base, after they have been This can bear the use of grey cement tha thrown on. This gives the most durable best, but the effect is enhanced by the surface. this finish use of white cement. A mixture of one However, requires part of cement to two parts of sand is thrown on by hand against the wall. If great care is not observed, a patchy ap- pearance may result by having certain areas very rough and others compara- tively smooth. The pebble dash finish secures variety of color with variety of texture, and is the most pleasing of the "over-coat" methods of concrete surfacing. Pebbles or chipped aggregate varying in size from one-quarter to one-half inch are wetted and thrown forcibly against the troweled coating of stucco. It makes possible the use of great varieties of colored aggre- Tile Mosaic Inlay. gate. Those which have sparkling quartz for the particles or broken bits of crystalline skill, average workman will not marble or black pieces of slag or other spread the pebbles evenly over the sur- brilliant materials produce the most pleas- face. The mosaic-inlay is practically the same, only the materials impressed into the cement base are arranged with indi- vidual care. It is best suited to some de- sign or panel decoration. Colored tile, broken colored glass, glass beads and materials of this character are used to great effect. It is surprising what beau- tiful effects broken bottle glass will pro- duce, if it is handled with taste. Chil- dren's colored beads, when imbedded to a flush surface, make a wonderfully in- tricate texture. The great secret of success lies in keeping the surface abso- The Mosaic Inlay With Glass of Various Colors. lutely plane, with all crevices between White Cement Filling the Crevices Surface Is Plane, in Between the Pieces of Glass. particles filled flush with white cement. 239 THE ARCHITECTURAL RECORD.
However, the most ef- treatment is the crudest of fective results in concrete this class, but it has many surfacing are obtained by advantages. the second class of treat- Another way to expose ments in which the skin the aggregate is to clean of the surface is removed the concrete with a fine by some mechanical spray such as the fruit means, exposing the tex- growers use. This should ture of the aggregates of be done immediately after which the concrete is removing the forms, but it made. When the forms requires skill to prevent are removed from con- the softening of the sur- crete, the surface is cov- face by too much water. ered with a thin film of A very beautiful mottled cement, and if there are effect is secured in this aggregates way. any sparkling Surface Background Consists of used in its make-up, they Children's Beads Imbedded Flush However, the best ef- With the Surface. will be invisible under this fects are obtained when skin. It is this film which some type of stone cutting tool is gives the dull, gray, lifeless effect used. The concrete is cast in the to concrete, and it is also in this usual way, and when it is removed from skin that the ugly hair-cracks develop, the molds the skin is removed by finish- When it is removed the true beauty ing it with the tools that are employed of the concrete is exposed. By by the stone cutter, mixing selected aggregates, as marb.eb, 'One of the most beautiful effects ob- granites, pebbles and glass in the con- tainable is to cast white cement with crete, they can be exposed to the sur- white marble aggregate into blocks and face by scrubbing, spraying, cutting with then, when these are still in the green stone cutting tools and machines. The state, pitch off the face exactly as is concrete may be made of the usual grey done in giving a quarry face to a natural cement and cheap aggregate, but in the stone. The split of the concrete will casting the selected mixture of surfacing follow the most sparkling lines of the material may be spread over the exterior imbedded aggregate and an appearance in a thin layer of one inch. However, rivaling the best stone is produced. this is more a point of Another surface o f economy than one of sur- great charm is secured by facing. the pointer. With a pneu- To finish by scrubbing, matic hammer behind this the concrete sould be al- tool, the surface can be lowed to set for at least gone over quickly. The twenty-four hours. Then results are quite beyond with water and a stiff description in photo- brush, the film of cement graphs, for there are few can be scrubbed off, ex- stones which present a posing the aggregate in all finer appearance, if the its beauty. If the cement aggregate has been care- in any one part is too fully selected. hard, it can be removed by The use of the tooth a solution of one part chisel, the bush chisel and muriatic acid and four the cross chisel oper- parts water, provided that Corner Blocks Are Finished in the ated in the pneumatic this is washed same Way That Stones Are Quarry hammer make other carefully Faced. The Others Are Finished off afterwards. This With the Pointer. varieties of surfaces
240 THE ARCHITECTURAL RECORD.
which have their own characteristics. blacks, yellows and whites. By a care- Concrete can also be treated with re- ful combination of white marble, black drums of carborundum to wear volving slag and grey cement a very perfect imi- off the surface skin. tation of granite can be made, in fact With the kind of hard such right crystal- a granite is made by one firm sell- line aggregate, concrete can be polished ing its products all over the United by the methods used for stones. When States. this is done, no colors should be used, However, mineral colors can be se- for they darken too much under the ac- cured which will offer resistance to time. tion of the polisher. They must be of the highest degree of In all of these treatments the opera- purity. True mineral colors will stand tion of cutting the surface is compara- the acid washing and action of cement tively simple, since it is done before the and time. No colors should be used concrete has become entirely hardened, which leave water permanently tinted although the when shaken up it harder is, the with it. It is best more brilliant will to use a mere trace be the surface pro- of coloring matter, duced by the cut- not only for dura- tools. Another ting bility but for ap- great advantage lies pearance. White ce- in the fact that if ment makes the any corner or part best base for them. is broken the off, A limiting propor- of use a patch will tion, not exceeding mend it without six pounds of color weakening its dura- to one hundred bility. Economy of pounds of cement, - modeling is a n is besti other feature, for Another method designs which or- of securing color dinarily must be is by absorption. cut from blocks of After the cement stone are easily has had several cast in concrete, days to set, it Combination of Smooth Surface Finished With may and the only tool- Carborundum Blocks, Pointed Surface, Pebble Dash be stained w i t li and Details. ing required is for Simple Casting some aniline color, the surface. Designs of extreme cost sulphate of copper or iron. A penetra- for cut stone, such as perforated balus- tion of one thirty-second of an inch to trades, can be produced at comparatively one eighth of an inch is quite sufficient. low cost in concrete. A great number of experimental methods Next to texture comes the coloring of of color absorption have been made. concrete. Nature has provided us with One of the cleverest is to rub green grass great varieties of colored granites, mar- over the cement to stain it to a time worn bles, sandstones and gravel which make bit of antiquity. excellent aggregate for coloring. In fact Of course, there are opaque damp- the coloring of the concrete by aggregates proof cement paints which can be applied, is the most durable method. Beautiful but these are bound to give the uninter- pink, red, yellow and dark green granites esting texture which is to be avoided, can be had from the waste products of since they add a skin and cover the life the granite quarries. Marble waste can of the aggregate. be secured in yellow, green, red, pink, To prevent the usual staining of the white and multi-colors. Sandstones can surface by rain water, the concrete should be had in buffs and reds. Gravels run in be made very compact by carefully grad-
241 THE ARCHITECTURAL RECORD. ing the sand and aggregate. Some pro- aggregates and tooled will not show any prietary waterproofing compound may be disagreeable water mark. On the other added, or hydrated lime used, but all of hand, grey concrete will appear darker these are of doubtful value. The very when badly wet with rain. In sections dry, porous mixtures used in the manu- of the country where little rain is preval- facture of concrete blocks, are more apt ent the question of how to avoid stain- to show moisture than wetter mixtures. ing from moisture is not of great im- White cement, mixed with light colored portance.
An Excellent and a Poor Example of Concrete Finish. The Corner Stones Are Finished With the Pointer and Appear Well. The other Stones Have Aggregate of Too Large Size Impressed Into Surface.
242 WORKINGMEN'S HOUSES IN ITALY
QWelani
PART II
Rome there are two notable insti- Apartments of Xumber Per Ct. tutions which build workingmen's 5 rooms 24 2.63 INhouses, namely, the Institute for 4 rooms 332 36.56 Popular Homes and the Roman Real 3 rooms 499 54.65 Estate Institute. The two differ greatly. 2 rooms 58 6.36 The first belongs to that class of institu- The two-room and three-room apart- tions created exclusively for the provi- ments, the ones most in demand, com- sion of workingmen's homes, while the prised 91.01 per cent, of the total num- Roman Real Estate Institute is interested ber. The building area was utilized as in dwellings for the more prosperous follows : elements of the population as well as in Entrances, halls and water closets, workingmen's houses. I shall not go into 92.00 sq.m. 11.22% detail as to the better class of houses Stairways 52.50 sq. m. 6.41% because they lie outside the scope of this Rooms 49178 sq. m. 59.95% study. Walls 184.72 sq. m. 22.42% In "La Construction Moderne" of some I wrote in detail THE TESTACCIO QUARTER Paris, years ago, on the subject of the early constructions Act 116, passed April 6, 1908, author- in the Testaccio Quarter. I shall speak ized the Cassa dei Depositi e Prestiti to now of the more recent constructions, make to the municipality of Rome a loan Blocks 30, 32, 33, and 34, which show of ten million lire to be allocated to the the best work done in Rome in working- Institute for Popular Homes. With that men's homes. loan it was possible to begin the construc- In planning these newer groups of tion of houses in the Testaccio Quarter, houses, the cooperation of architects which is not too far from the center of Pirani and Bellucci was obtained. The the city and is united to it by a tramway buildings, being varied as to both height line. and exterior design, avoid the monotony The land belonged to the Italian So- so common in long rows of working- ciety for Real Estate Dealings, which men's houses. The open spaces give sold it to the Institute for 10.80 lire per plenty of air and light, the courtyards, square meter. Construction was begun with their green foliage, being large and under the architect Giulio Magni. well distributed. Eleven large plots were sold to the The decoration is very simple. We Institute for a total of 6,363,212 lire. realized that the people appreciate beauty. Each apartment consists of a hall, of It is necessary, however, that art adapt one, two, three, or four rooms, and of itself to the needs of the people. I have a kitchen and a water closet. The houses often suggested in my books the aban- contained 913 apartments, divided in the doning of historic traditions in art to suit following manner : new and actual conditions. Other- 243 THE ARCHITECTURAL RECORD.
it to each has at least wise will be impossible have popular lighted stairways ; room art. A home which, besides being con- one window on the street. The outside venient, offers a beautiful appearance is, windows are furnished with awnings. to be and it must kitchens and water closets been of course, preferred ; The have also be remembered that an artistic house much improved over those in the earlier receives greater care from the tenant. houses. The kitchen chimney, made of In the new buildings more thought cement and iron, does not take up much has been given to the decoration than room and accommodates coal and gas was given in the earlier ones, without stoves. The sinks are of red granite in the ex- however spending more ; fact, and cement, deep and surrounded by is since the deco- sheets of the material shelves in pense sometimes less, same ; ration is structural, embodied in the ma- the wall serve as receptacles for dishes. sonry of stone and brick. Each apartment has running water and The cost of the decoration, including electric light. the travertine, terra cotta, brick, etc., There are many apartments of only amounts to 7.63 lire per square meter of two rooms and kitchen and some of only the street fagades and 2.24 lire on the one room and kitchen. There are 395 other elevations. apartments, of which ninety-nine have con- three In the buildings of Block 34, two rooms ; 234, rooms ; fifty-eight, structed in 1913, for which we used four rooms, and four, five rooms. stucco decoration, the cost was 6.72 lire The depth of the foundations necessi- per square meter in the external perspec- tated by the nature of the walls, induced tives, and 3.36 lire per square meter in us to excavate sufficiently to obtain base- the others. ment rooms. These are high, well aired Every apartment has an independent and well lighted, with street entrances entrance, with convenient, airy and well independent of the apartments, and are
HOUSING DEVELOPMENT OF THE INSTITUTE FOR POPULAR HOMES IN THE TESTACCIO QUARTER, ROME, SHOWING RECENT CONSTRUCTIONS (BLOCKS 30, 32, 33 AND 34). 244 PLAN OF BLOCK 30 IN TESTACCIO QUARTER, ROME.
PLAN OF BLOCK 32 IN TESTACCIO QUARTER, ROME. 245 RECENT TENEMENTS IN TESTACCIO QUARTER, ROME, BUILT BY THE INSTITUTE FOR POPULAR HOMES. 246 rentevi as stores, large galleries of etc. shops, tufa, which caused rooms Laundry an unexpected in- are found on each crease in the cost floor, one for each o f construction. stairway, and each The idea of two- tenant may use story houses had once a week two to be abandoned, wash tubs. The because the ex- drying rooms are pense of the foun- on the adjacent dations was out of roof and are con- proportion with venient to the ten- the income to be a n t s. Children's derived from a rooms are on the two-floor house. ground floor, to- The floors were gether with a therefore increased school of domestic to three and four economy. in number. The walls and This quarter, stairways repre- planned and begun sent twenty-eight by the Technical per cent, of the Office of the Insti- covered area and tute, was continued the construction is and finished by DECORATIVE DETAILS OF TENEMENTS IN economically per- architects Pirani TESTACCIO QUARTER. fect. and Bellucci, di- THE SAN SABA QUARTER. rectors of the Co-operativa Aventino. This quarter is situated on a hill where There are 100 houses, eighty-seven stands the small, but interesting, Church with two floors, seven with three floors, of S. Saba, erected on the ruins of the and six with four floors; that is, 330 house and, later, Oratory of S. Saba, apartments with 1200 rooms, besides mother of Gregory the Great. The insti- stores, schools, and facilities for various tute, helped by the municipality, which activities of a social character. The sold the ground on vefy satisfactory apartments are divided in this way : Sev- terms, has built a Garden City, with enty-two of one room and kitchen, 123 beautiful, economical and convenient of two rooms and kitchen, sixty-one of houses. three rooms and kitchen, thirteen of four Difficulties were met with while exca- rooms and kitchen, fifty-one of five rooms vating. At eight meters were found and kitchen. The kitchen, according to 247 THREE-STORY TENEMENTS.
FOUR-STORY TENEMENTS IN SAN SABA QUARTER, ROME. 248 TWO-STORY AND FOUR-STORY TENEMENTS IN SAN SABA QUARTER, ROME. the Roman custom, is never included in the speculative building mania invaded the count of "rooms." Rome, and has all the faults of that per- The apartments in the two-floor build- iod. It was there that the avidity of ings have a separate entrance and a gar- gain, the leasing and subleasing was car- den, and contain four, five or six rooms. ried farthest, causing overcrowding, pro- In the three-floor buildings, the apart- miscuity, immorality and crime. By ments are always separated by a hall and demolishing some of the old buildings by various stairways. Each apartment and remodeling the rest, the San Lorenzo has a water closet with running water and Quarter was freed from overcrowding, wash tubs. was purified and humanized. Twelve SAN LORENZO QUARTER. old buildings were transformed, being The Roman Real Estate Institute has grouped in four great units, which cover improved and transformed the San Lor- a total area of 6,484 square meters, and enzo Quarter, the poorest and at one in which 300 families live with their time the most ill-famed in the capital. children, who attend the school built for It was built between 1884 and 1888, when them. The occupancy is reduced to only
THREE-STORY AND FOUR-STORY TENEMENTS IN SAN SABA QUARTER, ROME. BUILT BY THE INSTITUTE FOR POPULAR HOMES. 249 BLOCK REMODELED BY THE ROMAN REAL ESTATE INSTITUTE IN SAN LORENZO QUARTER, ROME. (SALA A, NURSERY; B, PLAYROOM; C, SEWING MACHINE ROOM; D, DISPENSARY.) two people for each room. The subleas- I cannot speak of other important ing, through which formerly four people cities, Turin, Genoa, Florence, Naples crowded into a room, has now almost and Bologna; but I feel sure that the disappeared. For every 100 persons liv- movement toward better workingmen's ing in a building there used to be seventy- homes is daily gaining in our country and seven boarders or renters, now there are that, the war being over, the movement only five per 100. will be greatly accelerated. 250 WEST FRONT-RESIDENCE OF MRS. FRED- ERICK PACKARD, CHESTNUT HILL, PHILA- DELPHIA. PA. WILLING & SIMS, ARCHITECTS. GATE AND GARDEN-RESIDENCE OF MRS. FREDERICK PACKARD, CHESTNUT HILL, PHILA- DELPHIA, PA. WILLING & SIMS, ARCHITECTS. HOUSE DOOR RESIDENCE OF MRS. FRED- ERICK PACKARD, CHESTNUT HILL. PHILA- DELPHIA, PA. WILLING & SIMS, ARCHITECTS. LIVING ROOM-RESIDENCE OF MRS. FRED- ERICK PACKARD, CHESTNUT HILL, PHILA- DELPHIA, PA. WILLING & SIMS, ARCHITECTS. HALL AND DINING ROOM-RESIDENCE OF MRS. FREDERICK PACKARD, CHESTNUT HILL, PHILA- DELPHIA, PA. WILLING & SIMS. ARCHITECTS. (For plan of first floor, see page 277.) RESIDENCE OF G. G. DOMINICK, ESQ., STAMFORD, CONN. DESIGNED BY ARTHUR LOOMIS HARMON, ARCHITECT, FOR WILLIAM H. REID, ESQ., THE ORIGINAL OWNER. RESIDENCE OF G. G. DOMINICK, ESQ., STAMFORD, CONN. ARTHUR LOOMIS HARMON, ARCHITECT. 10 RESIDENCE OF G. G. DOMINICK, ESQ., STAMFORD, CONN. ARTHUR LOOMIS HARMON, ARCHITECT. RESIDENCE OF G. G. DOMINICK, ESQ., STAMFORD, CONN. ARTHUR LOOMIS HARMON, ARCHITECT. S K a . A*
RESIDENCE OF EARLE P. CHARLTON. ESQ., WESTPORT HARBOR. MASS. Farley & Hooper, Architects.
RESIDENCE OF EARLE P. CHARLTON, ESQ., WESTPORT HARBOR, MASS. Farley & Hooper, Architects. 262 RESIDENCE OF EARLE P. CHARLTON, ESQ., WESTPORT HARBOR, MASS. Farley & Hooper, Architects.
RESIDENCE OF EARLE P. CHARLTON, ESQ., WESTPORT HARBOR, MASS. Farley & Hooper, Architects. 263 SOUTH FRONT-HOUSE AT LAVEROCK, PA. John Graham, Jr., Architect.
FIRST FLOOR PLAN-HOUSE AT LAVEROCK, PA. John Graham, Jr., Architect. 264 KITCHEN WING-HOUSE AT LAVEROCK, PA. JOHN GRAHAM, Jr., ARCHITECT. in la
WESTERN END-HOUSE AT LAVEROCK, PA. JOHN GRAHAM, Jr., ARCHITECT. PORCH DETAIL HOUSE AT LAVEROCK, PA. JOHN GRAHAM, Jr., ARCHITECT. NORTH SIDE-HOUSE AT LAVEROCK, PA. JOHN GRAHAM, Jr., ARCHITECT. REAR-HOUSE AT LAVEROCK. PA. JOHN GRAHAM, Jr., ARCHITECT. MAIN ENTRANCE ADMINISTRATION BUILDING, OBERLIN COLLEGE. CASS GILBERT, ARCHITECT. E> PQ ,J O S*
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FIRST FLOOR PLAN-RESIDENCE OF MRS. FRED ER1CK 1'ACKARD. CHESTNUT HILL. PHILADEL- PHIA, PA. WILLING & SIMS, ARCHITECTS. (Kor photographic views of this house, see pages 251 to 255.)
*77 A WAR MEMORIAL BIBLIOGRAPHY By FRANK WEITENKAMPF
late war was not a year old the subject text and pictures.) It will THEwhen some people began to be be seen that many of the titles are quite concerned about the memorials fully annotated or summarized, thus of- which it was likely to produce. Lawrence fering practical help and making this Weaver issued his book on "Memorials bibliography an instrument for imme- and Monuments" in London as early as diate use. 1915 in the hope that it might be "useful The list covers only memorials having to people considering memorials and "structural embodiment," as some one * * * lead them to the artist rather has put it. That excludes medals, for than to the trader." The warning was instance. Nor have there been included necessary in the light of past experience, descriptions and pictures of memorials and its timeliness and need was proven of other days, so often the products of by designs appearing in some architec- patriotism unrestrained by ideas of taste tural periodicals within the following and fitness. It is the present time, with its ideals and and activities year. problems in the The libraries, those good old uncles of that is to be served. Of course, discussion of this consideration so many inquirers, would have been well question, of basic put to it to give help at the time, because the principles underlying sculp- ture and monumental structures has its the available pictures of soldiers' and sailors' monuments of earlier date so important place and will properly refer to the achievements of frequently embodied just those charac- great past ages. teristics and elements which one was ad- In fact, it is precisely general principles that are to be defined and vised to avoid. But within the past year established, to be set or two there has appeared a swarm of rather than individual examples as to be more or less articles, pamphlets, resolutions, inter- up patterns copied In that the best is views on the subject. Much of this is blindly. way help propaganda literature in favor of one offered for choosing the appropriate form or another of memorial. But much memorial for the particular locality. Even if existed, the of it, also, was prompted by the desire many specific patterns of the cut-and-dried would be to save us from post-war horrors and danger to combat the influence of the metal present. Between that and the excursion into the lies the mean. founder's stock patterns. odd, golden Many things have been suggested be- The following list, then, is to be con- side the traditional monument, arch or sidered a guide-post pointing the way: statue bridges, fountains, community GENERAL WORKS. houses, library buildings, shrines, flag- American Academy of Arts and Letters, trees. the best pole bases, Perhaps sug- and the matter of memorials. (Amer- gestion made is that we wait a while ican architect, Feb. 5, 1919, p. 202.)MQA before putting up any monumental me- "An appeal that all memorials ... be of the highest artistic merit. Reference is made to the morials ten or so. years (Did not National Commission of Fine Arts, and the admirable France resolve to do effect that this commission has had upon the char- that?) acter of national memorials. Similar commissions In the belief that this printed material In states and municipalities have been doing good work, but it is that supervision of me- be and the fol- necessary might suggestive helpful, morials everywhere be by equally competent lowing list was prepared for the New authority." York Public Library. (In the Art American Civic Association. Civic com- Division of the there library has also ment. No. 2. July 16, 1919. Clipping been started a collection of clippings on Collection, Room 229. Trees, rose-gardens, university halls, parks, high- *Reprinted, by permission, from advance proofs ways, are suggested. of the Bulletin of the New York Public Library for August. American Federation of Arts. Second cir-
278 THE ARCHITECTURAL RECORD.
"We must have a cular, Feb. 24, 1919 : War memorials. plan and a purpose, and not
be in too . . 8. great a hurry. . Let us commemorate 4p. MAAD by a memorial which arrests the eye, is gratefully remembered, and by an inscription which touches to those consider- Suggestions who are the heart. . . . We are always weak in allegorical ing erection of war memorials. (Art representation. ... We ought to fight shy of elaborate designs. What we need is simplicity of v. and archaeology, 8, March, 1919, p. statement with perhaps a touch of emblem. ... I that we shall not 124.) MTA hope accumulate resources on one national monument, to astonish tourists and feed See also Post Mav and our Evening (N. Y.), 17, 1919, vanity ; but that as many places as possible N. Y. Times, May 18, 1919, on the A. F. A.'s should have a record." activity. Brockway, A. L. Observations on types War memorials. (American magazine of memorials. (American architect, of art, v. 10, pp. 180-183.) MAA April 9, 1919, pp. 511-514.) MQA List of Advisory Committee of American Federa- "In order to tion of the committee to advise organizations promptly celebrate ... it has been Arts, a intending to erect war memorials how to secure necessary to do good deal of work of a temporary character . . . which will work "having artistic merit." "Pains should be soon disappear. Anything done to commemorate taken to make organizations understand that the participation in this World War . should be considered. . . Committee is not interested in any particular form carefully The Tri- Arch . of memorial or in any particular artists." The fol- umphal invariably commemorated . . wars of aggression and conquest. ... I cannot see the ap- lowing principles adopted : Memorials may take propriateness of the Arch or monu- many forms, varying with the nature of the site, Triumphal ment symbols of ancient times the amount of money available, the desires and commemorating events of different needs of the community. Among many types may fundamentally character. The monuments which we erect should be expressive ot be mentioned : staff with memorial foun- flag base, our ... of a and devoted to lives, type kind which would keep tain, bridge, building high purposes, before our those educational or eyes great principles and thoughts humanitarian, tablets, gateways, of the stained government upon which the United States symbolic groups, portrait statues, medals, was founded." glass windows, village green. Professional ad- visers necessary. This committee of the A. F. A. is referred to also Budden, Lionel B. The regional and civic in the American Architect, March 26, 1919, p. 461. commemoration of the war. (Town War memorials. (Architect and Engi- planning review, Liverpool, vol. 7, neer, June, 1919, pp. 92-94.) MQA March, 1918, pp. 183-194.) MSA "All for the Mainly a reprint of the principles adopted by the projects commemorating war can be in one General Committee of the American Federation of placed of two categories those which In- volve structural embodiment and those which do Arts, "substantially the same as the ones laid not. It will be the down by the National Commission of Fine Arts object of this article to submit a in reference and approved by the National Academy of Arts and programme to the former. "Four classes : Letters." main are comprised within it I. Monuments. II, Works of public utility. III. In- stitutions with an educative, philanthropic or other of Art. 1919. American Magazine May, social purpose. IV. Functional structures of Types War memorial number. MAA II. and III. monumentally treated. "Any memorial [must] be appropriate to the sub- "Memorials of the great war," Charles Moore ; ject which has inspired it. ... In democratic coun- tries "The permanent memorial," Arnold W. Brunner ; memorials having a practical purpose will be to those "War's teachings," R. C. Sturgis ; "Typical Me- preferred which simply record or are sym-
bolical. . . . morials," I. F. W. MacMonnies ; II, P. W. Bart- The present war is ... unexampled . . . and to be lett ; III, H. A. MacNeil ; "Essentials in memorial requires commemorated in a manner not less art," H. Saint-Gaudens ; "Six good memorials," H. exalted. ... If minor and particular monu- are Bacon ; "The memorial tablet," A. Adams ; "Fine ments inadequate, and Titanic conceptions of a : monuments," I, E. C. Tarbell ; II, F. F. Mather, Jr. non-utilitarian kind impracticable, one alternative remains "How a war memorial was planned," S. Baxter ; a programme of Regional and Civic De-
"The spirit of war memorials," C. Beaux ; "Memo- sign. Constructive work which will benefit the com-
rials in painting," V. Oakley ; "Appropriateness in munity must be justifiable on economic grounds . . . memorials," Mrs. S. Van Rensselaer. only Regional and Civic Design are capable of "It may well be doubted," says Charles Moore, satisfying these requirements of achieving at the "whether the time has come to express the ideas same time a noble and permanent expression of our and ideals of the Great War. . . There is, howevei, Ideals." one class of memorials clearly called for. There is The article, written from the British standpoint, no community so remote, so small, that It has not suggests legislation, a commission, and grouping of sent some of its sons and daughters into the Great regions. Y. War. . . Somewhere, in some manner, the name N. Times, Aug. 4, 1918, has a note on this "ex- of every man and woman who had an active part in tensive program of regional and civic design." war work should find due and fitting record in the community ... in simple, straightforward manner. Civic Arts Association. Competition for favorite will be the tablet. . . A cer- The memorial war memorials. Illus. (Architectural tain firm of American bronze-tablet makers has . . . applied to sculptors to prepare designs that could review, London, Aug., 1916, pp. 35-39.) be reproduced indefinitely. To an artist, indefinite reproduction of a single design, irrespective of loca- Clark, Somers. War memorials. (Archi- or of individual tion, lighting, expression character, tect and contract reporter, London, vol. is distasteful. . . . Eminently fitting is a flagstaff.
The bridge . . . fountains . . . the village green, 96, July 14, 1916, pp. 22-23.) fMQA to stained windows . . . gateways parks, glass Introduction to thirty-ninth annual report of Com- statues portrait [are acceptable]." mittee of Society for the Protection of Ancient Buildings. "Concerned . . . with ill-considered me- Benson, A. C. Lest we forget: a word on morials both within and around our venerable and . . . of the memorials. beautiful old churches the congruity war (Cornhill magazine, memorial with its surroundings. ... As a specimen London, new series, v. 41, Sept., 1916, of hopeless incongruity, the Tennyson memorial outside Lincoln Minster. ... It is a common thing pp. 295-301.) *DA 279 THE ARCHITECTURAL RECORD. for sculptors to be invited to send in their schemes "Practical demands on the Nation's depleted re- when the situation of the memorial has not yet sources will be so enormous that it is unlikely that been decided upon. . . . The nave of Winchester any great war memorials will be carried out within Cathedral ... is sadly defaced by specimens of a decade of the termination of the war. Small per- brass. . . . One of our noblest buildings defaced by sonal memorials will no doubt be erected in num- the glassmakers Westminster Abbey." bers. . . . The delivery of the first of Prof. Adshead's lectures on 'War Memorials : their sig- Danger in "war memorials." (Minnesota nificance and treatment,' on the 26th ult., was fol- lowed by a meeting on the 28th ... at which the municipalities, v. 4, April, 1919, p. 62.) Civic Arts Association was inaugurated. . . . SERA Monumental art has never been well understood in this country. . . . We believe . . . [in] the precept W. The effect of war Gillies, J. upon festina Jente. . . . Prof. Adshead stated that monu- architecture. (Arts and Decoration, ments to commemorate the present war must be conceived on a gigantic scale. . . . Although we ap- 38-42.) MAA May, 1919, pp. 7-9, preciate a very able exposition of the subject, we "Great memorials will spring up all over the feel that such schemes are alien to the national character. ... A the . bridge over a Me- country. They will be monumental. . . Let us hope Thames, they will be in stone." morial Chapel at Westminster, or a southern em- bankment along the river are more likely to be the of memorial schemes which will find A great variety of war memorials. (N. Y. type sup- port. . . . While we wish to see the cause of the Public reference Library.) Municipal architectural and sculptured arts furthered . . . we feel that the process of education must be a notes, April 2, 1919, p. 266. *HND very gradual one. ..." "A National Committee on Memorial Buildings (261 Broadway) has been formed, which has issued Municipal Art Society of New York City. two bulletins." See under NATIONAL, in section "Community Houses." Bulletin, No. 17, 1919: War memorials, 22 p. illus. MSA Kansas. Hero memorials for Legislature. "When the project of the War Memorial comes
three : . . the cities and counties of Kansas, April up ... questions arise the form . possible
within the ; its character ; whether Bill No. appropriation 8, 1919, 4p. (House 690.) it shall be entrusted to a professional artist or a This bill was approved! March 22, 1919. business firm. This Bulletin discusses these ques- tions, illustrating some existing forms of American memorials and suggesting others." Memorials and monuments ; competition Suggestions are : Arch, beacon, bridge, clock and exhibition of the Civic Arts Asso- tower, colonnade, community house, embarkade, exedra, gateway, library, monumental ciation. (Country life, London, vol. 39, electrolier, museum or hall, open air theatre, roster column, May 13, 1916, pp. 2*-6*.) fMVA rostrum, equestrian statue, figure or group, foun- cliff The classes include monument, wall tablets, tain, pylon, sculpture, doors, flag pole and base, of war mural painting, fountain, "inexpensive memorials avenue, grotto, park, arrangement trophies, for the home." mosaic or mural painting, stained glass window tablet. The Municipal Reference Library Notes, N. Y. Memorials ot wai. 1. II. Renais- Ancient; Public Library, April 21, 1919. p. 266, calls this sance; III. .Napoleonic; IV. Modern "one of the most exhaustive studies of the subject received." Post British: V. Modern French: VI. Mod- yet Evening (N. Y.), Feb. 1, 1919, and March 29, .1919, and Evening Sun, April 2, ern 1919, also reviewed this Italian ; VII. American ; VIII. Ger- Bulletin, and Arts and
Decoration, May, 1919. p. 18-19, had a : man. R. R. P. and A. E. R. PI. and summary By "War Memorials, what the Municipal Art Society illus. (Architectural review, London, of New York City is doing about them." 1915, Feb.-May, July-Oct., Dec.; 1916, Plates representing war memorials in Nov.) Great Britain. (Builder, London, May, Monod, Sir Alfred. War memorials: plea 1919.) fMQA - for erection of ideal schemes. (Royal Protecting America from the atrocities of Institute of British Architects. Jour- art. Illus. (Current opinion, N. Y., v. 66, nal, v. 25, 1918, pp. 247-248.) MQA March, 1919, pp. 187-188.) *DA Appeared also in American Magazine of Art, Resume of the appeals of the American Federa- vol. 10, 1919, p. 99-100, and in Pail Mall Gazette, tion of Arts and the Municipal Art Society. Aug. 26, 1918. "The to confuse tendency philanthropy, utility, Quinton, Cornelia B. Sage. War me- and art is often disastrous. . . Wings of hospitals, baths, libraries, etc., all excellent civic objects, do morials. (Academy notes, published by not for that reason become memorials of a great the Buffalo Fine Arts v. 14, historic event. War memorials [must] make plain Academy, what they commemorate. Locality, surrounding^ July-Sept., 1919, pp. 100-101.) 3MAA and local associations must be carefully regarded. "We cannot create adequate war memorials at It might be possible to have some central idea on present because we are as yet too close to the war. the lines, perhaps, of beautiful market crosses, to We are still struggling for ideals for which we have attempt ... a united scheme emblematic in stereo- only lately ceased to fight. . . . The memorial is typed form. ... Of course the Imperial War erected to honor patriotism and devotion to civili- Museum . . . and the other museums . . . will zation, [to] commemorate the spirit of the nation naturally be permanent records of the great en- as a -whole, . . . war of a whole nation doing bat- deavor of the nation. While not themselves sym- tle for its weal. The most impressive monument is bolic . monuments of the war . . the buildings will one which appeals to the imagination alone . . . lend themselves naturally to combinations of a devoid of practical utility. . . . of wealth sculptural character." Display and over-elaborateness are . . . vulgar. If the utilitarian structure shall be it is of first im- Monuments and reason. (Builder, Lon- used, portance that it shall impress by beauty of design
v. Feb. . . . . and fitness of . . . . don, 110, 4, 1916, p. 99.) fMQA setting. Bridge . foun-
280 THE ARCHITECTURAL RECORD.
tains, buildings devoted to purposes educational or battle scenes . . . would provide appropriate picture humanitarian .... whether large or small, . . . memorials. One can imagine a very appropriate should be an inspiration. . . . This work should not series of pictures in which there was not a single be hurried. We must learn the lesson of patience." trace of the . . . tramplings of the battlefield. . . ." Weaver, Lawrence. Exhibition of war Report on Victory Memorial [for Port- memorial designs. Illus. (Country land], by the Oregon Chapter of Ar- chitects. and of Life, London, July 22, 1916, pp. 2*-8*.) (Architect engineer tfMVA California, v. 57, 1919, pp. 97-100.) MQA A review of the exhibition of designs submitted in "The scheme contemplates a monumental treat- the Civic Arts Association competition. ment of the park blocks which become an approach to the great shaft of victory the Memorial Park, Williams-Ellis, Clough. War memorials. Memorial Hospital, and Victory Highway to the 249- State Capitol." (Spectator, Feb. 19, 1916, pp. 250.) *DA War memorials. (American Institute of "There are endless possibilities in the way of Architects. Journal, v. 7, 1919, pp. memorials to which the term 'monument' could scarcely be applied. A hospital wing . . ., endowed 30-32.) MQA cot . . ., village halls, bridges, groves with stone "Expert services are needed before any suitable seats, avenues, walks, terraces, gardens, tablet, memorial can take form, but what is needed more fountains, clocks, gates, sundials, temples, obe- is a national consciousness seeking to memorialize a lisks. ..." spiritual experience. ... It is too much to hope that the memorials will utterly fail to glorify war and MONUMENTS SCULPTURE. victory, and while paying homage to heroism, also point to a ... humanity and brotherhood which A. in will refuse ever again to adopt war as a means of Adams, War memorials sculpture. settling any issue? To that end, is it not impon (Scribner's magazine, v. 65, March, 1919, ant to consider forms of memorials where men and pp. 381-384.) *DA women and children may meet . . . for work and play? Let us bring men together and not leave "Until expert opinion in art is valued in our them cold with the frigidity of monuments that lose democracy our best efforts in art may at times their power to influence. Let us ... build some- suffer delays and contempts. But our hopes in art thing democratic. . . . Our men died for more and are more than our handicaps." better life . . . that must be our memorial to their sacrifice." Adshead, S. D. Monumental memorials A number of communications and notes follow : and town and One asks "why arches?" A Philadelphia confer- planning. (Architect ence resolved that the designing be entrusted only contract reporter, London, v. 97, 1917, to artists "of the highest standing." Port Chester, 105-107, 123-125.) N. Y., is developing a park as a memorial, com- pp. tMQA munity houses are considered, and a flag-staff base "Monumental memorials may be described as the is suggested. jewels of a monumental town plan. . . . The finest type of [war] memorial is that which, while arous- v. (Architect, London, 96, Aug. 18, 1916, ing the best sort of patriotism . . ., holds no sting.
. . . The monument that is archi- pp. 98-99.) fundamentally fMQA tectural can alone evoke the deepest sentiments of By E. P. C. Reprinted from Manchester Guat- a great people. But the most intimate emotions dian. "The Greeks . . . preferred the direct ex- can only be aroused by sculpture." Author then pression of feeling to any historical delineation. considers relation of proposed monument to site, . . . The eighteenth century is almost wholly alle- and to the whole city plan. Prof. Adshead's lec- gorical. . . . Much greater individuality of charac- tures on "War memorials, their significance and ter is found in Renaissance monuments. . . . [In] treatment," were reviewed in the Builder, Feb. 4, recent work, few are the examples we would wish 191G, p. 90. studied. ... Of recent private or corporate me- morials I cannot call to mind a single eminent suc- Arch of thanksgiving and welcome, illus. cess." (Literary digest, v. 59, Dec. 14, 1918, pp. -(Bellman, v. 26, March 15, 1919, p. 26-27.) *DA 288.) f*DA Boston Chamber of Commerce. War memo- "A new idea is taking root. Most of the plans . . . have embodied the principle of beautified utility. rial : Chamber offers several plans. . . The thought of the American public has turned illus. affairs, Boston, v. 1, from the purely sculptural to that of architectural (Current expressions. There are proposals of bridges, via- Feb. 10, 1919, pp. 12-15.) TLA ducts, halls, boulevards, railwav ter- embankments, for a monumental structure in the and buildings suited to various "Suggestions minals, parks, Public to stand at head of most compre- uses." Gardens, public hensive system of street improvements undertaken in Boston. . . . Memorial arch proposed in addition. (Spectator, London, v. 116, Feb. 5, 1916, . . . The memorial should foster the idea of educa- pp. 183-184.) *DA tion." The Civic Arts Associations thus describes its Brock, A. Glutton. On war memorials. aims: "Countless memorials will be in demand, and unless steps are taken to provide direction and ad- (Country Life, London, v. 39, Feb. 5, vice. . . these will be of the usual trivial generally 1916, pp. 188-189.) fMVA or commonplace type. The committee of the Asso- ciation is devoting considerable attention to those "A good inscription is one that says exactly what it . . . Consider what in . . . possible to people of small means as well as to means simply and finely. the more costly civic kinds, to relatively humble the past we have done with inscriptions, in our private memorials, as well as those of a public desire to invest them with that vague something character. ... In small towns the best form is often which we call art. . . . When the lettering; was not some useful little building such as a school, or Gothic it was often fantastic in some other way. or handbill Like the public rorm. or sm^ll local museum . . . the guid- rise as dull as a lettering, ' nor ing principle should be "appropriateness. . . . We the language should be neither shoppy precious." must not fall into the error of thinking that only In the Feb. 12 issue of Country Life, p. 222,
281 THE ARCHITECTURAL RECORD. appears a letter from Lawrence Weaver, In which Martyr memorialized; London's Edith he says "the main purpose of the Civic Arts Associ- ation is to see that the tablets on which Mr. Glutton Cavell memorial, illus. (Literary di- Brock shall write for us, take an architectural may gest, v. 57, June 1, 1918, p. 4.) *DA or sculptural form worthy of his epigraphic skill and reticence." Memorials of the past and of to-day, illus. v. Eggers, O. R., and E. H. Rosengarten. (Literary digest, 57, June 8, Description of suggested design for a 1918, p. 27.) *DA victory memorial. (American archi- Montizambert, G. Our portion at Ver- tect, v. 114, Dec., 1918, p. 671). MQA sailles . . . graves of Canadian heroes, Proposed site at Riverside Drive and 110th Street, illus. (Canadian magazine, Feb., 1916, New York City. pp. 317-320.) *DA Frankl, P. Kriegergrabmal und Krieger- National peace monument. illus. (Art denkmal. (Deutsche Kunst und Deko- world, v. 9, Oct., 1918, pp. 308-312.) ration, 1916, Jahrg. 19, pp. 431-432.) MAA fMAA to erect in the a Soldiers' monuments. Proposal Pantheon monu- ment in honor of the French soldier. French monument to Americans. (Current (New France, v. 3, March, 1919, pp. history magazine of the New York 418-419.) fDA Times, v. 9, part 2, March, 1919, pp. Richardson, A. E. Campo Santo on the 477-478.) banks of the Marne. for sug- Monument dedicated Nov. 3, 1918, at Nancy. [Design gested memorial to British soldiers Gateway of the nation. (American archi- who fell in the Battle of the Marne.] tect, April 20, 1919, pp. 603-606. plans.) MQA Plate, with text. (Builder, London, v. Feb. 4, p. 106.) Describes a plan for a memorial to be located in 110, 1916, fMQA Battery Park, New York City. Soldatengraber und Kriegsdenkmale. illus. A German cemetery in France. [Four (Kunst und Kunsthandwerk, Wien, plates of drawings by S. J. Wearing, Jahrg. 18, 1915, pp. 279-296.) fMNA with text on p. 426.] (Builder, London, Soldaten-Graber, Krieger-Denkmaler, Erin- May 2, 1919.) fMQA nerungszeichen. Entwiirfe und Vor- vom Kunst- Great Britain. Royal graves commission. schlage hrsg. Bayerischen Miinchen. illus. (Fortnightly, v. Ill, gewerbe-Verein, Jan., 1919, pp. und 136-138.) *DA (Kunst Handwerk, Wien, 1916, pp. Communications from "A Soldier's Mother" speaks 65-175.) fMNA of the commission's intention to erect uniform head- S. Unsere Arbeit furs Ganze. scones and a central monument, and makes a plea Steinlein, for flowering plants. Kriegergraber und Denkmale. 12 pi. illus. Haendcke, B. Weltkrieg und Bildnisplastik. (Plastik, Miinchen, 1915, pp. 1-8, illus. (Kunst fur Alle, 1915, Jahrg. 31, 17-28.) tMGA pp. 73-76.) fMAA Studniczka, Franz. Die griechische Kunst Soldiers' monuments. an Kriegergrabern : Vortrag, 6 Feb. Hastings, Thomas. New York's arch of 1915. (Neue Jahrbiicher fur das klassiche victory. (Architecture, N. Y., April, Altertum. . . Berlin, Bd. 35, 1915, pp. 24 NAA 1919, pp. 87-88. illus.) fMQA 285-311, pi. illus.) arch in New York. Jessen, Peter. Kriegergrabmal-Entwiirfe Victory [Editorial.] v. Dec. der Wiesbadener Gesellschaft fur Grab- (American architect, 114, 4, 1918, malkunst. Illus. (Deutsche Kunst and pp. 673-674.) MQA Dekoration, Jahrg. 18, 1915, pp. 267- War memorials and rural life. (Veteran, 276.) fMAA v. 2, Dec., 1918, pp. 47-49.)
Koch, David. Das Kriegergrabmal. 6 pi. War monuments. (Builder, London, v. 108, (Plastik, Miinchen, 1915, pp. 41-44.) Jan., 1915, pp. 101-102.) fMQA tMGA "The monuments in English cathedrals and parish churhces . . . for the most part are in excellent La Sizeranne, Robert de. Heros et sta- taste . . ., but few men desire to see further addi- tions to the stone jitner in tues. (L'Art et les artistes, Feb., 1919, made gigantic crop, Westminster Abbey or St. Paul's Cathedral. . . . PP- 1-3.) MAA The finest monuments in this country commemorate Commented on in Evening Post (N. Y.), June fires and peace achievements rather than the fight- 7, lijl*/. ing qualities of our ancestors. When we review Lindner, Werner. Denkmaler fur unsere the number of harbor works ... at Kingstown, Ply- mouth, and other ports, it is strange that these Krieger. Miinchen: G. D. W. Callwey works of national importance were not dedicated to of . . . 22 1 the memory the heroes whose courage made [1915], p., 1., 8 pi. 8. (Duererbund. such undertakings possible. . . . No longer must we Flugschrift, [no.] 139.) EAA have inflicted indiscriminate groups of marble and
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bronze. . . . There must be a controlling agency. magazine, Boston, v. 48, April, 1919, . . . Two or three ideas occur to us. ... In France battles are seldom commemorated by monuments pp. 111-113.) *DA on the battlefield. Their battle monuments are Discusses opportunities for development of civic placed in the centres of towns. . . . Another sug- architecture, encouragement of music and drama, gestion is that the deans of cathedrals and rectors community kitchen, etc. of parish churches use authority regarding wall tablets." Chamber starts campaign for liberty me-
Weaver, Lawrence. Memorials and monu- morial building. . . (Bridgeport Cham- ments, old and new: two hundred sub- ber of Commerce, Bridgeport progress, jects chosen from seven centuries. v. 3, Jan. 1, 1919, p. 1.)
London : Country life, 1915. 8. MRI Cheney, Charles H. The war memorial "The purpose of this book is ... to focus atten- shall tion on good examples, old and new. That is not to we make it something worth
say that old forms should be . . but copied exactly ., while? illus. (Architect and engineer they give valuable guidance as to proportion, use of of California, v. materials, spacing of lettering and the like. . . . The 55, 1918, pp. 39-46.)
national conscience is stirred . . to its depths . and MQA it is to be hoped that the memorials will be worthy of ... the is occasion. The book published in the Community buildings as soldier memorials. hope that it may . . . lead to the artist rather than to the trader." (School life, Washington, v. 2, Jan. 16, From review in the Burlington Magazine, January, 1919, p. 1.) Room 111 1916: "The most important part of the volume is that which defines the proper relation of the sculp- Community houses instead of tor's and the architect's functions in this form of monuments, art. . . . Mr. Weaver pleads for simple memorials as soldiers' memorials. (American city, . . . and purposely says little of more ambitious town and county edition, v. 19, Sept., monuments, involving groups of statuary." 1918, p. 173.) SERA World-War monuments. (Art world and Frank. buildings. arts and decoration, v. 10, 1919, pp. Crane, Liberty (Amer- ican town and 121-128.) MAA city, county edition, v. "We are heartily in favor of the . . . community 19, Nov., 1918, p. 347.) SERA house, but, in addition, a monument of a purely ideal character should be placed near such utilitarian Cravath, Paul D. Liberty buildings are building. . . . There should be absolutely nothing the real memorials for the new democ- utilitarian about the soldier monuments." racy, illus. (Touchstone, N. Y., vol. 5, COMMUNITY HOUSES. July, 1919, pp. 294-302, 336.) *DA "There is one feature which would seem to be- Art and war memorials. (Advocate of long in any building of memorial character. That is a Hall of Fame wherein should be inscribed the peace, v. 81, Feb., 1919, pp. 38-39.) names of those local soldiers, sailors, and marines fYFXC who participated in the war. . . . There is no stand- "The American Academy of Arts and Letters ap- ard type of Community House. Let us hope there pealed to the American people to conserve beauty never will be. . . . Music, the drama, painting, and ... in choice of war memorials. Fortunately in the sculpture . . . must find their home in the building national capftol a Commission of Fine Arts exists on a friendly footing with other activities. . . . The with advisory power. . . . There are a few of the native arts of our foreign elements we may well use states and cities with similar advisory commissions for the enhancement of any community program." . . . but taking the country by and large there will M. S. civic of . . A me- be no such expert guidance. . . Protection from . . Franklin, type war such 'atrocities' as followed the Civil War will be by morial proposed for the city of Boston. town officials and citizens who must insist that . . . monuments be erected only after conference with (American architect, Feb. 19, 1919, pp. authorities in the realm of art. . . . 'Arches of tri- 259-268. plan, diagr.) umph,' realistic portrayals of war and portrait busts MQA and statues are not going to satisfy the standard of "The large city must have many 'community many art patrons and artists. . . . These lovers of centers'. . . . The up-to-date American city, how- central . . art are also lovers of civics. . . . Hence they rather ever, requires some large structure ., the favor the community house, the civic forum, and educational, recreational and social headquarters for citizens' town-home as their type of war memorial. city and state." To such a structure, the town planner, landscape The plan, by Frank Chouteau Brown, lays "em- architect, architect, painter, sculptor, interior deco- phasis upon the auditorium features." See also rator, artisan, draftsman, and social service expert Current Affairs, Boston. Feb. 17, 1919, p. 7. all may contribute." Greeley, W. R. Erecting memorials to A. S. as war Bard, Community buildings our soldiers and sailors, plans. (House memorials. re- (National municipal beautiful, Chicago, v. 45, Jan., 1919, pp. view, 129- Baltimore, March, 1919, pp. 18-19.) fMLA 135.) SERA Reprinted in Bulletin 4 of the National Committee Harriman, L. B. Your home town first, on Memorial Buildings. the community building as a popular Brunner, E. D. Soldier memorials in coun- memorial. illus. (Delineator, v. 94, try towns. (American city, town and May, 1919, p. 20.) fVSA v. county edition, 20, April, 1919, pp. How to work for theatres as SERA community 345-346.) soldiers' memorials. (Drama League Candler, Martha. Community houses as Monthly, v. 3, Jan., 1919, pp. 10-14.) soldiers' memorials, illus. (National NBLA
283 THE ARCHITECTURAL RECORD.
Inspiring memorial buildings proposed or Some cities which have taken definite steps under way. (American city, v. 20, April, toward securing community houses or 1919, pp. 324-325.) SERA liberty buildings as victory memorials. The "Liberty Building" idea. (American (American city, v. 20, Jan., 1919, pp. 36-37.) city, city edition, v. 19, pp. 255-266.) SERA SERA Stevenson, Christine W. Provision for art, "The erection of more monuments or statues ... music and drama in would be an inadequate tribute to a glorious sacri- liberty buildings. fice. To help the living while commemorating the (American city, v. 20, Jan., 1919, pp. dead is the purpose of the . . . Liberty Building." 32-35.) SERA "Liberty Buildings" as soldiers' memorials. Suggests "liberty buildings." (Harlem (New Jersey municipalities, v. 2, Oct., magazine, v. 7, Dec., 1918, p. 8.) TLA 1918, pp. 241-242.) SERA War camp community service backs me- Liberty buildings as victory monuments. morial building movement. National (American city, v. 19, Dec., 1918, pp. Committee on Memorial Buildings 471-473.) SERA unites with War Camp Community Memorial buildings : their place in the Service. (American city," city edition, should be community. "Liberty" part v. 21, July, 1919, p. 30.) SERA of their writer title, one says. (To- See also, above, under NATIONAL COMMITTEE. ledo city journal, v. 4, Jan. 4, 1919, p. 5.) SERA TREES. "To honor the with the such living equally dead, R. B. Roadside as a me- a community center affording meeting place for Faxon, planting fraternal and recreation organizations, women's morial to our soldiers and sailors, illus. clubs, boy scouts [etc.]. So broad a plan would not (Modern city, Baltimore, v. 4, be desired in Toledo, because it would duplicate March, many activities already organized, but in many 1919, pp. 10-13.) fSERA smaller cities the building could play a most im- portant part." Memorial trees planted for soldiers and sailors. (American forestry, March, Municipal, community, and memorial build- 1919, pp. 913-917. illus.) VQN ings. (Municipality. Madison, Wis., Shorter notes have appeared in this magazine, March, 1919, pp. 49-52.) SERA e. g. : "Washington's first memorial tree," illus.,
484 ; "Enthusiasm for memorial Nation-wide movement for liberty build- April, 1910, p. trees," February, 1919, p. 863 ; "Memorial trees for ings. (Birmingham. Chamber of Com- our soldier dead," December, 1918, p. 728. merce, v. 1, Feb., 1919, p. 5.) Room 111 Monuments with a meaning, illus. (Amer- National Build- Committee on Memorial ican forestry, May, 1919, pp. 1045-1049.) ings. Bulletins. New York. 1919. CLIP- VQN PING COLLECTION, ROOM 229. "The memorials of this war are not going to be the 'meaningless mausoleums and monuments' which 1. Community houses as soldiers' and sailors' Col. Roosevelt but they will serv- memorials, by E. R. Shippen. Provision for art, condemned, typify ice and sacrifice . . . cen- music, and drama in liberty by C. W. through parks, community buildings, memorial drives and and similar Stevenson. Memorial building -movement has al- ters, roadways, and betterments. Tree ready gained nation-wide interest. Reports from city, town, county planting; is a feature of most of cities. the memorials." [Numerous instances 2. A living memorial. given.] The memorial house. What it [3.] community Pack, C. L. Trees as memorials to the should be, and who should manage it. 4. Community houses as war memorials. [By country's soldiers and sailors, illus. A. S. Bard. Reprinted from National Municipal (National service, N. Y., v. 5, Feb., 1919, Review, March. 1019.] This National Committee is now the Bureau of pp. 74-77.) VWA Memorial Buildings of the War Camp Community Service, 124 E. 28th Street, New York City. See Ridsdale, P. S. Tree planting an important below, under War Camp Community. part of city reconstruction programme. Proposed liberty memorial square and civic (American city, v. 20, Feb., 1919, pp. center for Berkeley, California, illus. 189-191.) SERA (American city, city edition, v. 20, May, E. Tree memorials for fallen SERA Secrest, 1919, pp. 428-429.) heroes, illus. (Ohio Agricultural Ex- Rigaumont, V. A. Liberty building pro- periment Station. Monthly bulletin, v. posed for the city of Johnstown, Pa. 4, Feb., 1919, pp. 52-54.) VPG illus. (American city, city edition, Tabor, G. Memorial trees, illus. (New March, 1919, pp. 222-223.) SERA country life, N. Y., v. 36, May, 1919, Shippen, E. R. Community houses as sol- pp. 33-35.) fMVA diers' and sailors' memorials. illus. Trees and forests as war memorials. (New v. plans. (American city, 20, Jan., 1919, York Times, June 1, 1919, magazine pp. 27-31.) SERA section.) *A
284 THE ARCHITECTURAL RECORD.
Trees for memorials, illus. (American "The memorial . . . embodies a wireless telephone and telegraph station." forestry, Jan., 1919, pp. 779-781.) VQN "It is the aim of the American Forestry Associa- Garden of the Allies: an eternal tion to register all such trees planted." garland Trees to keep green the memory of our for graves of the brave, illus. (Touch- stone, X. v. heroic dead. (Literary digest, v. 59, Y., 4, March, 1919, pp. Dec. 28, 1918, p. 32.) *DA 445-452.) *DA " 'I would like to see,' said Sir John Fraser, 'the MISCELLANEOUS. flowers of America growing over where lie so many of our . gallant sons.' . . Surely no more fitting Anderson, O. W. D. Memorial playground. memorial could be given our fallen heroes than to strew the fields of battle with the flowers loved, v. they (Parks & recreation, 2, Jan., 1919, and to plant over the scarred wastes forests 'of pp. 51-52.) ROOM 111. trees. ..." A similar plea for flowering plants is made in Fortnightly, January, 1919. Bookman, N. Y., May, 1919, p. 374. "The suggestion of a public library as a memorial Leighton, H. B. A parish hall and insti- to local soldiers and sailors lost in who their lives tute as a war memorial. (Builder, Lon- the great war has been taken up with enthusiasm v. 1919. in some twenty or more cities, particularly in the don, 116, p. 373.) tMQA south." Leslie, Shane. Lest we forget. (Tablet, Charing Cross Bridge. (Builder, v. 110, . London, v. 125, April 24, 1915, p. 522.) June 23, 1916, pp. 449-450, 455.) fMQA ttZLF Deals with improvement scheme by D. Barclay for a Niven and T. Raffles with war memorial Proposal fitting up side chapel of the Catho- Davispn, lic cathedral in of Catholics who have fallen chapel suggested by C. Lewis Hind. "An improve- memory in the war. ment urgently needed for practical purposes ; at the same time a better memorial than anything else." Mullgardt, Louis C. Proposed soldiers' The Commemoration of events. great memorial for San Francisco. (Archi- v. (Architect, London, 101, 1919, pp. tect and engineer of California, Feb., 197-199.) MQA 1919, pp. 82-83.) MQA "The of war monuments in London is greatest "The memorial should possess five principal ele- Waterloo ... A new at Cross Bridge. bridge Charing ments a Library of War Records, a Hall of War would most form London's commemoration fittingly Illustrations, an Art Gallery of War Paintings, an of the end of this war. . . . The is needed . . . bridge Assembly Hall for display of War Motion Pictures In most of our cities and towns there is a similar and for War Lectures. These four will give true need which might find worthy expression. . . . We expression of the unjustifiable horrors of war . . . canot with those contend that a true agree who the utter of human conflict. The fifth ele- memorial should commemorate or abstrac- futility express ment should be an Inner Court. In this garden tions of and should serve thought, not a practical court an audience may be entertained with orchestral purpose." music or other forms of aesthetic entertainments of the life." [Communication from the president of the expressive higher University of Utah, concerning a pro- Proposed victory building at Springfield, to posed memorial building be erected Mass. (American architect, March 26, on the Utah campus.] Senate, Jan. 17, 1919, p. 454.) MQA 6-8. 1919, pp. Building to house post office, custom house, dis- trict court, etc. Connoisseur, Aug., 1918, suggests tapes- try. fMAA The "Via Sacra" or memorial road. (Spec- Cram, Ralph Adams. War memorials. tator, London, v. 116, April 1, 1919, pp. (Architectural Record, v. 45, 1919, pp. 428-429.) *DA 116-117.) MQA "We propose that a wide Memorial Road be laid . . . from the sea to the "The best and most significant memorial is the out in No-Man's-Land to deeds of what is the use of of Alps, with monuments to the fallen and votive church ; but talking heroism." this now? . . . No, the monuments must be secular. ... I sometimes think the best thing would be to memorial committees ; me- recreate some one of the destroyed monuments of War advisory France or Belgium or Italy." morial playground, by O. W. Douglas. Douglas, O. W. Playgrounds and recrea- (New Jersey municipalities, v. 3, Jan., tion centers as memorials. (American 1919, p. 12.) SERA Feb., 1919, p. 187.) SERA city, War memorial proposed by Chamber [of Ellis, A. Leo. The proposed Telegraph Commerce]. (Current affairs, Boston, Hill San Cal. memorial, Francisco, Feb. 17, 1919, p. 7. illus.) TLA v. (American architect, 114, 1918, p. View of suggested war memorial building in the 730.) MQA Public Gardens. Seldom has the pro- various sounds of every pitch. Five years fessional contribution of alone were devoted to the determination ... one man that of of the coefficients of for sounds I- equaled absorption _. Wallace Clement Sabine, having a single pitch, that of Violin C. of Harvard University. Some idea of the intricacy of the work is oabine. T . . In architectural acou- given by the statement that such an in- stics he was pre-emi- vestigation must, for all practical purposes, nent; and his life work cover the whole range in pitch of the lies at the basis of what is to be further speaking voice and musical scale related accomplished in this most important line of to the various materials of construction. scientific research. In detail were taken up the various mate- In the construction of buildings the ele- rials which form the walls and ceilings of ment of chance has always entered where large rooms brick and cement, wood, rooms for the purpose of spoken or mu- plaster and tile in combinations usually met sical performance have formed an impor- with in practice. It was discovered that tant part of the scheme. Great theatres the absorption of sound by walls was struc- and opera houses, auditoriums and concert tural and not superficial, thus exploding the halls have been built with much less of a theory of a roughened wall as an acoustic feeling of certainty with regard to their corrective, and establishing the fact that success acoustically than in respect to the fundamental process of sound absorp- their beauty of design, practical planning tion is the yielding of the walls. The inves- and permanent construction. Professor tigation next determined the. absorbing of Sabine, by his experiments of a definitely quality the chairs and audiences, and practical nature, has made it possible for next that of the various fabrics which could architects to avoid certain roads which lead be used in correcting already existing to failure; and with respect to materials faults. Felt was found to have the great- of construction he established many facts est powers of absorption for the lower whose existence had not been realized. register and its use has been widespread. The immensity of the task he undertook In co-operation with one of our most is hard to grasp; its difficulty of execution enlightened manufacturers, Prof. Sabine's is so great and the mere establishment of experiments were successful in leading to the method of approach to it so full of the evolution of an absorbent tile, widely imagination that not the least remarkable used now in vaulted churches and audi- point of consideration is that one life- toriums, whose absorbing power is ten time, and that a lifetime prematurely ended, times that of any existing masonry con- should leave as its record both a well laid struction and one-third of the absorbing out scheme for an exhaustive investigation power of the best known felt. and a goodly part of its accomplishment. For a correct placing of all this ab- One phase merely of the question is the sorbent material an accurate knowledge coefficient of absorption of the various ma- was necessary of the action of the sound, terials which go into the construction of its direction and points of greatest inten- auditoriums. There occur the myriad com- sity. Often its direction has to be con- binations arising from the coefficients of trolled and definite rules of proportion for absorption of various materials for the great rooms have been established. 286 THE ARCHITECTURAL RECORD.
To mention only two rooms, corrected of The great Canadian acoustic defects by Prof. Sabine, the lec- War Memorial Exhibi- ture hall of the Metropolitan Museum of A War tion, on view at the An- Art and the auditorium of the Century derson Galleries, pos- Rendering Theatre are both accessible to the public. sesses interest not mere- of Ypres. as a of vir- Professor Sabine's authority in his ly collection ile but as a con- chosen work was recognized abroad. In work, 1916-17 he was exchange professor at the crete record of the psy- ex- University of Paris, at which time he was chological reaction of war on esthetic invited to lecture at the Ecole des Beaux pression. Arts and before the Society of Architects, It introduces us to the most recent forms in which the the latter presenting him with a medal in of European interpretation, death and recollection recognition of his work. In England, dur- shadow of hideous the mental which ing a visit there, he was put on a commit- supplant equable poise our has hitherto as tee to inquire into the acoustic conditions prejudice regarded to in the House of Commons. prerequisite beauty. No other war exhibition yet shown in A laboratory, designed by him for the New York has revealed so fully the capa- study of a number of specific problems of art to a moral reflection of a which he had been unable to take up city give colossal disaster; the prevailing state of through lack of adequate facilities, was built mind of these which controlled for him by his friend, Col. George Fabyan, artists, and ideas which he left in his notes and their manner of statement, shows this even unpublished papers will form the basis of more clearly than the horror of the inci- continued experiment in this laboratory. dents depicted. CHARLES OVER CORNELIUS. An architect wandering through the gal-
Copyright, 1919, by Canadian War Memorial Exhibition. A WAR RENDERING OF YPRES PAINTED IN OILS BY MAJOR J. KERR LAWSON. EXHIBITED AT THE CANADIAN WAR MEMORIAL EXHIBITION. 287 THE ARCHITECTURAL RECORD. leries will note with satisfaction that when 1814, Jefferson, in the outline which formed the eye of the artist has rested on the the basis of instruction at the University beauties of ancient structures, however bat- of Virginia, proposed as the first of the tered by shell, his brain, for the moment, professional schools a department of fine has been capable of normal conception. arts, embracing civil architecture, garden- Fragments of Ypres stand serene in warm ing, painting, sculpture, and the theory of sunshine against a beautiful sky. music. When the charter was adopted in Major J. Kerr Lawson has treated this 1819, architecture appeared, strangely subject under the influence of the day with though it might seem to us, among the strength and skill, free from the prevail- subjects to be taught by the professor ing morbidity; his rendering of detail has of mathematics ! This was not merely great scenic value, and the excellent plan- because statics and descriptive geometry ning of masses of light and shade should fell in the field, but because in that day be of particular interest to American archi- classicism was at its height, and exact- tects, who at the present moment show ness of proportion was held to be the little capacity in that direction. capital merit, while architecture was con- The directness and frankness of his state- sidered within the scope of every highly ment indicates the mental process of the cultivated intelligence. Sir Christopher modern soldier truth without elaboration Wrenii himself had come to architecture a relief from the theatrical swashbuck- as a professor of mathematics. The first ling typified in Detaille. incumbents of the chair at Virginia, Destruction, in this picture, sounds a new Thomas Hewett Key and Charles Bonny- note, bearing no kin to the romantic de- castle were men of wide culture. That cay so inspiring to Prout and his school, they sought to inculcate some knowledge or to the ruins favored by Henri Robert of. basic.-larchitectural principle, by pre- as scenic accessories to paddling nymphs. cept as.\well as by the example of the The distinguished British author, critic classic 'buildings of the University, may and connoisseur, Mr. Paul G. Konody, was go far to explain the persistence of good deputed by his Government to commission architecture in the antebellum mansions the artists and direct their work, to form of the South. this national collection for Canada. He The Confederate War and increasing is to be complimented on the admirable specialization brought an end to this, and manner in which he has arranged the show. transferred the leadership for the time, LEON V. SOLON. to the victorious North. Now, however, an alumnus of the University of Virginia, It is usually supposed Mr. Paul G. Mclntire, of New York, has that the Massachusetts provided a generous endowment for thq The oldest and Institute of Technology re-establishment there of the school of youngest of was the first institution art, architecture and music. Professional American Schools to establish professional instruction in architecture will begin in of Architecture, instruction in architec- the fall, in charge of Prof. Fiske Kimball, t u r e. In continuous formerly of the University of Michigan. maintenance of such in- The pavilions of the original classic group struction it has indeed seniority, but it of buildings will once more serve, as yields to several other institutions in Jefferson wrote, "as specimens for the priority of establishing architectural in- architectural lecturer." The splendid new the struction. A first, abortive attempt was buildings by Stanford White, sculp- that of Quesnay de Beaurepaire, in his tures of Houdon, Bitter, Borglum, Shrady, Academic des Sciences et Beaux-Arts, in- Keck, and Aitken, which make without stituted at Richmond, as a bond of Franco- question the most harmonious ensemble American union, in 1789. Although the in America, will come into their own as five French Revolution stifled it barely at its a background for instruction in the inception, that was not before Quesnay arts. Thus the University may bring to had sent to America as Mr. Wells Ben- the new South as to the old, the knowl- nett has shown the first highly trained edge, love and patronage of the best in French professional, Stephen Hallet. In classic and modern art.
286 ecora
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