November 1905

Home , Church window, Danaid (Rodin), Sinai (Noguchi), The Burghers of Calais

VOL. XVIII. No. 5. NOVEMBER, 1905. WHOLK No. 86.

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HOUSES ILLUSTRATED . . 47 HARRY ELDFEDC.E GOODHUK THE WONDER OF RIMINI ILLUS-

TRATED , ..... 355 CLAUDE BRAGOOX

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AN IDEAL HOSPITAL ILLUSTRATED 377 JOSEPHINE TOXIEK Till: HOUSE OF MR. PERCtVAL ROBERTS, JR., Narbeth Pa. ILLUSTRATEI> ...... 3^5 COPE & STEWAKDSON, Architects

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Vol. XVIII NOVEMBER, 19O.1

Rodin

No other living artist is so much that should occupy itself less with esti- written about as Auguste Rodin, no one mating how far Rodin has succeeded

has been so discussed, so vehemently than with defining" what he attempts ; damned or so extravagantly praised. that should be more concerned with his M. Mauclair, in his recent book on that direction than with the distance he has sculptor, gives a two-page bibliography travelled. which pretends to deal only with the Such a discussion properly demands most significant writings, and Mr. many more qualifications than belong to Brownell, in the newer editions of his the present writer. Besides such gen- "French Art," first published thirteen eral characteristics as are necessary to years ago, has added so much to the any profitable criticism of art, its un- already disproportionate space allotted dertaker should possess a real and prac- to one artist that all the art of France tical acquaintance with the technique of seems but a preface to that of Rodin. sculpture, a complete familiarity with No negligible or mediocre personality the whole of Rodin's work, and some ever evoked such a storm of conflicting personal knowledge of the man, his tem- opinion, and the very existence of such perament, his ideas, his methods. Some a body of literature attests the import- of these qualifications have been pos- ance of the subject. Not so much what sessed by critics who have already writ- is said by admirers or detractors as the ten on Rodin, but all of them by none. fact that it is said at all, may be taken to Mr. Brownell is a man of high intelli- prove that Rodin is a great sculptor, but gence and large impartiality, and his we should like more light than is afford- chapters on Rodin are, in some ways, ed us as to the kind of his greatness. Its the best that have been written, showing degree may be must be left to the a real intellectual grasp of the meaning future to determine. Some day, when of Rodin's art and its relation to the art me fighting is all over, the world will of others; but, to an artist, he seems to decide just where it ranks, as a perma- dwell too much in a region of abstrac- nent addition to its treasury of enjoy- tions, to be too aloof from the concrete, ment, the works which will then be defi- too detached from the actual. One nitely classed and enumerated. What gets, somehow, the impression that for might be possible now is a discussion, him a work of art is a thought rather divested of partisanship, of the essential than a thing to be contemplated not character of these works and of the tal- tr> be seen or touched or handled. The ent which produced them a discussion vigorous, full-blooded, almost violently sensual art of is in *AUOUSTE RODIN: The Man his Ideas MB Rodin transformed, Works. By Camille Mauclair. Translated by Clem- his pages, into something no entina Black. New York: E. P. Button & Co. 1905. making FRENCH ART: Classic and Contemporary Paint- appeal to the senses, having no sub- ing and Sculpture. By W. C. Brownell. New and conditioned not or enlarged edition. New York: Charles Scribner's stance, upon clay Sons. 1905. marble but only on a mental attitude. Copyright. 1905, by "THE ARCHITECTURAL RECORD COMPANY." All rights reserved. Entered May 22, 1902, as second-class matter. Post Office at New York. N. Y., Act of Congress of March 3d. 1879. THE ARCHITECTURAL RECORD. 328

M. Mauclair is a personal friend of painters, Rodin is a prodigious modeller Rodin's, and, to some extent, tbu one of the greatest modellers that ideas but ever lived. mouthpiece of Rodin's own ; he is an extreme partizan, blind to all All that we know of Rodin's person, other merit than that of his hero, admir- his temperament, his training, lead us ing him without limit or distinction. Xo to expect just this type of artist. His one gives us quite what we want, and portraits show us a man of great physi- we must make our picture as best we cal force, of abounding vitality, of rather can. from such material as we can get narrow intellect a bull-necked, full- hold of. with the aid of such talent and blooded, strong-bearded person whose knowledge as we possess. Out of scraps heavy projecting brow, over small, keen and odds and ends, by reading in and eyes, bespeaks unusual powers of ob- between the lines of what has been servation, whose great, thick nose and written, by study of a few works and heavy jaw show determination and force of will a man to see of the photographs of others, by supple- ; made clearly and menting a scanty enough knowledge of to see deep, and with infinite patience the methods of sculpture by a larger and dogged perseverance to render what art in one he sees a man who could knowledge of general, may completely ; make out for oneself some tolerably give six months' work to a leg in order clear conception of the nature of the to "possess it;" a man with a passionate man Rodin and of the tendency and love for nature and a firm grip of his character of his art. materials, born with a delight in the \Ye want a word which shall express, use of hands and eyes, a natural work- with regard to the art of sculpture, some man. And a workman all his training such precise notion as is conveyed with tended to make him. Born in 1840, in regard to the art of painting, by the humble circumstances, he began the of word painter. When we say of any ar- study art and the earning of a living- tist that he is specially and exclusively a at about the age of fourteen, working with painter, every one knows at once what a modeller of ornaments, drawing we mean. Such an artist readily takes in the classes of the rue dc I'Ecolc de his place on one side of any of the Mcdccine, studying animals at the Jardin great dividing lines which separate ar- dcs Plontcs under Barye. Then he tists into two classes. He is romantic worked six years as an assistant with rather than classic in his temper, realist Carrier-Belleuse, trying meanwhie for rather than idealist in his attitude to- admission to the Ecole des Beaux Arts ward nature, occupied with representa- and being thrice refused. After that he tion rather than with design. He will worked six or seven years in Brussels, care more for truth than beauty, or, if how far independently, how far as a you like it better, more for the beauty of sort of assistant to Van Rasbourg it is the actual than for the abstract beauty difficult to judge from the information afforded us. of harmonies and proportions ; he wall During; his apprentice- care, above all, for his craft, and delight ship with Carrier-Belleuse, at least, and in felicities of rendering and the intrinsic probably afterwards, he had no respon- qualities of his material. It does not sibility for the design, no cause to think seem possible to use the word sculptor much of composition. His whole time

in a similar sense : it is either too wide and his whole effort were devoted to the or too narrow in its meaning and, if we study of nature and the mastering of his try to restrict it at all, begins to signify tools. The only piece of original work the mere carver of stone. Perhaps the of these years that we know of is the nearest word to express such a master head called ."The Man with the Broken of representation and of his tools, in Xose," which was refused by the Salon sculpture, as was Frans Hals in paint- Jury of 1864 ar>d accepted by that of is modeller in the sense in He sent else to ing, ; and 1876. nothing the Sa- which Hals was one of the greatest of lon until he was thirty-seven years old, 1 RODIN. 329

when he was represented there by the later, an older and heavier figure, close- celebrated "Age of Bronze." During ly studied from the lite, in a pose that this long period he had gained, as the seems to have no other purpose than sculptor Boucher testified, a wonderful that of anatomical display a portrait of facility and was capable of improvising a an ordinary model, clumsy and ugly, but group of children in a few hours, but superbly done. he was still earning his living by work- In the meantime the artist had been ing for other men. If he had died at offered a government commission, and, forty few of the characteristic works by we are told, answered: "I am ready to which we know him would exist. fulfil it. But to prove that I do not take Everyone knows how "The Age of casts from the life, I will make little bas- Bronze" was attacked by sculptors reliefs an immense work with small fig- who had never heard of Rodin and could ures, and I think of taking the subject not believe in his ability, and how he from Dante." Thus was begun those was accused of having made up his fig- "Gates of Hell" on which Rodin has ure out of casts from nature. The very been at work for a quarter of a century, accusation was a testimony to its which are not yet finished, which, likely merits, as the partizans of the sculptor enough, never will be finished. They announce with sufficient emphasis, but it are talked of and written of, but no was also a criticism. It is a statue that photograph of the composition as a looks like a cast from nature, and this whole has ever been published and the not only because it is consummately public knows them only in fragments realistic in its modelling, but because it is this figure and that group separately nothing else. If there is work that is completed and exhibited. For nearly too inefficient, too lacking in structure all the sculptor's smaller works are con- and solidity, ever to be taken for a cast- nected in some way with this great un- is of ing from life, so also there work too dertaking. He has made it, as M. evidently designed and composed or Mauclair says, "the central motive of too grandly synthetized to be so mis- all his dreams, the storehouse of his taken. No one has ever imagined that ideas and researches." He himself calls Michelangelo's "Night" or the "Ilissus" it "my Noah's Ark." of the Parthenon was made up of cast- It is in some of these fragments of the these or ings. The "Age of Bronze" is neither great gates, single groups fig- more nor less than, a study of an individ- ures, that Rodin's very great talent ual model. Its attitude, so far as one shows at its best, that his qualities are his least can see, has neither special significance most conspicuous and defects nor great decorative beauty, but it aggressive. Considered in themselves, reference to the brings Out the structure of the figure in and without purpose destined to fulfil as an interesting way, and on the expres- they were originally sion of that structure the sculptor has parts of a greater whole, they are among in modern spent all his energy. The name is prob- the most admirable things art. of the so-called "Dan- ably an afterthought and might as well One them, I and it seems to be anything else. What he wanted was aid," remember well, of Rodin's art in its to model the nude figure of the young me typical highest a fe- Belgian soldier who posed for him as development. It represents single the size of well as it could be modelled, and he has male figure, about half life, fallen forward in an at- done it marvelously well. In its way it odd, crouching titude of utter is a masterpiece, but it is a masterpiece sufficiently expressive of extreme lassi- neither of conception nor of design, but despair or physical tude. The is a and only of workmanship. Many of Dona- figure slight one, is a tello's statues are little more, and they the attitude, which not without alone would cause him to be remem- strange grace of its own, throws into bered. Much such another work was strong relief the bony structure of the the shoulder the verte- the "St. John Baptist" of a few years pelvis, blades, 330 THE ARCHITECTURAL RECORD. RODIN. 331 brae. One feels that it was chosen tips fairly tingle with the desire of mainly for that purpose, and, in face of touch. In the presence of such a work the result, one does not resent the fact. one half understands how its author It is a fragment a thing made to be could refer, almost contemptuously, to seen near at hand, to be walked around, the great Michelangelo as to one who to be looked at from a hundred points "used to do a little anatomy evenings, of view, to be almost handled. It is not and used his chisel next day without a necessary that it should make pretence model." to monumental composition or decora- When, however, one comes to con- tive fitness its is intrinsic. It is beauty sider this figure, and others like it, as a piece of pure sculpture, of modelling, parts of the design of the great gates, as I have said, and such modelling has one is puzzled. Here is an entirely real- scarce been seen elsewhere, unless in ized figure in the round, not a bas-relief, one or two of the greatest of those fig- and indeed one knows no piece of work ures which we associate with the name by Rodin that is in either high or low of Pheidias. Unlike the Greeks, how- relief; they are all practically detached. ever, Rodin makes no effort to raise his It melts into or grows out of its base figure into an ideal type of human beau- in a manner that is charming, consider- ty, or even to choose it for any special ed in itself, as if the stone were coming perfection of proportion. In this in- to life under our gaze and the process stance it is not it is were not an ugly figure, even yet quite completed ; but how above the average a good figure as could it be a part of any ordered de- figures go but the beauty inherent in sign for a bronze door ? And would the construction, in the make of the human bronze have these rough excrescences figure as a figure is what interests the that seem natural enough as a part of artist. It is the interpretation of such the marble not quite cut away a part natural beauty as may be seen every- of the shell in which the living figure where and any day, by anyone with the was enclosed, still remaining as a testi- eyes to see it, that he has given us. mony of its origin? If it were not for But it is an interpretation, not a copy. unimpeachable testimony that the Apart from the scale, there could never "Gates of Hell" do actually exist in be any question here of casts from na- the form of a rough model, one would ture. There is no insistence on detail, be tempted to think of them as a myth, no worrying or niggling. Everything like Turner's "Fallacies of Hope," a is largely done, with profound knowl- convenient explanation of such frag- edge, the result of thousands of pre- ments as might otherwise seem unac- vious observations, and the significance countable. Even Mr. Brownell, who will of every quarter inch of surface is not admit that Rodin is not a great com- amazing. Such discrimination of hard poser, does allow that he is not a com- and soft, of bone and muscle and flesh poser first of all and by nature, and says and skin, such sense of stress and ten- of the design of these very gates, ''if sion where the tissues are tightly drawn Rodin had been as instinctively drawn over the framework beneath, such sense to the ensemble as he was to its ele- of weight where they drag away from it ments, he would not have been so long all this is beyond description as it is in executing it." It is the belief that beyond praise. And it is all done with Rodin is not only not a designer by admirable reticence, without the slight- nature, but that he has an innate inca- est insistence or exaggeration, and with pacity for design on a large scale, a such a feeling for the nature of the ma- lack of the architectonic faculty, an ina- terial employed that the marble seems bility to think except in fragments, that caressed into breathing beauty, its deli- leads some of us to imagine that the cate bosses and hollows so faintly ac- gates never will be completed that cented that the eye alone is hardly ade- they are incapable of completion be- quate to their perception and the finger cause they have never been really con- THE ARCHITECTURAL RECORD. 332

FIG. 3. TH3 THINKER. By Auguste Rodin. RODIN. 333 ceived as a whole. It is interesting to work actually completed and now in note how the method of work upon place. Even Mr. Brownell admits that them is described by so ardent an ad- "its defiance of convention seems d ott- mirer as M. Mauclair. trancc" and speaks of the "apparent "He is continually putting in little fig- helter-skelter" of its composition, but are told ures which replace others," we ; he thinks the defiance of convention ''there, plastered into the niches left by deliberate, the work of a man impa- unfinished figures, he places everything tient of "the simple and elementary that he improvises, everything that symmetry of the Medicean Tombs" and seems to him to correspond in character composing in a new and daring way. of and subject with that vast confusion Was it ever composed at all, except in human passions." And again, "he will the sense that the assemblage of individ- be forever improvising some little fig- ually conceived and executed figures is ure, shaping the notation of some feel- necessarily an act of composition? The ing, idea or form, and this he plants in work had been in progress for some his door, studies it against the other fig- years, some, at least, of the figures, had ures, then takes it out again, and, if been exhibited separately and praised need be, breaks it up and uses the frag- or blamed, but the group as a whole

. . it ments for other attempts . if was shown for the first time at a special were to be carried out it could not con- exhibition in the Petit Gallery in 1889. tain all the figures destined for it by the In the catalogue of that exhibition was artist. There they stand, innumerable, an elaborate description of the group, ranged on shelves beside the rough prepared, surely, with Rodin's authori- model of the door, representing the zation, and, at least, published with his entire evolution of Rodin's inspira- consent, in which the order and relation, and forming what I call, with his tive position of the figures was entirely consent, 'the diary of his life as a different from that actually to be seen ' sculptor.' Could one conceive a in the group itself. It may have been a clearer picture of the worker, with no blunder, though it is a nearly incon- general plan, with no definite conception ceivable one, but I have always believed of an ensemble"? Can one imagine Ghi- that Rodin himself had found that his berti so on his "Gates of Para-' - in another or- working L figures composed better disc?" After this we are scarcely sur- der than that which he had vaguely in- prised to be told that the artist who tended, and that he changed the position works in this confused and tentative of them when he came to bring them manner, "never troubling himself about together. % One may like or dislike these the architecture of the actual one be troubled their scheme," figures ; may by has not even settled on the scale and colossal hands and feet and gorilla-like dimensions of the final rendering, and, type of head, or one may accept these as of their one having carried out "The Thinker" larger things part expression ; either than life, "is credited with an intention may find their enigmatic gestures of bringing up all the other figures to meaningless or full of meaning. One the same dimensions, which would rep- cannot deny that they are works of resent an unheard-of outlay and a gate great power, but it seems to me equally nearly a hundred feet high." The origi- impossible to maintain that they form a nal commission for a door for the Musee coherent and well thought-out design. des Art Decoratifs seems thus alto- It was the work which Rodin had gether lost sight of, and when we are done up to that time the work we finally told that "if ever Government have been discussing which led Mr. should require him to deliver his work Brownell, in 1892, to write as follows : he would be able to do so without de- "What insipid fragments most of the lay," we receive the assurance with a really eminent Institute statues would certain incredulity. make were their heads knocked off by Or take the "Burghers of Calais," a some band of modern barbarian invad- 334 THE ARCHITECTURAL RECORD. RODIN. 335

ers. In the event of such an irruption, sharper relief and made more clearly would there be any torsos left from comprehensible by means of a contrast which future Poussins could learn all with a radically different type, and for they should know of the human form? this purpose let us take another contem- Would there be any disjecta membra porary sculptor of great eminence from which skilled anatomists could re- another Augustus, too, by a singular construct the lost ensemble, or at any rate coincidence our own Saint Gaudens. make a shrewd guess at it? Would Here is a man as fundamentally the de- anything survive mutilation with the signer as the other is the modeller. serene confidence in its fragmentary From the start one feels that the design but everywhere penetrating interest is his affair, the pattern of the whole, which seems to pervade the most frac- its decorative effect and play of line, its tured fraction of a Greek relief on the beauty of masses and spaces, its fitness Athenian acropolis? Yes, there would for its place and its surroundings, its be the debris of Auguste Rodin's sculp- composition, in a word. He begins as a ture." cameo cutter and works on gems whose This is largely true, though perhaps perfection of composition is their almost it is but if the sole claim to consideration he somewhat exaggerated, ; produces foregoing analysis of Rodin's talent is a multiplicity of small reliefs, dainty, ex- anything like the right one, it will be quisite, infallibly charming in their ar- seen that there is more than one reason rangement things which are so de- why it is true. Rodin's sculpture would pendent on their design for their very better survive mutilation than that of his existence that they seem scarcely mod- contemporaries, not only because of the elled at all things which it is inconceiv- truth and beauty of the fragments that able that one should separate into their would be left, not only because his sense parts, because the parts would have no of structure makes other sculpture, independent meaning. He does angels, even very good sculpture, look struc- caryatids, in which the realization of

tureless and flabby, but , because his parts is rigidly subordinated to decora- work would suffer as little by mutilation tive effect and beauty of ensemble, and as any work could. It is possible, even, his first independent statue, the "Farra- that some of it would be more effective, gut," is a masterpiece of restrained and for being resolved into the parts which elegant yet original and forceful de- have not grown naturally and inevitably sign a design, too, that includes the out of a predetermined design, but have base and the bench below, and of which rather been put together afterward into the figures in bas-relief are almost as as good an arrangement as their author important a part as the statue itself. could contrive. We should be able to do He is known for the immense amount complete justice to the perfection of the of time he takes over his work and the fragments without being worried by the number of changes he makes some of artist's defective sense of design. It his creations have been as long in at- is not for nothing that Rodin has always taining completion as the "Burghers of been willing to exhibit his work in bits, Calais," if not as long as the "Gates of to carry out as independent statues fig- Hell" but his hesitations have arisen ures originally conceived as portions of from a different cause. The infinite fas- a larger design, to show things without tidiousness of a master designer, con- heads or arms and to act himself the stantly reworking and readjusting his role of Time or of the barbarian invader. design that every part of it shall be per- The bits are all that really interest him, fect and that that no fold of drapery or and their more or less successful com- spray of leafage shall be out of its bination is a matter of indifference when proper place, never satisfied that his it is not a nuisance. composition is beyond improvement Perhaps the type of artist I have been while an experiment remains to be tried, trying to describe will be brought into sometimes abandoning his first design 336 THE ARCHITECTURAL RECORD.

FIG. .">. A BURGHER OF CALAIS. By Auguste Rodin. RODIN. 337 for another that he believes to be better, here M. Mauclair's volume, in spite but generally coming back to his origi- of a puzzling style which may be nal conception, reinforced, broadened, partly or altogether the fault of the certified by manifold trials and varia- translator, becomes a real help. tions this is what costs him years of Through his explanations, difficult labor. When his work is done, you feel as they are to follow above all, that it is inevitably thus and not other- through his quotations from Rodin's that each smallest of it somewhat talk or oc- wise ; fragment own rambling is necessary to the effect of the whole casional writings one gradually attains and has no existence apart from the to some dim notion of the meaning and and the of the barba- of the later whole ; thought purpose sculptor's experi- shudder. rian's hammer makes you ments. To put it, as nearly as possible, Gradually, by years oi work and ex- into a word, from a realistic sculptor, perience he grows stronger and Rodin has gradually become an impres- stronger in the more purely sculptural sionistic sculptor. The evolution which, qualities, in grasp of form and struc- in the art of painting, began with Cour- in of but even ture, mastery modelling ; bet and ended with Monet two men of in such superb and balanced works as considerable physical as well as moral the ''Shaw Memorial" or the "Sherman" resemblance to Rodin has, in the art of statue, it is the design that counts first sculpture, taken place in the work of one and last, and dominates the special in- man. terest of the details a design free, ex- The essence of this evolution is pressive, complicated, as far as possible the transference of interest from ob- of the from the "elementary symmetry jects to the light that falls upon Medician Tombs," but nevertheless a de- them, and Rodin has, apparently, sign as imperiously conceived, as re- attempted something altogether new lentless in its dominance of the contribu- in sculpture, the carving in mar- tory parts, as intolerant of independent ble of an atmosphere, and the ren- perfections. They are antipodal types dering not so much of the actual forms of artist, these two Augusti, the natural of the human body as of its luminosity. designer who becomes a modeller Of course nothing is so new as it seems, through continued effort, and the great and the methods which Rodin has modeller who achieves, sometimes, agi adopted have been used before and to approach to satisfactory design. Which some extent for the same purpose. He we shall admire or enjoy the more is a has only pushed them farther than anv- matter, largely, of our own relative sus- one else, has bent his mind more ex- ceptibility to the various elements of art. clusively to the attainment of certain ef- We may be thankful that two such men fects, and has more ruthlessly sacrificed have existed in our epoch and that we everything else in the process. Indeed have work so diversely accomplished to he himself maintains that so far from be- enjoy. ing new, the methods of his later work So far we have been dealing with what are based on the only right comprehen- may properly be called the earlier work sion of the art of the Greeks, which has of Rodin, though the study of it has been misunderstood by everybody else, taken us well past his fiftieth year. This and that he is proceeding as they did, need not surprise us, when we realize while others have only unintelligently that he was nearing forty when he be- imitated their works. Whether the use came a recognized, exhibiting artist, so of large masses and united surfaces by that all this work is that of little more the antique sculptors was really intend- than the first decade and a half of his ed to produce an equivalent effect to the independent career. In the develop- luminosity of flesh, or whether it was ment of his later style there is much simply a part of the Greek conception that is more difficult to understand and of form an elimination of the non-es- to explain to oneself or to others, and sential and a delight in largeness for its 338 '/"/// ARCHITECTURAL RECORD.

FIG. 0. ETERNAL SPRING. By Auguste Rodin RODIN. 339

FIG. 7. NEREIDS. A Group at the Base of the Victor Hugo Monument. By Auguste Rodin. 340 THE ARCHITECTURAL RECORD.

own sake its results have a certain that led the Florentine sculptors to the similarity to those attained by the Vene- invention of a substitute for color in tian painters in their effort to attain their much more delicate system of reti- light and atmosphere. When one passes cent half-modelling. It must have been from Florentine to Venetian painting, as much the relief he found in mystery the treatment of form is perceived to be as his own impatience or the impatience almost more radically changed than the of his patrons which led Michelangelo treatment of color. It is not only that to leave so many of his works unfinished. the line is disguised and the edges In his deliberate search for means of ex- all the forms melted away, but become pressing mystery and light Rodin has larger, rounder, smoother, less accented. seized upon the abstraction of the The Florentine interest in bone and Greeks, the low relief of the Floren- sinew and in and attach- muscle, joints tines, the unfinish of Michelangelo, and ments, stresses and pressures, disap- has carried each to extremes never be- and we pears, have, instead, broad, glow- fore contemplated. Our opinion of the masses that seem almost ing unorgan- result must depend on whether we feel ized, so faint are their interior markings. it to be w7 orth while whether we think All this was not because the merely the novel achievement altogether com- Venetians liked fat nor was it. women, pensates for the sacrifices made in its as the Florentines because the thought, behalf. As Monet has unquestionably Venetians couldn't draw. In the same painted light as it was never painted be- some critics of Rodin's later work way fore so has Rodin modelled light as no have so far forgotten the "Age of one ever thought of modelling it. In Bronze" as to reproach him with not both cases the question, to which every the figure. It was an ampli- knowing one will have his own answer, is how far fication of modelling for the sake of the end justifies the means? In any obtaining light, and this "amplifica- case it is surely a gain to have a new fication of modelling" is what Rodin kind of achievement, however strongly has introduced into his later sculpture. one may believe that the old kind wr as, To get rid of the harshness and on the whole, more important. wiriness of edges, to spread the As long ago as when he made the lights into their surroundings as lights bust of Mme. V., now in the Luxem- do spread in nature, he has actually bourg Gallery, Rodin showed the fas- thickened his forms to correspond with cination that masses of unsmoothed the apparent thickening of natural forms stone had for them here for under illumination he has him, using ; gained the sake of contrast with the exquisite- breadth of effect by filling up hollows ly modelled and finished head one of and atmosphere by diminishing shad- the most delightful and subtle pieces of ows, and has enveloped his figures in a work produced in modern times. In mystery like that from which emerge the this case he carved a part of the amor- ghostly presences of modern men and phous mass into a spray of flowers, pre- women in the portraits of Eugene Car- the accidental riere. The figures of the Nereids from sumably suggested by shape of the unremoved marble, which the Hugo monument, and the figure of I have wished would the poet himself, are capital examples always somebody

take ; the rest of it has an un- of the method. The forms are enlarged away doubted a fur and nowhere sharply made out, envel- value, suggesting pelisse, treated as a in- oped in a veil of unremoved marble as sketchily painter might in the unfinished works of Michelan- dicate it, out of which the smooth white shoulders into beau- gelo, and the effect is a curious blurring emerge palpitating such as modern photographers seek by ty. Since then his use of such rough has increased throwing their pictures slightly out of masses constantly until, focus. in some of his later works, there seems It was a desire for escape, by mystery, to be more of them than of the figures from the harshness of the matter of fact which grow out of them, and one has RODIN. 341

FIG. 8. BUST OF MADAME V. By Auguste Rodin. 342 THE ARCHITECTURAL RECORD.

seen, in his work and in that of some of times, an element of challenge in his his imitators, such unfinish deliberately ostentatious disregard of the common prepared for from the beginning and prejudice in favor of the completed shapeless masses of clay added to the and the intelligible, as if he felt model to show where the marble will obliged to exaggerate his own methods be left uncut away in the definitive pro- in order to keep up an excitement this about his feels this duction. Finally he has allegorized name ; and one es- method and produced in "Thought," a pecially when one finds him transferring female head, visible only from the chin this use of intentional roughness from upward, emerging from a rudely squared marble to bronze, as in the unexplained excrescence upon the nose of the bronze study for the head of "Balzac," the curious little dabs upon the left breast of the magnificent bust of Jean-Paul Lau- rens, or the strange medley of bands and straps of clay, repro- duced in enduring metal, which stand for the coat in the equally fine bust of Puvis de Chavannes. The suspicion may be entirely unjust. Certainly such maneu- vers are unworthy of so eminent a talent, and certainly such works as the two last mentioned stand in no need of any such adventiti- ous appeal to our interest. But it would not be altogether strange if an artist, fundamentally of a simple and instinctive nature, acclaimed as a poet and a mighty thinker as well as a master of masters, should become somewhat dazzled, lose, a little, his sense of proportion, and end by making a fetish of himself, his ideas, even his mannerisms. ' Is the much discussed 'Balzac" statue a masterpiece, an error, or a bad joke? It has been called FIG. 9. BUST OF PUVIS DE CHAVANNES. all of these things. M. Mauclair, By Auguste Rodin, speaking apparently, for the artist himself, gives us an account r block, what M. Mauclair calls "the very of the reasons why it is w hat it is. The symbol of his art." Such works main point of the explanation is that are, by their very incompletion, Rodin wanted to avoid the frock-coat stimulating to the imagination, but style of statuary. A statue was a prop- one wonders if there is not, occa- er form of homage to an athlete or a sionally, a hint of affectation in all warrior, whose physical perfection was this, of strangeness for strangeness a great part of his effectiveness, but it sake, of a desire to shock into atten- is absurd to make full length statues of tion the inattentive or the blase. It is men whose bodies count for nothing in difficult to believe that there is not, at their fame, and whose costumes are ugly RODIN. 343

FIG. 10. BALZAC. T.y Auguste Rodin. RECORD. 344 THE ARCHITECTURAL and unsculpturesque. Victor Hugo body speaks of imagination and hardly had been transformed by the ar- anyone of technique, and because the tist into a kind of nude sea-god, but plastic imagination the imagination of Balzac's well-known physical peculiari- the artist speaks through forms, and ties precluded such treatment, and his the best way to realize the nature of an frog-like body would have been imita- artist's imagination is to try to under- gably grotesque if exposed to view.. stand the forms he has created. But The logical monument to such a man if I have given the impression that would have been a bust with an inscrip- Rodin is not an imaginative artist tion, and, perhaps, with allegorical fig- that his realism is of the commonplace ures but since a statue it was to tcrrc a tcrrc kind ; be, which copies rather the problem was to find some method than creates I have not given the im- of concentrating the attention upon the pression I have intended. I have al- head. Rodin had made a vigorous ready said that an artist of the type I bronze study for this head, already men- am trying to describe is a craftsman, tioned, but in the statue he seems to a realist, and a romanticist, and in have reworked it, exaggerating his ex- Rodin the romanticist is nearly as aggerations in the rage for expression, strong as the realist or the technician. until it looks more like the head of a It takes imagination of a high order Minotaur than of a human being. Then to conceive a figure as thoroughly as he clothed the figure in the historic the "Danaid" is conceived, it takes in- bath-gown, and, on his principle of am- vention of a still higher kind to produce plifying the modelling, "proceeded to such a wonderful and passionate group simplify the folds until he had left only as the "Eternal Spring," and many of the two or three essential ones. The these smaller groups and figures are result thus obtained, with the dispro- wonderfully composed also, if one con- portion of body and legs, led Rodin to siders them separately. It is only in his hide the short, ugly, useless arms un- larger compositions, in work that should der the drapery, and the figure thus as- have a decorative purpose and a formal sumed," in M. Mauclair's own words, relation to its surroundings, and in occa- "pretty much the appearance of a mum- sional eccentricities and angularities, r my, of a so t of monolith . . . the that one feels seriously the lack of de- whole work gives the impression of a signing power. The lack of imagina- menhir, a pagan dedicatory stone." tion, after his first two or three figures, The description could not be more one never feels, and however unideal exact, but was it not permissible for his work may be thought to be, it cannot be called the Societe des Gens de Lettres to de- unimaginative ; however cide that a menhir was not precisely scientific it is never cold-blooded. In- what they had ordered? deed his imagination is overheated, Mr. Brownell has said of this statue savagely voluptuous, not without a that "whatever its success or its failure, tinge of perversity delighting, at its it emphasizes the temperamental side of highest, in sensuous beauty and inten- Rodin's genius, which is here unbal- sity of physical emotion, at its ordinary anced by the determination and con- level in sheer animal force and the creteness usually so marked in his splendor of vitality, at its lowest in work." Perhaps it is only another way pain and horror and vice. M. Mauclair of saying the same thing to call it the devotes some space to certain drawings aberration of an eminently concrete ge- of Rodin's which must, from his descrip- nius struggling with the abstract, of a tion, be extraordinary enough both in naturalist and a craftsman attempting method and subject, and defends them pure poetic expression. from the charge of .licentiousness on If, in the discussion of these works, I the ground that the artist's interest in have spoken much more of methods them is pathological and quasi-scien- than of imagination, it is because every- tific, and that they are no more ques- RODIN. 345

FIG. 11. VICTOR HUGO. By Auguste Rodin. 346 THE ARCHITECTURAL RECORD. tionable than anatomical plates. More- why it is so, to analyze and classify, to over they are done for himself alone, determine its genus and species and as a part of his study, and are shown variety. As he is human, however, his only to those who can understand them, own predilections, his likes and dislikes, while he has never "yielded to the fancy will creep in to color his product, and of modelling one of these subjects." if he is only honest there will be at least Certainly his major works, full of pas-, this advantage, that a real enthusiasm sion as some of them are, are kept will give vivacity to his description of well within the limits imposed by de- the qualities he most admires and a cency in both subject and treatment, greater clearness to his perception of though he has done certain "sphynxes" their absence. At any rate, the person- and "nymphs" whose expression and al equation must be taken into account, type of feature are bestial and revolting, and no one critic, .however good his in- and one has seen other things which one tention, can tell all the truth about any does not need to be a rigid puritan to artist. This, then, is a sincere attempt regret. Fortunately they do not form to describe how Rodin and his art strike a very important part of his production, one person. Many other such attempts and the same heat of imagination which have been made and many more will has produced them has endowed his be, and I have no illusions as to the defi- finer works with an intensity of life that nitiveness of this one. Let the reader is as rare as the magnificent craftsman- take it for what it is worth. ship, which has interpreted it to us. Kenyan Cox. The function of the critic is not to praise or blame, not even to wr eigh or The illustrations to this article are all measure or value, but to distinguish, to derived from "Rodin," by Camille Mau- discriminate, to explain. His work is clair, published by E. P. Button & Co., "" to show what a thing is, and how and $4 net per copy.

BELLONA. By Auguste Rodin. Stained Glass in Private Houses

"Why is it that in America, where such mit designs at a given price, and then very remarkable work has been done in placing the order with the one who of- church windows, you fill your houses fers the most work is in itself ruinous, with cheap and inferior glass?" and reason enough for the deterioration This question was asked me recently of a beautiful form of house decoration. by an English artist, who has himself Some one has truly said that "Compe- attained an honored position as a de- tition is the life of trade, but the death signer for painted glass. Of course, I of prices," and we may well ask the replied that we had done fine work in question : If the price of glass is re- both branches, that he must have been duced, will not the product of necessity unfortunate in seeing only the poorest deteriorate? Has not such been the of domestic but the case with us? grade our work ; The country has been mortifying fact remains, that in spite flooded with tawdry, cheap ornamental

FIG. 1. WINDOW FOR THE TABARD INN FOOD CO. Designed by Nicola D'Ascenzo. of the wonderful innovations and de- ''Art glass," as it is called, and it is no velopments in the manufacture of leaded wonder that the better class of house glass as proven by many memorial win- owners prefer to have their windows of dows, very little attention has been paid plate glass rather than endanger the to a really fine adornment of our private otherwise refined effect by the use of houses in the same medium. leaded glass acquired in the usual way To a practical designer who has been of so much per foot; or else they con- brought up in the trade, it would per- fine themselves to the simplest of colon- haps seem easy to lay the fault at the ial patterns, which, if the building be in door of the architects, who, in most that style, must always commend itself cases, have it in their hands to order to our sense of good taste. But is it and pass upon designs. Indeed, in a not to be deplored that in most of our this is true but the cus- where there is no large measure, ; expensive residences, tom of allowing several firms to sub- need to calculate the cost of beautiful 348 THE ARCHITECTURAL RECORD.

FIG. 2. PART OF MOSAIC GLASS WINDOW.

Designed for the Residence of the late William H. Vanderbilt by John La Farge. STALVED GLASS IN PRIVATE HOi'SES. 349

FIG. 3. MOSAIC GLASS WINDOW.

Residence of the late Cornelius Vanderbilt. Designed by John La Farge. RECORD. 350 THE ARCHITECTURAL

FIG. 4. WINDOW IN THE RESIDENCE OP MR. JOSEPH F. FLANAGAN. Newton, Mass. Designed and executed by Harry Eldredge Goodhue. decoration, we find so little of that art them high up in the scale where sordid which might add a finishing touch to the commercialism can have no part nor in- loveliness of the whole? fluence, are frequently represented, but There is every evidence that the ab- there are exceptional cases. sence of good glass is not due to lack It is a common cry that stained glass of money. These very owners of costly darkens houses and shuts out the sun- houses will pay thousands of dollars for shine. Doubtless this impression is memorial windows in their churches, caused by the fact that much of our yec make but the slightest attempt to church work in opalescent glass is car- decorate their homes with the same ried to excess in depth of coloring, with- material. out thought of what a window is pri- Should we not all welcome a time marily for, and our craftsmen in the when we could point with the same pride making of house windows have often to our achievements in domestic glass made the same mistake, but the fact as we do now to the work which adorns that so much is wrong does not prove our churches? Surely the opportunity that all must be bad. given by private libraries and music Consider what has been done in ear- rooms would be nearly as great an in- lier ages. Municipal work, for in- centive for truly noble design as a stance, we find nearly always excellent church window. Indeed, in a few iso- arid in direct opposition to the modern lated cases, this has been so. Mr. La tendency, spoken of above, to darken Farge has used his genius in many and obscure the light. We can think of splendid mansions all over the country. no better example of this good early Also, there is much work here of the work than the famous windows of the better class by English glass stainers Laurentian Library at Florence. They and designers. Mr. Burne-Jones and are models of the skillful use of yellow other men, whose talents have pleased stain on white antique glass, a wonder- STAINED GLASS IN PRIVATE HOUSES. 351

FIG. 5. WINDOW IN THE HOUSE OF MR. GEORGE GOULD. FIG. t5. LIBRARY WINDOW. Lakewood, N. J. Residence of Mr. Marvin Preston. By Heinigke & Bowen. By Harry Eldredge Goodhue. 352 THE ARCHITECTURAL RECORD. fully satisfactory combination and here in England, and on the continent, wonderfully done. All the effects of tradition still holds, and a designer with light and shade in the Renaissance orna- imagination can carry out intricate ideas ment are produced by modelling in the in his painted glass. A country where Heraldry has a place and meaning gives an enviable chance and the English glaziers are doing remarkable work to- day, following in the footsteps of their predecessors. There, time has stamped its approval on the use of stained glass for house decoration and no one is afraid of making a mistake in beautify- ing his home in the same way his fore- fathers did before him. However, the question of light has not been so entirely neglected with us as is supposed, and much of the best American glass is remarkable for its absence of dark color. Perhaps no one lias ever given more thought and attention to the leading of white glass than Mr. Otto Heinigke. of Hcinigke and Bowen, some of whose work we are for- tunate enough to have before us. He shows that charming and interesting e"- fccts can be obtained without color, or by an exceedingly spare use of it, and great refinement and style gained by a careful study of lead lines alone. It is a matter of regret to the writer that he is unable to show better examples of the work of Mr. Heinigke who has succeeded so admirably in his stand for real expression in lead that he should stimu- late others to fry for the same high excellence. The two examples from the D'As- cenzo Studies also show a splendid feeling for lead and illustrate conclusively that we have in America men who can utilize and combine our own product of opalescent glass and the principles of the great work of the past,' In the ' smaller drawing for the Tabard Inn Food Co., the arrangement of the leads is an object lesson, .each strip of metal is a line of drawing ;%the design is drawn FIG. 7. MOSAIC GLASS WINDOW. in lead, each piece being indispensable Residence of Fred. L. Ames. and not one more than .is necessary. By John La Farge. Mr. D'Ascenzo uses little or no .paint, so that the effect of his mosiac of col- stain the is transparent ; light-giving ored glass undimmed, -by pigment. properties are wholly preserved, yet the This work is expensive to produce, as interior of the building is decorated and the best of everything must always be, made radiant by the colored glass. but not in proportion to -its value as a IN STAINED GLASS PRIVATE HOUSES. 353

FIG. 8. GOOD FOOD.

Designed for the Tabard Inn Food Co. by Nicola D'Ascenzo. RECORD. 354 THE ARCHITECTURAL form of decoration. As before stated, In the illustrations, we have en- deavored to that stained can this question of price has been, perhaps, show glass the chief reason why domestic glass be made a really noble form of decora- has not been developed with us to its tion for houses, that its use need not be confined to church windows that be- fullest possibilities. The manufactur- ; cause a room is filled with leaded glass it need not necessarily be tawdry and cheap, nor out of key with its surroundings. In the other branch of the craft marvellous strides have been made, and at this day, when there seems to be a general awakening in all applied art in America, is it not time that good, really beautiful, stained glass should find its deserved place in the many fine homes that are constantly building. Harry Eldredge Goodhuc.

FIG. 0. WINDOW IN T^E HOUSE OF WILL- IAM ROCKEFELLER. By Heinigke & Bowen.

ers are usually men without much capital and cannot afford to give more than they -are paid for; nor can the system of competition ever serve to elevate the the it standard ; on contrary, cannot but lower it; for since- competitions are frequently lost, men otherwise honest offer more than the allowance warrants ; then, if they secure the order, when they make the actual glass instead of adding to and bettering the design, they must leave out all that adds to the expense, and usually the drawing is cut to pieces its is lost until character entirely ; so we cannot wonder that the builders WINDOW DESIGNED BY MR. H. L. BRID- sometimes lose faith in the glazier. WELL FOR HIS OWN RESIDENCE. The Wonder of Rimini

There are certain works of art, pro- for Duke Sigismondo Pandolfo Mala- duced at the confluence of two epochs, testa, two men highly typical, in different which focus and as on a of the time in which lived fix, photograph- ways, they ; ic plate, the moment of transition from typical also of the beneficent intelligence the earlier to the later period. The Ca- and of the dominant will, for Alberti thedral of St. Francis at Rimini, "The was a man of blameless life, an athlete, Malatestian Temple," is of this class. It poet, critic, essayist, moralist, mathema- is an ancient Gothic edifice made over tician, engineer, inventor, painter, sculp- into the semblance of a Pagan temple, tor and architect, while the Duke was a

FIG. 2. PORTRAIT OF SIGISMONDO MALATESTA.

The Church of St. Francis at Rimini. Leo Battista Alberti, Architect.

eloquent in every part of that new-born warrior, with a nature cruel and violent, enthusiasm for classical antiquity which stained by every crime, whose one re- his marked the transition Italy underwent deeming trait seems to have been in the fifteenth century from heroic to enthusiasm for learning and beauty and epicurean habits from Christianity to his friendship for men of genius. that Neopaganism, which, spreading The corner-stone of the new edifice throughout Europe, persists even to the was laid in 1446. Forty years earlier present time. Brunelleschi, standing within the Roman The church was built, or rather re- Pantheon, conceived his idea for the lan- built, by Leo Battista Alberti, architect, tern which crowns the Cathedral of Flor- 356 THE ARCHITECTURAL RECORD. THE WONDER OF RIMIXI. 357

ence; one hundred and eighteen years The bar sinister carried with it no par- later "the hand that rounded Peter's ticular obloquy in those easy-going times, dome" was forever stilled in death. These and Alberti was brought up and edu- two events, separated by so relatively cated like a young prince. After the short an intreval of time, may be said to first period of his youth was over he de- mark the limits of the glorious period of voted himself to the study of the law, Renaissance architecture in Italy. Of but his memory failing as a result of ex- the men who rendered it illustrious none cessive application, he addressed himself is entitled to greater honor than Alberti, to physics and mathematics, to literature.

FIG. 4. GENERAL VIEW OF THE INTERIOR.

The Church of St. Francis at Rimini. Leo Battista Alberti, Architect.

not so much for \\hat he actually and to the study and practice of archi- achieved as for what he inspired in oth- tecture. ers. Coming before the golden noon of Nicholas Y., the reigning pope, dis- the Renaissance, he was its prophet and cerning in Alberti a kindred spirit, made precursor. As Symonds expresses it, him his counsellor in architectural mat- "He came half a century too early into ters, and employed him in rebuilding the the world, and worked as a pioneer rath- palaces and fortifications of Rome;" It er than a settler of the realm which Leo- was doubtless while o-oing up and down nardo ruled as his demesne." among the ruins of its ancient splendors Alberti was a scion of a noble, an al- that "the Grandeur which was Rome" most princely Florentine family. Like impressed itself upon his sensitive spirit Leonardo, and so many other illustrious so indelibly as to impart to all his subse- men of the period, he was a natural son. quent creations that something noble, 358 THE ARCHITECTURAL RECORD.

FIG. 5. ARCADE OF THE SOUTH SIDE. The Church of St. Francis at* Rimini. Leo Battista Alberti, Architect. THE WONDER OF RIMINI. 359

FIG. 3. THE ARCH OF AUGUSTUS AT RIMIXI. THE ARCHITECTURAL RECORD. 360

FIG. 8. PRINCIPAL DOORWAY.

The Church of St. Francis at Rimini. Leo Battista Alberti, Architect. THE WONDER OF RIMINI.

them, after a morning spent perhaps in hawking or hunting, gathered in some enchanting spot to witness a tournament or hold a Court of Love, to engage in arguments about the ancients, or to listen to the recital of romantic tales of chiv- alry. In these days of hurry and worry and ugliness it is pleasant to contemplate a society of so varied and so beautified a leisure, wherein life went forward to the plash of fountains in trim gardens, instead of to the scream of trolleys in straight, endless, hideous streets. Yet for a just view the other side of the picture must not be ignored.

"But at this court. Peace still must wrench Her chaplet from the teeth of war." We discern the havoc wrought by bar- baric passions breaking through the thin

FIG. G. BASE AND PART OF A PILASTER. The Church of St. Francis at Rimini.

simple and suave which is the distin- guishing- mark of his genius. At about the age of forty, and therefore at the summit of his powers, he entered the service of Sigismondo. The court of the Duke, a liberal patron of men of talent, was a radiating center of the new humanism then beginning so wonderfully to "infect every similar court in Italy. In the light of contemporary chronicles and pictures it is not difficult to reconstruct in imagination the life there. Warriors in fantastic armor, ladies in jewels and brocade, grave scholars and ecclesiastics in flowing robes, and youths in tights and loose- sleeved jackets, their long hair tumbling about their faces from caps jauntily askew, as Pintoriccio's frescoes show FIG. 7. BASE OF A PILASTER. RECORD. 362 THE ARCHITECTURAL

mould of civilization, the clash of mer- front this splendid plinth supports a com- cenary armies, beleaguered and sacked posite order of four columns, with sculp- cities, famine, pestilence, massacre, rap- tured bases and capitals of a curious victors fearful the van- three the ine ; the still, originality, flanking arches, quished plotting still, or rotting forgot- central and largest of which contains the ten in some unlighted dungeon; while principal entrance, with its over-heavy about the throne a crowd of hungry par- entablature and framework of marble asites fattened upon the wealth extorted paneling, reminiscent, like the twisted from a peasantry enslaved by outrageous torus of the stylobate, of the earlier Goth- taxes; everywhere this contrast be- ic manner. Even in classic architecture tween squalor and splendor, exquisite art there are few finer episodes than the ma- and rank injustice, civilization and bar- jestic arcade of the south side, particu- barism. larly when it is considered that this was Alberti was an accomplished courtier, made to conform to a wall already built, and this, together with the lustre of his and to openings already established. family and his renown as a humanist, to The upper part of the pediment was say nothing of his fame as an artist, made never completed, nor the dome added him a brilliant and important figure at with which we know the structure was the court of Sigismondo, who singled to have been crowned, since it appears him out for especial favor and regard. upon the Malatestian medals of the pe- Together they addressed themselves with riod- We cannot doubt that Alberti enthusiasm to the converting of the bare would have combined these various ele- old church of San Francesco into the ments into one harmonious whole, for first great masterpiece of Renaissance even in its unfinished state San Fran- architecture. The Duke's ardor knew cesco is a masterpiece, uniting as it does no bounds. He is said to have taken in a Roman simplicity and grandeur of out- one year thirty chariotsful of marbles line with the delicate, lovely and spon-

from the basilicas of Ravenna ; he car- taneous detail of the first and most bril- ried away the bridge of Fano, and liant period of the Renaissance, for later wrecked the antique quays of Rimini to pedantry put fancy to flight, and knowl- quarry out his temple, and he plundered edge killed originality. Greek islands of reliefs, to be built into Nowhere in Italy is there an interior its walls. more characteristic of the early Renais- At Rimini there stands the arch of Au- sance, with its union of eclecticism and gustus, with which the Romans, in a intense personality. Symonds describes spirit and with a sentiment which cannot it as "a strange medley of mediaeval and be too highly praised, marked the begin- Renaissance work, a symbol of that dis- ning of that Flaminian Way which led solving scene in the world's pantomime to their proud, far-distant capital. This when the spirit of classic art, as yet lit- arch supnlied Alberti with the motif for tle comprehended, was encroaching' on his facade, while the south front, with early Christian taste. . . . Allegori-

. its noble succession of arches, was per- cal figures designed with the purity of haps inspired by some remembered aque- outline we admire in Botticelli, draperies duct of the Campagna. The band of or- that Burne Jones might copy, troops of the is in the i nament which crowns stylobate singing boys manner of Donatello, made up of a succession of wreaths great angels traced upon the stone so which contain the Malatestian black ele- delicately that they seem to be rather phant (quaintly rendered by some sculp- drawn than sculptured, statuettes in tor who probably never in his life had niches, personifications of all arts and seen the leviathan of beasts), alternating sciences alternating with half-bestial with the interlaced letters "I S," symbol- shapes of satyrs and sea children such ical of the fair and learned Isotta, Sigis- are the forms that fill the spaces of the mondo's mistress, afterwards his wife, chapel walls and climb the pilasters and a theme which is repeated with varia- fret the arches." tions throughout the church. On the Much of this sculpture is incorrect in THE WONDER OF RIMINI. 36.3

FIG. 9 AN INTERIOR DOOKWAY.

The Church of St. Francis at Rimini. Leo Battista Albert!, Architect. THE ARCHITECTURAL RECORD.

FIG. 10. ANGEL IX LOW RELIEF. FIG. 11. ANGEL IN LOW RELIEF. Church of St. Francis at Rimini. Church of St. Francis at Rimini.

construction and detail, yet spontaneous forms of their romantic imagining. The and lovely to an extraordinary degree, Malatestian elephant, the Isotta mono- wrought with such freedom, spirit and gram, and the palmettes and ultra-heavy precision as to seem fairly alive. Some Greek wreaths which are the sign man- mystery surrounds its authorship, but it ual of Alberti, occur everywhere. On is chiefly attributed to Matteo di Pasti one of the tombs is a fine portrait of Mal- and Augustino d' Antonio di Duccio. As atesta, and in another part of the work the influence of the sculptors of Flor- that of Alberti himself. The frames of ence is everywhere apparent, it is not the side-chapels, carved by Duccio and improbable that pupils of Donatello and the rest into an army of arts and sciences, Benedetto da Majano, animated by the planets and signs, gods and goddesses, spirit of their masters, lovingly wrought have crowded out every sacre image un- the soft white stone and the red Verona til the calendar of the seasons displaces marble into these strange and beautiful the calendar of the saints. It is small THE WONDER OF RIMINI. 365

FIG. 12. HAS RELIEF.

The Church of St. Francis at Rimini. 366 THE ARCHITECTURAL RECORD.

that Pius himself the old built his wonder II, arch-patron of order, dome ; Alberti, of the Renaissance, was scandalized and the first of the new, was a gentleman, is said to have declared that San Fran- the friend and adviser of princes, an cesco more resembled a heathen temple antiquarian enthusiast, a chamber archi- than a Christian church. tect in point of fact. Palladio, Jones It is evident that the lucid and grave and Sir William Chambers were his log- genius of Alberti had little to do with ical heirs in subsequent ages. His ad- this confused interior. It is probable vent marks the beginning of the divorce that having solved the problem to his between design and artizanship from liking, he turned to the solution of others, which we surfer to-day. The blighting and left Matteo di Pasti and his co-la- effect of this divorce upon the art of borers to complete and adorn what he architecture is unquestionable, but it did had planned, in whatever manner their not manifest itself so long as there were fancy pleased. This is the more likely still in the world able and inventive from what we know of the complexion craftsmen to execute and adorn the am- of Alberti's mind. In his philosophical bitious designs of the architectural the- outlook upon life, his scientific curiosity orist. Indeed, at first there was gain and his pantheistic feeling for the world rather than loss, for the early buildings he has shown himself to be perhaps the conceived in the new manner showed an first it is certain that order and a their modern ; he was method which predeces- the first modern architect the man who sors lacked. This is the great excellence merely plans and leaves the execution to of the church of San Francesco, taken as others. Before his day the architect was a whole : it unites the simplicity, restraint an inspired craftsman, working not in and coherence of classic work with the but in actual fecund and of the closet the open, with vagarious charms Gothic ; materials, himself overcoming the diffi- it is "a moment's monument" a mo- culties his projects involved. In such ment of vast significance in the history travail, we know, Brunelleschi, the last of European art. CLAUDE BRAGDON.

TOMB IN THE CATHEDRAL OF RIMINI. Mt. Sinai Hospital

Mt. Sinai Hospital occupies the block The Kitchen Building, the largest of between East looth and East loist the row, and nearly in the middle of it. Streets Fifth and Madison Avenues; a The Children's Pavilion. plot measuring 200 by 425 feet, very There remains only the "Private Hos- closely. The buildings are rather too pital" on Fifth Avenue, the long build- crowded upon it, a result natural from ing divided up like an apartment hotel, the serious carrying out of the worthy into small and larger sets of rooms given plan to put every separate department patients desiring private quarters for into a separate building, and to make themselves and friends. each building as large as could be needed. This completes the list of separate Moreover, the buildings are rather high, buildings: and it need only be said that the main structure on East looth Street every department is housed in a com- occupying five full and very high stories plete and perfectly well-appointed set of with a half sunk basement, and one of rooms, large and small : that communi- the minor buildings having six full stor- cation between departments is kept up ies of more usual height. This height everywhere by corridors in the cellar, of the buildings increases the difficulty under the pavement of the courts, and inherent in their being somewhat by glazed galleries high in air : that no crowded. The maker of the plan has thought and no ability has been lacking been put to it to provide such a disposi- to make of this too concentrated group of tion of his open spaces his rather small buildings a faultless modern hospital. courts, lanes and gangways, open to This is what has come of the agitation the sky that the windows of the lower for light, wood-framed, hospital build- stories should receive a fairly adequate ings which might be destroyed at fre- amount of daylight. quent intervals. The advocacy of that Shall we, in this brief discussion, talk theory, the preaching of that doctrine, of the avenue lines as if they ran north dates from a time not earlier than the and south the street lines east and Civil War in the United States, when it west? They are very nearly no-nothe- was found, or believed, by so many phy- east (as an old quartermaster would sicians, that the field hospital of the light- say), and the opposite: west-nor-west est shacks and sheds was better for. the and the opposite. But if we must write sick and wounded than the most carefully short, then, in the block plan, the south- planned building of solid structure. The ernmost buildings, those which stand sheds and shacks could be burned down, fronting on East looth Street, are the or torn down and carried away and the at intervals great pavilions of the hospital proper; materials burned, frequent ; the and the central pavilion, standing back a and with them would go contagion ; little from the street, is the Administra- presence in the atmosphere of the ward tion building. In the southeast corner of those influences which the walls, floors is the Dispensary, the Out-Patients De- and ceilings could not but absorb and partment; and north of this the Train- could not but give out again. Is there ing School for Nurses, these two front- any reason for the abandonment of that ing on Madison Avenue. Then, going scheme other than the common and very from east to west along East loist natural desire to build handsome build- Street, stand, ings which shall be a monument to the The Pathological Building, liberality of the donors ? The Isolating Pavilion, for cases of The owners of the plot, the founders contagious disease occurring in patients of a great hospital, wish for two things : already in the hospital for none such they wish to occupy the whole tract with are admitted, knowingly. buildings, which they could not do if one- 368 THE ARCHITECTURAL RECORD. MT. SIXAI HOSPITAL. 369

half (say) were to serve the needs of between such tiles or the like were to be the hospital while the other half was in filled with a cement of tested, of renewed material the be- process being destroyed and ; non-absorptive ; angle they wish also for a monument. In this tween wall and floor, between wall last desire they are exactly on the same and wall, was to be filled with footing as the present owners of the a rounded moulding of some kind, a precious buildings left by former genera- hollow curve, a concave sweep from flat tions, which we, the visitors from a dis- surface to flat surface so smoothly com- tance, Icng to see preserved in bined with the flat surfaces that no dust their untouched decay or lack of should lodge, that no impurities, even good repair, that their original beauty, if invisible and intangible, should find the touch of the artist's hand upon harbor, and which should be open to the them, shall remain unconcealed, un- detergent rush of water from a hose. In mingled with the additions and altera- these and in similar ways the buildings tions of less artistic times and men. were to be made disease-proof, and it is But the Venetian and the Florentine assumed that every great hospital which owner of such treasures disputes this we see erected in our towns nowadays right of the archaeologist and the wor- has been thoroughly fortified in these shipper of fine art to tell him how he may scientific ways. There is no doubt what- treat his own possessions. He, the citi- ever that in the case before us these pre- zen who lives in the shadow of the noble cautions have been taken with complete building, wants to see that building and successful thoroughness. smooth and clean, spick and span, with In treating the artistical character of windows fitting tight and walls that show such a building as that shown in Fig. I, no lack of repair. There are, after all," as also in treating the whole group as but few persons who are not of this given in Fig. 5. the different special con- mind- Is it not true that, while the doc- ditions must be considered- What is trine of non-restoration has been "Architecture," the fine art of architec- preached strenuously and eloquently for ture, when existing in connection with a fifty years, not one rich man has been huge and costlv building of strictly utili- found not one to purchase and save tarian plan and disposition? the exquisite private buildings with When this question is asked in con- -which the towns of France, Spain, Italy, nection with the ordinary sky-scraper, the England and Germany were once steel-cage building, whose thin outer adorned? Every student who has trav- shell of cut-stone is designed in close imi- elled, or even bought photographs rather tation of a massive tower of masonry, freely, during the last forty years, knows the answer is easy : It is not architec- of scores of such treasures which the ture in the artistic sense. In the case be- world will never see again, which once fore us, however, the solid walls, pierced graced the by-streets and the narrower with normal windows, carrying floors and ctnals. the humbler suburbs, the less im- flat roofs in the old-fashioned way by portant towns ; and which have since been giving direct support to beams and gird- out of all character and all ar- ers used as the repaired ; masonry everywhere tistic value, even if they have not been carrying material and the enclosing ma- torn down and replaced by buildings terial; in this case we may ask the ex- more in the modern mode. terior design to prove its right to be The physicians who found that they called good art. Some inevitably ugly were not to have temporary hospital things there are indeed, seen plainly in buildings, in the great town at least, set Fig. 2 and Fig. 5, the huge rectangular themselves to providing a series of max- masses which rise above the roofs. These ims for the guidance of those architects are the heads of elevator towers, giving who would build the permanent hospi- access to the "sun-parlors" or solaria and tals. The walls wr ere to be sheathed to the children's play-ground on the within non-absorbent material roofs smaller are by glazed ; other projections sky- tile or even the and the of plate glass ; joints lights and ventilators; pair 370 THE ARCHITECTURAL RECORD.

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s ^ MT. SINAI HOSPITAL. 371

chimneys showing in the middle of Fig. else give way to his imaginative com- 5 mark the top of the Kitchen Building. position what would he have done to As to these ugly things, it is probable better the not very significant juxtapos- that they must be accepted passed with- ing of the two pavilions? Let us con- out comment upon their appearance. sider, in Fig. 2, the relations between the Can we ask the designer why he has not private hospital on Fifth Avenue and the brought them into shape? Could Inigo pavilions of the main structure. It is Jones or Bramante or Jacques-Ange Ga- evident that a proper consideration for briel have included them in the general economy and logic required the smaller .design.? Are you prepared to say that scale, the lower story, the coresponding- no cylindrical water-tank shall be ly narrower windows, the less ponderous mounted on the roof of your next state- cornice, the somewhat smaller string- ly building or that, if it be unavoidable, courses of this building on Fifth Ave- you guarantee its artistic treatment? If nue; and yet the question must arise not, are you ready, then, to say : There and remain unanswered; What does the io no architecture, no possibility of arch- artistic designer find lacking here what itecture: only buildings disfigured and would he do or what would he have transmogrified by practical devices which done to have united these buildings with we cannot subdue? Or do you accept others into a design? the inevitable, and design your building Observe that even a complete answer as best you can; although it stand in a to these questions would not be a pit, because the basement-story and sub- complete criticism of Mr. Brunner's basement, need areas for light although design. It is an objection made to it may have neither visible roof nor ef- criticism of a work of art by artists in fective chimney-shafts although wires the same line of work, that the critic sees in great bunches may be strung along its how he would have conceived the de- front and over its roof although the sign, how he would have solved this prob- iron the elevated lem and is bridge of railway may ; so inclined to be uniust to half conceal its front? him who has tried to solve the problem in a Such hard conditions confront him wholly different way. So here : the who would design a building to meet critic, if practiced in architectural design, those modern requirements in which the sees his own design for these buildings beautiful aspect of things is hardly re- "rising out of the ground," as the ob- garded. And looking at Fig. i, and no- server of Camille Corot's practice reoort- ticing the awkwardness of the three-story ed, when he found the master at work in building set close to the six-story build- the forest of Fontainebleau. He may ing, with but a very narrow recess be- think even that he sees the members, tween them, just enough to allow the doors, windows and balconies, larger in return of the string-courses, the student the pavilions, smaller in the private hos- is left wondering whether any treatment pital, and yet harmonious in a way to of the two structures could have recon- make one design of the whole group. At ciled them, each to the other, and have present the observer is conscious only of united them into one street front. Could the feeling that here are detached anrl these into one sub- any designer make separate buildings built in the same style ordinate group of the whole hospital, in or the same manner, if there is no better fashion than is seen in the photo- "style" to be predicated of them with graph? So on the other front at the details of the same character, built of left of Fig. i, where the buildings on the same materials, and having the same East looth Street show and where an general aspect. These characteristics, open driveway used as an entrance for common to all the chief buildings of the ambulances, separates the dispensary group, or to all that are seen in the pho- building from the main hospital, the tographs which accompany this article, question comes up again, What would are what there is to make one design of the purist in proportion, a designer who the whole. It is therefore a matter of was willing and able to make something regret that the central pavilion, seen from THE ARCHITECTURAL RECORD.

afar in Fig". 5, and with a detail given Fig. 3 shows the lower part of that in Fig". 3, is faced entireh with the central pavilion of which the top is seen is trees in white stone, and treated with some above the Fig. 5 ; and the two slight rendering of the ''colossal order" together very nearly tell the whole story as its chief architectural adornment, hav- of that front of light gray stone in col- ing also, instead of a parapet protecting umnar architecture. And it is well to re- a nearly flat deck, a pediment implying member that while a non-columnar build- (what actually exists) a double pitch ing may with perfect propriety have por- roof behind it. Otherwise expressed, ticos, open colonnades, even open loggia

FIG. 3. LOWER PART OF THE CENTRAL PAVILION'.

Mt. Sinai Hospital, New York City. Arnold Brunner, Architect.

these buildings seem to be much of columnar structure (because that is helped by such unity among them- what columns are for!) it is not ship- selves as is given by this common shape to have a piece of building-, in material, common color scheme, com- which large columns are the chief deco- mon treatment with string-courses, cor- rative feature, contrasted in this abrupt the like and that with nices, parapets and ; way the simply windowed walls the group suffers from the injection into around. the very middle of it of a piece of front- It is -vhispered that it was not by Mr. ing as different in character as the pavil- BrunneYs own wish that this central ion which contains the chief public en- pavilion was built entirely of the paler trance. material. It is said, also, that the strong" MT. SINAI HOSPITAL. 373

contrast between the brick and the pale with it the decision to make the central stone in the other building's is not quite building different, namely, of the stone of his own choosing". Let us suppose alone; and the building of it in stone that the architect had imagined these alone almost compels the use of what buildings as walled with pale yellow seems a barbarism in any case. It is cer- brick, the cut-stone trimmings of a gray tainly unfortunate here. stone of almost the same value, though There is only one other serious consid- different in tint. And let us suppose fur- eration, namely, the character and the ther that it is true, what we have heard, scale of the ornamental detail. Where that the central building was to be like the plan and working arrangements are

FIG. 4. THE MADISON AVENUE ENTRANCE. Mt. Sinai Hospital, New York City. Arnold Brunner, Architect.

the others, of yellowish gray and cooler admitted to be faultless, and where it is gray materials, as in the other buildings also admitted that this utilitarian plan has of the group. Now, if the central building led to a not wholly satisfactory grouping had been left in its brick-and-stone treat- a not wholly attractive system of pro- ment, then the bit of columnar design portion it remains onlv to think of the would have been impracticable, and the cornices and their consoles and corbels, pediment alone would not have dis- the parapets with their balusters and ped- turbed anyone's sense of propriotf. But estals, the string-courses with their hol- the decision to use the very beautiful low and projecting mouldings, the win- dark red and variegated black and brown dow-caps with their pediments or hori- brick of the walls, seems to have carried zontal hoods and the combination of 374 THE ARCHITECTURAL RECORD. MT. SINAI HOSPITAL. 375

these with surprising key-stones cut on effective, architecturally speaking. Of the window lintels below. The window course such a change would carry with it casings, moderate and square-looking in a reduction of thickness and weight of the Fifth Avenue building but running the balcony itself, but that is just what rather to excess in some of the other pa- is to be desired. Below this balcony is vilions, the balconies with their very large the string-course which breaks around consoles of support and their heavy para- the porch, and to this are given, for ap- pets, the porches of entrance these are parent support, consoles half as large as what the lover of detail is anxious about. those which carry the balcony above. In These designs were made at a time when Fig. 4, the details of the building on nearly all the well-known architects in Fifth Avenue are seen, and although this our big cities were in pursuit of details of building is more delicate in its parts, by this sort, of a quite unreasonable heavi- much, than the large pavilions, it is easy ness. Near this hospital there stands a to see how the same influence has con- dwelling-house, built at the same time trolled. It seems incomprehensible that and absolutely without regard to cost, a this excessive size and weight, this elab- house not larger than the smallest of the oration and cost, of all these pedestals, pavilions shown in these photographs; balusters, key-stones, ancones, string- and yet that house has details of the same courses and the like, should have been character, even more excessive in scale thought advisable. One is inclined to than those of this hospital with its many look elsewhere than to the choice of the and large buildings in a close-packed architect or of his chief assistants. The mass. It is not asserted that there has man or the men who designed the park been any improvement in taste since that pavilions given in The Architectural Rec- time, for though some very refined build- ord for March, 1905, and discussed in the ings with delicate details have been department of Notes and Comments planned and built some of them by the there, could hardly have accepted these architect of this very hospital there are ponderous ornaments without protest. others in which this same hugeness and It does seem evident that if one could heaviness of the ornamental parts seem go all over the building with a gang of to exist even in increased measure. skilled stone-cutters and a chance to What is meant is best seen in Fig. 3; work his will, a far more charming build- where a balcony without great projec- ing would result from the cutting away tion is supported by six enormous con- of some thousands of pounds of lime- soles carved with swags of foliage and in stone. What would have been the result their own outline made so heavy that of so designing the ornament that those each one affords stone enough to make all thousands of pounds of stone would have six of the corbels which are really re- been spared, it is still more pleasant to quired there and which would be more think. RUSSELL STURGIS. 376 THE ARCHITECTURAL RECORD.

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: tiJ--L ; J - aiiia i- An Ideal Hospital

The meaning of the word Hospital but where to be beneficial a hospital with all its various ramifications, is an must be accessible. shelter and care first expression of welcome, ; The requisite of the modern hos- and the ideal hospital to my way of think- pital, the convenience and the prompt- ing, should be one in which these quali- ness in caring for the sick, was out of ties could be brought nearest perfection. the question where immense distances Hospital like many another term has so lay between the wards and the main of- far departed from its original meaning, fices. The chief physicians then found that to be forced to seek help within a visiting those patients placed in the re- refuge so named, was. but a short time mote parts of the pavilions a task so since, considered the most dreaded of nearly impossible to be performed daily evils. when the hospital was crowded, that un- In days not yet so remote as to be com- doubtedly much of the prejudice felt at pletely sunk in the mists of forgotten the present day by the ignorant poor to- ages, the hospital so little fulfilled its ward such institutions, is a remnant of mission that within its walls disease was the traditions preserved by ancestors who as frequently fostered as eradicated. in times of epidemic were left to the The ancient structures then set aside as mercy of unskilled students. asylums for suffering humanity became Improved methods of ventilation make so impregnated with germs, that new dis- it now possible to have the freshest and eases peculiar to hospitals assailed those purest air always in circulation. Even unfortunates who came to be cured of when the windows must be kept closed wounds or fevers. With no proper tempered oxygen is forced in and the means of and small care of foul air out it sanitation, blown ; making possible cleanliness, these buildings grew so un- to erect a hospital six stories high in healthy that the sole remedy was demoli- the heart of the city, and one so skillfully tion. planned that the visit of the physician is As late as the Franco-Prussian War, a matter of no waste of moments. sanitarians were agreed that a building, When preparing to design the Mt. run up at so small an expense that it Sinai Hospital, the most recent of such could be reasonably destroyed after ten great institutions built in New York, the years, was the only proper way to build architect, Mr. Arnold W. Brunner, care- a hospital. To obtain good ventilation, fully studied all the virtues and vices of which had become recognized as neces- its forerunners, that he might profit sary, these buildings were constructed thereby and attain his full desire to con- only one story in height and with win- struct as nearly as possible the ideal hos- dows on either side. They were built in pital of the United States. the form of hollow squares or were The projectors of this hospital had but spread out in various ways as the ground one city block at their command, but they permitted, and then connected by a long chose that block with wisdom and fore- passage or outside portico with the main thought. Madison Avenue bounds the in the east side to north and south are the pavilion which operating rooms ; the and offices necessary to the service with One Hundredth and the One Hundredth all the wards were placed. While these and First Streets : while on the west buildings were greatly in advance of the stretches the length and breadth of Cen- structures previously in use, still such a tral Park with the waving trees of the style of architecture for hospitals would broad Mall on Fifth Avenue. be impracticable, if not impossible, in a The impression of the exterior is from city the size of New York, where not an architectural standpoint, severe, but only is the land extravagantly expensive, it is simple and dignified as befits the THE ARCHITECTURAL RECORD. use for which it was designed. The es- connect by electric dumb-waiters with of ideal do lie the kitchens while sentials an hospital not on great ; every conveni- the outside- ence for cooking simple diet and for There is a group of ten buildings. Nine keeping that already prepared hot or of these arc connected by a series of cor- cold according to orders, has here been ridors on the ground floor above which installed to simplify the work of the at- they rise one independent of the other tendants, and to minimize the patients' courting the air and light on all sides. cause for complaint. There is no device There is no nook or cranny, no corridor, for rapid and thorough household ser- no corner, no room into which the free vice which has been neglected by the air of does not enter and from architect. The marble bases the Heaven ; join every window can be seen the clouds floor at such a distance from the bottom floating in the sky above. The tenth that there are no cracks nor hiding building has no means of communication places left for the dust loving microbe. with the others from the inside. It is The sinks, bathing places, and basins the Isolating Pavilion to be used in case are surrounded by marble or alberine any contagious disease creeps in among stone which absorbs no water. In the the patients. The elevators ascend as section devoted to the operating rooms nearly as possible into the heart of each the water in the faucets is turned on and building. The strenuous physician has released by a touch of the surgeon's foot. no extra steps forced upon him nor are The contempt of ignorance with which any of his precious moments lost while nerves were treated in past centuries has rinding his way to the work he has in given way in the present age to a full hand. Does a surgeon come for an op- understanding of their enormous power eration? He has but to. cross the en- to kill or to cure. No hospital could put trance hall to find an elevator waiting to forth the smallest claim to the title convey him to the top of the Main Build- "Ideal" where consideration for the ex- ing, where the operating rooms and their cited nerves of physical sufferers was various dependencies are to be found disregarded. The supreme thought and within a stone's throw from the door of endeavor of the architect of the hospital the car. Is it a patient in the Medical which forms the subject of this sketch, or Surgical Pavilion to whom his visit has therefore been to mitigate as much is directed ? He has but to announce his as possible every jar connected with wishes to the functionary at the main those unpleasant details of the duty of door, then take a short passage to the caring for the sick and wounded which right or left, leading to the elevator in so shock the sensibilities. either pavilion, and in less time than it Delicacy in considering the abnormally takes me to write it, he is at the patient's sensitive nerves of the inmates and in bedside. aiming to save the patients all afflicting It is possible to enter the Private Hos- sights and sounds was deenly weighed in pital and the Children's Hospital from determining the plan of this institution. the Main Building; but these have both The ambulance, that bugbear of the poor, entrances from the street, and elevators leaves the street on arriving at the hos- as convenient as in the other buildings. pital and descends a sloping driveway In such considerate and sympathetic care into the court where it turns a corner for the hard worked physician lies one of before discharging the victims of acci- the first qualities of the perfect and the dent or disease at a secluded entrance ideal hospital. invisible to the idle or inquisitive loiterers A like endeavor to secure promptness on the street. The department in which and celerity has been made to facilitate these unfortunates are received and cared the execution of the household duties. for by the attendants and physicians is On every floor there are pantries fitted adjacent to this lower entrance and so with all the known contrivances found situated that while the patients are be- by experience to be the most practical ing bathed and prepared to take their for quick and efficient service. These places in the wards no groans or crie,s AN IDEAL HOSPITAL. 379

n - 380 THE ARCHITECTURAL RECORD. can disturb the other inmates of the tween the seats of the operating theatre building. to the floor on which the surgeons are This same sympathetic regard prompt- engaged. The anaesthesia rooms, the ed the on floor of rooms rooms for setting apart every recovery ; consulting "Examining Rooms." These examining physicians; retiring rooms for the sur- rooms are an entirely new departure in geons; the sterilizing apparatus; the de- the history of hospital management. The partment and developing closet for the patient who needs to have a painful X-ray photographs and the roomy glass wound dressed, or must undergo an ex- cupboards for the necessary instruments amination, is removed from his bed and are the other divisions of this section. wheeled to an examining room where all It is separated from the pavilions on sounds of distress are buried within four either side by thickly padded doors. walls and his companions in the ward de- Here while the daylight lasts, and at livered from the pain of listening to the urgent need even later, the suffering sufferers of such trying experiences. patients are continually being brought The dead are taken to their last rest- up on the elevators to be taken ing place from a remote side of the inner to the anaesthesia rooms, prepared to court. There in a retired spot the receive help from the surgeon's knife; hearse and attendant carriages may after the operation is performed led back to stand near The Mortuary Chapel, and life in the recovery room; and finally the funeral goes out a secluded gateway taken down again to be replaced by the which is on another street from the en- next sufferer whose turn it is to be allevi- trances for visitors or patients. From ated. not one of the hospital windows can this In the pavilions on the right and left departure be witnessed and the mourners of the operating rooms elevators run are effectually shielded from the prying noiselessly down through the centre to eyes of the street urchin and his kin. the main floor. The one on the right is In that portion of the building devoted the Surgical and that on the left the Med- to operations, especial rooms are set apart ical Pavilion, each has a capacious sun for those who are recovering from the parlor and a roof garden, while every effects of the anaesthetics, and so in se- floor through which the elevator passes is clusion the patients are slowly brought a perfect little hospital in itself. There back to life and consciousness before are on each story rooms for one or two their return to their beds in the ward. persons and the general wards capable Viewed in the light of modern science of receiving twenty-four inmates. The the most interesting portion of this hos- shape of these main wards is so nearly pital is that which is devoted to the op- rectangular that the room gives a great- erating rooms and their dependencies; er idea of breadth and space than it it being placed on the top floor of the Ad really possesses. There are windows on ministrative Building and the large op- three sides where the sun can look in all erating theatre, the pride of the archi- day long from the time he rises over the tect, is supplemented by five smaller housetops until the hour of his setting operating rooms. It will be unnecessary behind the trees in Central Park. At to state that in this section the strictest night his duties are performed by care- sanitary conditions prevail and the only fully shaded electric lights which, unlike visible materials of construction are mar- the sun's rays, the least touch can con- ble, porcelain and glass. All the oper- trol. Another humane thought for the ating rooms face the north, and between comfort of the inmates, has suggested double sashes of the great windows light- an electric attachment behind each bed, ing them, heaters have been inserted in bv which it is possible to connect a port- order that at no time the chilled air may able bulb and thus afford illumination, if strike the unconscious patient on the on- needed, when an individual examination erating table. The students admitted to must be made without disturbing the sur- see an operation enter their places from rounding sleepers. The pantries and ex- are above : there is no communication be- amining rooms on each story, sitting- AN IDEAL HOSPITAL.

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^ 382 THE ARCHITECTURAL RECORD. rooms for the convalescents, drying states that it is a loving memorial to the rooms, linen rooms, and baths, all of memory of a parent. The Private Hospital which are flooded with light and air let has its own operating room. Within its in by the broad windows. If dust or walls those luxuries, perfect peace and dirt collect on the tiled flooring, no fit- perfect quiet reign supreme. The eleva- ting excuse can be made for not detect- tor is noiseless, the omnipresent telephone ing its presence. makes its call only by a dull b-r-r-r, and The children have a pavilion looking no bells exist; instead a red disk outside out on Fifth Avenue which is in every each door falls at the touch of a button respect a miniature replica of those built in the room when the occupant desires for the grown-up patients. They have the attention of the nurse on watch in their sun-nursery on the roof, and a the corridor. playground with a balustrade so high and Wherever human beings are gathered so carefully constructed, that though the together for joy or for sorrow there also sun can between the not must be kitchens and this peep columns, ; hospital-kitch- the slimmest tot of them all could fall out, en is an important and busy centre. Much nor can the tallest or most active boy thought was expended upon the kitchens climb over the protecting parapet. From of this institution. The most practical the cribs in the children's main wards and experienced of managers and ma- the little can the birds nest- trons were consulted the de- ones watch ; culinary ing in the Park, and see sunbeams danc- partments of busy hotels and crowded the leaves in and the institutions were visited all ing on summer, ; and finally squirrels playing on the bare branches in the most modern and economical devices winter. for saving time and labor and yet ful- In the little parlor where children are filling perfectly the exacting demands of received or dismissed is a modest bronze the hospital regime were adopted. There tablet framing the likeness of a fine speci- are two kitchens, both spacious and lofty, men of young manhood to whose mem- both supplemented by capacious pantries ory this pavilion was erected by : "Those with sculleries and the whole built of whose love reaches beyond the Tomb.'' enameled brick. One kitchen is reserved What more tender and fitting monument for the preparation of food ordered to could be devised to preserve the sweet be especially prepared, and the other for remembrance of a beloved son ! The pic- the routine work of the establishment. ture of the youth here enshrined is a These kitchens are connected with the from a the build- photograph ; evidently enlarged pantries throughout group of small amateur print. It represents him ings by electric dum-waiters. That use- resting as though fatigued by his sport ; ful servant electricity is made to aid his dress a sweater with in the the college ; leaning celerity with which patients his elbow on his knee he looks down are served their nourishment at the prop- with earnest eyes on the children and the er time, and to heat the little closed ve- glad mothers and fathers to whom they hicles which convey the cooked dishes have been restored through the medium from the fire to their destination. The of his parents' love and anguish and in work in the kitchens goes on like an end- remembrance of his own release from less chain. The food is prepared, the suffering of this world. cooked, served and delivered for this The Private Hospital is practically a great assemblage of the sick and their "Hotel for the Sick" where also accom- various attendants, the utensils sent back modations are possible for the well to be washed, and then immediately made who wish to share the seclusion of their ready for the next requirement. The afflicted friends. The windows look out kitchen building has all its service en- on Central Park and on either side is a trances on One Hundred and First grass plot embellished with flowers and Street, its connection with the rest of shrubs and plants. The entrance to this the hospital group is by passages beneath Private Hospital is through a richly the court yard. Like the other buildings adorned vestibule and an inscription of the institution, light and air enter it AN IDEAL HOSPITAL. 383

on all sides and on the floors above the doors; by one the patient enters, is ex- kitchen are the servants' quarters. An peditiously assigned to the office of the extensive and best able to cure his splendidly appointed model physician complaint ; laundry, where the work of receiving, the remedy is quickly prepared for him sorting, washing, drying, and mangling and he departs by another door from that the vast quantities of linen needed in by which he came. such an institution occupies the top. Such a hospital as this was not con- The Pathological Building is .for the ceived in a day. To design one of its students who are ever busy hunting the kind meant months of concentrated dreaded microbe, and searching for truth thought, a minute and careful examina- with ardent minds; it occupies the up- tion of all other institutions of like or- per part of that little building in which der; long consultations with experienced lie the dead and the Mortuary Chapel physicians, a feeling of sympathy for the from which they are buried. This ills of the flesh and a mind suffi- building with its laboratories, as an as- ciently broad , and methodical to glean sistant to the advance of modern medi- the best knowledge from all these sources cal science, is one of the most important and to choose from the mass so collected the best to all sections of a modern hospital. only ; make plans by which The Dispensary is completely isolated advanced scientific improvements can be added for to to ex- from the General Hospital. The pa- years come ; prove an tients who visit it have no excuse for ample to those designing hospitals in lounging about any of the entrances in- great cities, a comfort to both rich and tended for the inmates. Their way to poor an invaluable auxiliary to modern relief is from Madison Avenue where the science, and a sanctuary for all suffering Dispensary and the Nurses' Home are mortals who are ill with the ills of the the only buildings which have entrances flesh, an Ideal Hospital ! on this thoroughfare. There are two JOSEPHINE TOZIER. THE ARCHITECTURAL RECORD. The House of Mr. Percival Roberts, Jr.

COPE & STEWARDSON, Architects

NARBETH, PA. RECORD. 386 THE ARCHITECTURAL THE HOUSE OF MR. PERCIVAL ROBERTS, JR. 387 388 THE ARCHITECTURAL RECORD. NOTES ^COMMENTS

The New York City partly gratified by the series of square bricks warehouse building, No. 28 within the deep reveal and surrounding the Ferry street, is one more doorway proper by a series of offsets. I LEATHER of that very interesting count six steps of this kind, each measuring COMPANY'S series which the Record is four inches each way. Then the tympanum BUILDING making, of brick-built, above the stone-piece is laid in zig-zags simple, manly, straightfor- in a kind of herring-bone construction, but ward business structures. always of common hard brick. These de- Several of these buildings have already been tails are described, one by one, for fear described, and others will follow undoubt- they should not be quite as visible in the half-tone edly. But we have to stop now and then print. The smaller details of such and speak generally^ of these buildings 1< buildings resemble one another almost of ne- recall what has been said of them already cessity, and it will not do to repeat in every to insist upon their extreme interest as A separate notice the remarks that it seemed class. Apart from the warehouses treated right to make once or even twice about the in two "body articles" eighteen months ago effect of square bricks used in corbelling and (Record for January and February, 1904), In "rustication," nor yet the plea that one the recent numbers of Notes and Comments who loves mouldings and who wishes for have contained many photographs of this simple adornment, must needs be impelled to for the use of class of building, and some analysis of each make, moulded bricks. Really, one would think that these were rare and design. In the present instance it is, of which to course, most regrettable that no adequate precious articles, had be brought from distant lands! a view of the building can be had. The streets As matter of fact, are narrow in the quarter where this build- they can be got from any brick-maker and at short besides it is ing stands, for Ferry street is in an old part very notice, which, an of New York, into which the approach of the really entertaining pursuit for the architect who loves to see what he can new Brooklyn' Bridge has thrust itself, in- design creasing the real and apparent crowding of make that is fresh and interesting, by this very simple that section of the city. Still, perhaps, a appliance. comparison of the very interesting door-piece But for what is new in the building before with the general view will explain the build- us, it is to be found in the very interesting ing sufficiently to our readers, accustomed and vigorous use of the horizontal band. as they are to the strange tricks played by Above the third horizontal row of windows the photograph sometimes in substituting its there comes a band which is adorned in a. own single point of vision for the varied op- kind of checker made of bricks stepped out a portunity given the student who is on the little and throwing shadows on the recesses ground in person. He, the student on the between them. The treacherous white ef- ground, may walk about the building, look florescence which has disfigured many of at it from many points of view, and gradu- these brick defeats for a moment the effect ally "size it up"; and so he may come away of light and shade which the designer has with a clear sense of the whole edifices, de- wished for, but that will come right in time. rived from no one single aspect of it; but Then above the seventh tier of windows the camera stands fast, and records only there is a very interesting string-course what it saw with its one eye in that one somewhat resembling an entablature, and moment. resting like an entablature on the capitals of The view of the entrance (p. 401) shows that pilasters, though, indeed, there is no af- the designer's feeling for mouldings has been fectation of classical formality in any of this 390 THE ARCHITECTURAL RECORD.

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BUILDING OF THE U. S. LEATHER CO. No. 38 Feiry St., New York City. Frank Freeman, Architect. NOTES AND COMMENTS. 391 decoration. It is a good string-course, and alone. It is the interference and not the ab- the little dentils are used with effect. Above stention that is commonly overdone. Archi- this, again, the piers between the windows of tects do not sufficiently bear in mind that the eighth horizontal tier are adorned very any construction which will stand up and slightly by recessed blocks of shade, and do its work has a certain expression of from these piers springs the bold projecting stability which is valuable so far as it goes. cornice carried on brick corbels which sup- The architect's business is to bring out and port very flat segmental arches, with the emphasize this inherent effect, never to usual scrap of walling five courses high cloak and dissemble it, on the chance of get- above the crown of the arches, and then ting the expression of something else that is again a corbel-table of five successively pro- not there. Sometimes it requires what may jecting bands. This is a piece of decoration fairly be called courage to leave a big brute pure and simple, for higher still comes the mass to tell its own story; but sometimes thin, flat wall of the attic rising until the that is the very best thing to be done. There nearly unbroken sky line is reached. But is one recent instance which every sensitive suoh a cornice is far more effective seen in passer must have observed with pleasure in the bald flank of that way, below the attic, than it is when the stage wall of the new thrown against the sky. The prononced wall- Hippodrome. An unbroken expanse of cornice of great projection is not, however, an brickwork it is, over a hundred feet, one in ideal termination of a city front. The Flor- guesses, lateral extent, and three-quarters of that in The architect has entine palaces which developed it were mas- height. had the luck and to "let it alone," sive and of few parts, not thin and slight and courage it with a cut into small sub-divisions. One feels con- crossing only string course, high up, making his brickwork expressive by tinually in looking at our high buildings, emphasizing its bonding, and using good how great is the mistake when a broad pro- rough brick. Verily he has his reward. jecting wall cornice is set upon ten stories or The huge stretch of wall has a necessary ef- more of flat walling. Costly buildings are now fect of its own which he would have run a approaching completion in Fifth avenue with great risk of destroying, without substi- that mistake marking every one of them; and tuting anything like so impressive if he had other costly buildings exist, having their undertaking to "treat" it, as for example, he hat-brims broad throwing shadows below has treated his front on Sixth avenue. Of which can be otherwise than hardly objec- course, he could not have left that blank tionable and which the to community ought and let it alone. The conditions forbade. prohibit, as indeed such are things prohib- Nevertheless, the spectator of the front, ited in Boston. Do any of our readers re- seeking for something upon which the member the fight over the Tremont House wearied eye may repose, ca'n step around there? - As to the matter of design there is the corner and view this great blank wall no question that the upright effect, the ap- with much refreshment and satisfaction. of pearance the wall-finish got by continued And not far away, there is the Metropolitan verticality, is vastly more useful to the de- Opera House with a highly ornate front on signer than the topping of lofty walls by a Broadway and a perfectly plain back on scrap of roof stuck out horizontally above Seventh avenue, consisting, like the side of the street. R. s. the Hippodrome of one huge and virtually unbroken wall. It was so high and wide "Quieta non movere" and, by the necessary conditions, so un- floor beams that the ON is recognized to be a supported by .within, good maxim in a large architect felt bound, as a matter of security, "LE.TTING variety of human affairs. to reinforce it with two buttresses which IT It was Lord Melbourne, are the only "features" it shows. The result is that the sensitive spectator in this ALONE," whose prime ministry is mainly now remembered case, as in the case of the Hippodrome, gets by a city in Australia, much more aesthetic comfort out of the wall has been let alone than out of the that was named after him. who made it, which according to Walter Bagehot, a kind of uni- wall which has been elaborately treated. recent instance than either of versal solvent in politics. "Can't you let it A more alone"? these is an instance of which the moral is the same. But this is for The advice may be overdone in politics. profitable only Central Possibly it may be overdone in architecture. reproof. The provisional Grand But there is at least no doubt that the pres- Station, which has been for some months ent tendency is not in that direction. in the course of erection, was, as it now Buildings are not, as a rule, sufficiently let appears, designed to be of rough brick 392 THE ARCHITECTURAL RECORD.

covered with stucco, "masticated" accord- ports were attenuated, in deference to coming to the joke that prevailed when that mercial requirements, to the architectural mode of building was customary here, minimum, and with which the arch on the as it has never ceased to be in Central avenue had its inadequate abutments rein- Europe. But the rough brick nucleus of the forced by a visible tie-rod, itself treated as proposed building was so unexpectedly pic- part of the architectural composition. At- turesque and effective as to attract the attenuated as they were, the supports were tention and admiration of every sensitive not thin enough to suit the new owner, who beholder. The projections and recesses of has removed them all and stood his super- the brickwork, though intended only as structure on metallic stilts quite irrelevant "cores" for the plastering to come, possibly to it, entirely destroying the architecture of in part by their very lack of finish, gave an the basement. For this vandalism he might extraordinary animation to the building. A plead utilitarian necessities, though the great arch, thirty feet in span and nearly plea would hardly avail, in view of the twice that in height is an impressive object pains the original architect had taken to almost necessarily, quite necessarily when meet those necessities. But the superstruc- its structure is exposed and apprehensible, ture, which was in an attractive red brick and such an arch, at the southern corner on and terra cotta, with sills, lintels and Madison avenue, was the chief feature of string courses of sandstone, he has also de- this front. It was hailed with great satis- prived as much as possible of its expressive- faction by every sensible beholder, architect ness and its effectiveness by smearing it or layman, excepting the very person whom over with white paint, not only defacing one would have expected it chiefly to delight the careful and effective decoration in terra by its unexpected effectiveness, the archi- cotta, but obliterating, to the extent of his tect, to wit. Evidently it would not have ability, the sense of structure. And all this done, practically, to have quite let it alone, is plainly sheer wantonness, a childish with its joints all yawning an invitation to pleasure in disfiguring what one could not the elements to disintegrate the structure. produce, and in showing contempt for one's But what one would have expected the arch- intellectual superiors. And this is the es- itect to do, upon finding that he had sence of Vandalism. M. S. "scratched" a piece of architecture, was to cancel his cement contract with the utmost speed, and set workmen to closing up the We are informed by a joints, which indeed would have been a pity, THE. paragraph in "American the of the effect sen- Homes and since picturesqueness DISREPU- Gardens," sibly depended upon the emphasis given that "American artists, as to them by leaving them open. But no such TABLE a class, do not form a notion seems to have entered the head of ARTIST highly respected portion that insensitive man, whoever he may have of the community." This been. On the contrary, he hastened to hide sweeping condemnation to the attractive object by hurrying up the ce- unrespectability by such an authority is in ment men, and now the building, smeared all itself enough to discourage the great ma- over with an equable and inexpressive coat- jority of American artists, "as a class"; but ing which hides the structure is entirely there is worse to follow. It seems that they proof against anybody's admiration. It is deserve their lack of respectability. "The too bad. work they do," continues their cautious Rather worse, as involving impudence as critic, "contributes nothing to the physical well as insensibility is the alteration of the necessities of mankind, and its intellectual building at the southeast corner of Fifth value, counted as mental food, is not much avenue and Twenty-third street. One can- considered. They are of a jealous and quar- not call the architect of tne provisional relsome disposition, attaching unusual import- Grand Central Station a Vandal, since it ance to minor things, working in a way that was with regard to his own work that his no one not an artist thinks laborious, doing Insensibility was exhibited. Boeotian ap- pretty much as they please, and when they pears to be the characterization of him. please. They do not seem to be governed But Vandal fits the director of these altera- by the ordinary rules of life, and eke out a tions with great accuracy. The building, precarious existence in a way that few under- originally designed by Mr. Hardenbergh for stand and appreciate. It is a significant fact the Western Union Company, was one of that the most successful art exhibitions in the many examples of an unforced and America those of the Pennsylvania Acad- quaint, picturesqueness with which he has emy of Fine Arts in Philadelphia have been embellished Manhattan. It was especially arranged and conducted by a layman, while noteworthv for the skill with which the sup- *he exhibitions in Nw York, which are en- NOTES AND COMMENTS. 393

tirely controlled by artists, are only impor- and they might be quite willing to leave a tant because in they happen to be held the large part of that work to an efficient lay- metropolis." manif only he could be found in New York The reader will now understand why we as well as in Philadelphia. have called this critic cautious as well as severe. He treats the American not artist, On as a domestic animal with whose habits he a site granted by the Garden City, Limited, is entirely familiar but as a strange beast, at Letchworth, in Hert- just out of the woods, whose appearance ^a CHEAP fordshire, England, there disreputable, and whom people living in COTTAGE.S was held during the "American Homes and Gardens" cannot pre- EXHIBITION summer "The Cot- tend to understand. These artists look like Cheap tages Exhibition." It was the rest of us, to be sure. They wear the opened by the Duke of same clothes, they doubtless eat three meals Devonshire on July 25th, and its object was a day; but they are none the less damned by to show at what relatively trifling cost, if the fact that they do not "seem to be gov- planned by a trained architect, cottages of erned" by the ordinary rules of life." They convenience and taste can be secured. The prefer to "eke out a precarious existence" purpose, partly sociological and partly ar- "by doing pretty much as they please," than tistic, was thus to offer a counterblast to to become comfortable and secure by respect- "Jeremy the Builder" and to the abomina- able office work of "a truly laborious kind.'' tions of desolation which he creates on the It unfortunate is, no doubt, an extremely outskirts of large cities. When it is said condition; but we are afraid that it will that many of the cottages pictured and to endure. claim to be more fam- have We planned could be built for 150 or less, it iliar with American artists than do the ma- will be realized how vast was the clientele jority of people who follow the ordinary rules to which such an exhibition made vigorous, of life, and we feel absolutely certain that concrete and pertinent appeal. And the vast- they will never do what their critic considers ness of the interested clientele suggests the necessary in order to qualify them for the civic art possibilities of such an exhibition position of highly respectable members of in its potential changing of the aspect of the the community. They are perverse enough town. The cheaper cottages were provided rather to relish the fact that their work does with two to three bedrooms, the material of not contribute to the physical necessities of the walls was usually brick or concrete, and mankind; and the task of providing "mental the aim of the designers sometimes perhaps food" for the hungry American people is a little too obviously was picturesqueness. one which they prefer to leave to periodical Where this was coupled, as required, to publications. Their "jealous and quarrelsome cheapness and convenience with success, disposition," "as a class," is something over something of a triumph was secured. The which personally they have no control; but event suggests the possibility of exhibitions we have heard them say that the disposition here that might be similarly interesting and to be quarrelsome and jealous would not of productive of great good. Popular, for exj. itself be sufficient to prevent them from ample, as the annual exhibition of the Arch- being highly respectable members of the itectural League of New York has become community. On the other hand, their ignor- too popular and educational for one to con- ance of the ordinary rules of life, their pre- sider its abandonment there is, nevertheless, carious means of support, and their prefer- little that the ordinary lay visitor can take ence for accomplishing their work how to himself. He goes to gaze in wonder we and when they please all these character- will not say always in admiration. He asso- istics undoubtedly impair their respect- ciates architecture with the grandiose and ability; but inasmuch as the artists of all costly, and when, a few weeks later, he and modern communities, when they have not his wife consider the erection of a simple become "professors," have tended to share cottage by the sea or in the hills, he is too these defects; they must simply be classed probably content to let the Jerry Builder as belonging to the nature of the beast. A3 draw the plans, as if architecture were con- to the final indictment their inability to ar- cerned with another world than his. Thus range successful art exhibitions that, also, one more blot is added to a lovely landscape. is a deficiency which they share with so many That there is a demand for suggestions for respectable members of the community that inexpensive, pretty and convenient homes, it cannot be considered a social disqualifica- we can learn from the publishers of the pic- tion; but it is also a deeply rooted defect. torial weeklies who would not give to the They will persist in saying that it is the call- "designs for $1,800 cottages" the space they ing of an artist rather to paint pictures and do, if it did not pay them. An annual ex- model figures than to organize exhibitions; hibition of this kind in March, even in New 394 THE ARCHITECTURAL RECORD.

THE WANAMAKER BUILDING.

Astor Place, New York City. D. H Burnham & Co., Architects. NOTES AND COMMENTS. 395

York, would soon create a great deal of in- price of New York City real estate could terest. It would redound to the benefit of possibly have prevented Mr. Wanamaker the architects, who need not give their building on forever once he had got started plans with great detail and who would still with his limitless unit of design. Indeed wit- have the task of fitting building to site, and nessing the end piers, no wider, mark you, in time it would do a lot of good. than any of the intermediate piers, is not tha beholder left with the delightful impression of an "to be continued in our The new Wanamaker anticipated next?" A tenth bay that is the addition of Store, the one nearing THE, UNIT another "unit of design" of fifteen or fifty completion in New York more would neither increase the difficulties METHOD City, is an interesting of the architect or mitigate the effectiveness example of a method of OF of the composition. Even the addition of design which we think DESIGN may half a dozen more stories in the central sec- be named very properly tion would not tax the flexibility of the pro- "the Unit Method." Arch- ject or stale its variety. What shall be done itectural practise in dealing with the prob- to the man whom the King delighteth to lem of the has tended of skyscraper late honor and what should the Profession do to steadily toward the evolution of some fixed the inventor who by so singularly a simple scheme or formula of design, as in the and, device rendered, the hitherto thorny path of case of so many other labor-saving devices, design one of easy dalliance and the noble the work of the final discoverer was little art of architecture a vocation for the novice? more than the task of seizing and defining the suggestions and vague attempts of othrs> floating in the air unrealized. Of course- . Although the movement this does not detract in the least from the to preserve the Paul credit due to the ingenuity of the present PRESERVING Revere house in Boston inventor of the Unit Method, who has cer- ANCIENT appeals to the public tainly and in a most elegant manner brought almost wholly on his- the of the most ARCHITECT- design spacious skyscraper toric and literary grounds, within the attainment of even the most easy the house te authorita- commonplace talent. Hitherto, it has been tively stated to be the somewhat of a difficulty to "compose" your it oldest now standing in Boston. As such, eighteen stories, more or less, on a frontage has an architectural and archaeological in- of whatever dimensions it might be. By the and that terest that muet steadily increase, old method of design the problem of mak- attraction. in time may exceed its literary ing the fagade was attacked as a whole, or in with its It was built as early as 1681, and other words the was treated as the fagade two and a quarter centuries it must be not unit a method by which the difficulties of but in the only the oldest house in Boston were obviously a about. design augmented beyond front rank of all the old houses round certain almost in direct to point proportion As the purpose of the Paul Revere Memorial the increase of the dimensions. It is to easy Association is not only to purchase, but now to see how absurdly laborious and how its protect and strengthen the structure, a limited while ?t needlessly exacting upon capacity few peers may gradually fall away, for design such a method of practise is, pre- remains as a relic of the past. There is this the trick is so obvious oi cisely as conjurer's to be said, from the architectural point the once its mysteries have been explained. The view, in favor of these efforts to preserve the reader is invited to turn for a moment to structural remains of other days: As time herewith of the Wanamaker written in illustration goes on, the architectural history Store. their brick and timber will be far more is that on 4th Avenue of of the Here a facade legible and accurate' than the story nine members and thirteen stories, appar- events for which they merely offered once ently a composed, studied, highly developed upon a time a stage. For the latter they are front, but yet a second glance will disclose only stimuli to the imagination; in regard to the fact that we have before us nothing the former they are records of fact, and as more than a simple unit of design repeated such derive from the lapse of years a halo ninefold without accentuation or variation of of interest, however simply built and plain. any degree or kind. Could anything be more For this reason architects have good profes- simple, or adapt more admirably the means sional justification, if no other, for en- of an artistic parsimony to the ends of in- couraging and aiding so far as in them lies, finity? One feels that nothing but the ob- all efforts for preserving whatsoever was stacle of two thoroughfares and the high sincere and "genuine in the building of the 396 THE ARCHITECTURAL RECORD.

BfJILDING OF THE CHICAGO & N. W. R. R. CO. Chicago. Frost & Granger, Architects. NOTES AND COMMENTS. 397

what for themselves in that di- past. If we stop to ask ourselves doing something Europe would be without its rums and archi- rection. It has a chance to become one of the beautiful and attractive resorts of the tectural relics, and consider how many of these are younger than the house of Paul world. When it does if one may safely one of its Revere, we shall realize what, in the aggre- judge from the present promise chief charms will be the variety and interest gate, such movements as this can add to the of its domestic architecture. interest, charm and architectural instruc- tiveness of our own land.

Speaking of compre- the generosity Through CITY hensive plans for cities, and enterprise of a few the Ontario Association of COLORADO public-spirited citizens PLANNING of Architects has under- Charles Colorado Springs, IN taken the preparation of SPRINGS was Mulford Robinson such a plan for the city in TORONTO brought to that city of Toronto on what is AWAKING advise the summer to probably entirely novel of the about the parking and original lines. At the last annual meet- there was streets. The problem presented ing a great deal of emphasis was placed been unusually interesting, the town having upon civic improvement, with the practical laid out on a scale of true Western lavish- purpose of obtaining a share of it for hun- ness, with streets one hundred to one Toronto. The importance was recognized of dred and forty feet wide, when the traffic securing a report that should offer an ideal, feet. required roadways of only about thirty a picture of what Toronto ought to be and in Colo- As no manufacturing is permitted might be, toward the realization of which rado Springs, the traffic that offers is light every future step should count; and a com- in character as well as in volume, and as mittee was appointed to arrange for this. the line of development is wholly in the The members of the committee, after con- direction of a tourists' resort and of a home sultation, decided that local conditions were for the leisurely well-to-do, there was every such that the architects themselves would inducement to beautify the waste spaces of have to take a large part in directing what- the street. Over against this logical develop- ever plans were approved, and it decided to ment lay a practical difficulty in the neces- recommend the appointment of one of the sity of providing for irrigation if a single Association's own men. The member selected blade of grass was to grow where dust had was a Beaux Arts man, who has had con- been before. Mr. Robinson went into the siderable experience in large projects, and a subject very carefully and comprehensively, committee meets him once a week to discuss taking up the streets one by one in his re- his suggestions, approving, changing them, port, and providing a scheme for each. The or turning them down, as the majority de- city administration, which was at first in- cides. Practical engineers and street rail- clined to be suspicious, was so well pleased way men are also called in, to advise on when the report was made that the Council engineering and transportation questions, as unanimously passed a vote of thanks, and they would be by the ordinary expert. work on the improvement was at once be- There is thus being evolved a plan which it gun. The report, which was published in is hoped will give general satisfaction, and full in the newspapers and sent in pamphlet which it will not be easy to criticise with. form to every resident, called attention to entire impunity. That, at least, is the many things such as fine architectural ac- theory. How it pans out remains to be seen, cents now closing the vistas of certain and promises an interesting and instructive streets, and street views and possibilities spectacle. The man who is doing the plan- of which the people, as a whole, had not ning, however patient, must have one stopped to think, and it has had the effect would think an uncomfortable task with of stirring their civic pride as it opened their every tentative detail held up to critical dis- eyes. Indeed, a section of the vigorous cussion, and his undertaking the pleasing of Women's Club has taken civic art as the a majority. To choose an expert in whom subject of its study this year. Through the there is confidence and await his fully immense generosity of General William J. matured and completed plan, would seem Palmer, who not only gives the land for the easier as well as the wiser course. How- parks and boulevards, but improves it, Colo- ever, since there is willingness in Toronto to rado Springs is already rich in municipal 'try the experiment, the outcome may be beauty. It is good now to see the people awaited with interest. THE ARCHITECTURAL RECORD. 398

Boston, with all the fine country, and so is becoming more distinctly it has done a list a "capital" city. As the most beautiful city WHE.RE, things that must include the far in the country, it is showing the attractive TREES extended Commonwealth power of beauty, and the trend toward it is ARE avenue, with its pleasing likely to increase steadily for many years. and number- Justice Harlan's proposal has also the sig- WANTE.D undulations less curves strangely neg- nificance of adding weight to the guestion, lected the planting of the lately asked with much earnestness, are we cathedral builders? Protestant extension of that avenue with trees. It is becoming A cathedral has been finished in a easy to delay about trees, since their bene- just Berlin, Roman Catholic in the Cathedral of fits are never immediate; but for that very London, St. John the Divine is in New reason delay is especially regretable since it rising mightily York. Boston is the and takes so long to rectify it. A notable item of agitating subject, a number of smaller but ambitious and news, then, in the gossip of city development, costly cathedral churches are under The is that the first steps were taken this spring way. question is one of such as to the to secure proper tree planting on the exten- import make architect catch his breath. sion of Commonwealth avenue and on certain other similarly important streets. Once the trees are started, the better building up of At the request of the In- these avenues may be expected. As is well MONUMENT dianaP lis Civic Improve- known, the lower part of Commonwr ealth ave- ment Association, Charles PLACE., nue, where it forms a connecting link be- Carroll Brown has pre- tween the Public Garden and the Fens, is INDIANAPO- pared a report on the regu- in charge of the Park Commission, and ?s LIS lation of building heights shaded by many beautiful elms. Beginning around Monument Place, in the city of Newton, also to which, and the topographical and then to the Charles River, six miles from its commercial center of Indianapolis. As it is beginning, the avenue was extended in 1897 also, practically, the "civic center," the sug- trees were planted eight years ago and gestions are of no little interest and ap- have now well established themselves. But plicability. It appears that the construction the intervening three and a half miles have has been proposed of one or two tall build- remained, through a remarkable perversity, ings on the south side of Monument Place, still treeless. Yet this part of the avenue is and the fear that these would dwaft the from one hundred and sixty to two hundred monument created the demand for a report feet wide and spaces were specifically pro- on the whole problem involved. Mr. Brown vided for trees. finds that, "with no expenditure beyond that which is necessary in any event and with The proposal brought for- the minimum of regulation, a handsome ward by Justice Harlan, at architectural symmetry can be secured" in OA-rwirrko/DRAL tne General Assembly of a district already largely devoted to public the Presbyterian Church buildings and one which will compare favor- BUILDING this year, that the Presby- ably with any which have been obtained "in terians should build in older and wealthier cities by the expenditure Washington a great cathe- of many millions." He urges that the new dral church, is of much in- city hall, which he thinks Indianapolis will terest to architects. The proposal was de- have to begin to construct within a dozen should ferred, but by no means defeated. Indeed, it years, be placed on the square diagon- is expected that it will be adopted after a ally opposite the post-office i.e., between year or so of consideration, and in any case Meridian and Illinois, Ohio and New York it has the significance of further evidencing Streets. The east side of Meridian Street, the general and growing appreciation of opposite the public library, is, he says, the Washington as the capital of the nation in logical location for the Art Institute, and to more than the narrow political sense. Meth- secure for it so central, convenient and ar- odists, Roman Catholics, and Episcopalians tistic a location, he suggests that the city are already concentrating ecclesiastical and purchase the small and valuable park- at its educational enterprses there. Great labora- present site. He advises that these and any tories, universities, colleges, scientific col- other new buildings on the north side of lections, and churches are gathering in Wash- Monument Place be restricted to the height ington, as well as the great office buildings of the buildings now standing there, so that for public administration. It is becoming the prospective of the latter and- the view more and more of a winter residence for the be blocked. He would add a restriction of intellectual class and the leisure class of the the height of buildings hereafter to be NOTES AND COMMENTS. 399

erected on Illinois and Pennsylvania Streets, essential as in other public works. In Pitts- from Market north, so that their back walls burg it would be also an especially good shall not overtop the buildings that face business policy. upon the circle, or else some regulation of the architecture of the back walls. A similar Another pretty town of restriction of building height on the south, Massachusetts, where an but re- he thinks impracticable; he would ANOTHER, improvement society is "as architectural decorative quire good MINUTE, very active, has added to treatment" on the back of any building BO its historical and artistic constructed in that area that its rear can be MAN interest by raising an ex- seen from Monument Place, as is given to cellent figure of the Minute its front, and would limit buildings directly Man. There is a sort of on Place this side Monument. on to a height poetic justice in this artistic glorifying ot of seven or stories. eight The significant the uncouth and desperately patriotic and part of the report is the insistence it places earnest Minute Man, so that picturesque the of upon importance considering the sculptured figures, as their memorials, add of distant backs and overtopping buildings. beauty to lovely and peaceful villages. How little they could have anticipated such a fame! The Minute Man of Framingham, the Pittsburg, along with its latest to ba dedicated, represents the old time other peculiarities, is a city village blacksmith. He has just been sum- BRIDGES of bridges. The municipality moned for duty, and as he leaves his work, IN is said to own about fifty; still wearing his leather apron, with his and all one side of the city shirt sleeves rolled above the PITTSBURG elbows, showing is bounded by the broad the superb muscles of the arms, he pours Allegheny River, the great from the antique powder-horn into the pan bridges of which are not of his old flint-lock gun. The action is hap- included in this total since they are other- pily chosen and is said to be graphically ren- wise owned. Nor are the many bridges over dered, giving a very effective combination of ravines or for railroads in the City of Al- lines to the composition. The head is de- legheny, or in the several other communities scribed as especially fine and noble. The that make up the area of Greater Pittsburg, statue is the work of Mrs. Kitson. though all these unite in impressing the stranger. It is said that in Pittsburg one Of fine and high signific- can study every type of bridge. Yet the gen- ance is the well directed eral effect owing no doubt to the promi- SAN movement for the beautify- nence of the big river bridges is old-fash- FRANCISCO'S ing of San Francisco. Con- ioned and of ugliness. No accurate estimate sidered as a dream, the of the cost of the structures can be se- AMBITION project isn't new. From cured, for several were privately built and the early days when San simply bought by the city, but one cost a Francisco's destiny could million dollars and two others nearly half a first be anticipated, there have been those of million each so the aggregate must have been her children who pictured to themselves a large. What a pity it is that for this op- development so in harmony with the pic- portunity and for this money a better effect turesque natural conditions as eventually to was not secured! It would have been such a create a city that should challenge the ad- fine thing for Pittsburg, the city of steel and miration of the world thus says the "Sunset the city of bridges, to illustrate the possible Magazine." And it may be said in proof beauty of a steel arch, or the pleasant effect that Golden Gate Park had its inception long that may be given by harmonious lines, or ago, as time runs in the brief chronology of the decorative possibility of reinforced con- San Francisco. But such men seldom have crete, and especially the opportunity for the dominated municipal affairs, and the earn- architect to work in association with the en- estness of the few who wished for the city gineer in making the modern bridge a work beautiful could not hold and direct commer- of art. All this would have been an adver- cialism. To-day has been such a busy time tisement, in the great steel center where nu- in San Francisco that -there has not been merous hideous structures now cry out to much thought about to-morrow. Yet parks, the inquirer, "Don't use steel if you can help beautiful parks, came into cultivation In it. Go back to masonry or wood!" It is a many parts of the city; gradually the artis- comfort to find a writer in a paper, locally so tic as well as the strictly utilitarian crept influential as "Construction," urging that into the architecture of new business blocks, good taste in the designing of bridges is as and men with their fortunes made stopped 400 THE ARCHITECTURAL RECORD.

to think about the splendor of the bay and to failed, the president of the association took build stately, elegant homes upon browa up the matter and the bonds were success- which best commanded it. Neither was pub- fully placed in November, 1904. They have lic spirit lacking Charles Crocker gave the made possible the creation of a park drive, conservatory in Golden Gate Park; Thomas a block wide, connecting Golden Gate Park Sweeny donated the classic observatory with the Presidio, two playgrounds, a park which crowns Strawberry Hill; C. P. Hunt- opposite the Mission high school, and a site ington made possible the majestic falls which for the new library and the funds with bear his name; Claus Spreckels gave the which to begin its construction. Sewers, costly music stand to the people. Five years street paving and an addition to the Hall ot ago a zealous mayor led the fight for a Justice have also been provided, further $5,000,000 issue of bonds for the purchase ol bonds having been issued in February of this a solid mile of residence blocks and the con- year. But the thing for which the Associa- version of their sites into an extension of the tion is best known in the East is its engage- Park Panhandle from Baker street down to ment of D. H. Burnham to make for it a the heart of the city at Van Ness avenue comprehensive report on the improvement of and Market street, giving a splendid ap- San Francisco. The details of that report, proach to a noble park. Because of an ille- which is to look far into the future, are still gality, the Supreme Court had to nullify the awaited; but the "Merchants' Association procedure; but the bonds had carried by a Review" names the following as among the three-fourths majority and the will to make projects that are known to be under con- San Francisco beautiful became conscious of sideration: A plaza at the foot of Market its power. Almost simultaneously, heart- Street; the creation of a civic center (which ening the people and vastly stirring their it may be supposed will include the city civic pride, came the opening of the Orient hall, library and post-office, these being to American enterprise and the realization within three blocks of one another); a sys- that San Francisco must speedily become the tem of boulevards and avenues planned to gateway to an enormous commerce. From a facilitate the circulation of traffic and to "Western town, the popular conception prevent future congestion; the improvement changed to that of a world port to a rich of ocean and harbor fronts; park improve- and splendid city. ment; the preservation and architectural treatment of important viewpoints; some In a recent issue of the modification of street grades; a bay and monthly paper published ocean shore boulevard; the extension of THE by the Merchants' Associa- Market Street to the ocean; a boulevard ap- ADORNMENT tion of San Francisco one proach to Golden Gate Park from the Mis- of the strongest civic sion and from the heart of the city; the ASSOCIATION bodies in the United States treatment of Twin Peaks for park and resi- there is a long article on dential purposes, and a typical system of the work of the "Adorn- terracing and roadways for hilly districts. ment Association." This is the familiarly Although this list by no means exhausts the shortened title of the Association for the Im- subject, it is clear that San Francisco has provement and Adornment of San Francisco. steered her auto for a star; and when one The organization was formed in January, remembers the enterprise and courage of the 1904, with twenty-six members all promi- Western cities and the rapid growth of San nent men. Ex-Mayor Phelan was elected Francisco in importance and wealth, it seems president and the membership to-day ex- not too much to expect that a beautiful city ceeds four hundred. As a first step toward is to rise on our Western coast. the attainment of its object there was established an advisory council in which The committee having1 auxiliary societies, such as the California WHE.N in charge the construction Chapter of the A. I. A., were represented by in Pittsburgh of a memo- two delegates each. Thus matters of com- ART rial to the late Senator mon interest requiring united action are IS Magee, has awarded to brought up for the general discussion and LONG Augustus St. Gaudens the for that broad approval and support which is designing of a magnificent so much more effective than championing by drinking fountain sur- a single society can be. The September be- mounted by a bust or containing a medallion. fore the association was formed the city had A certain sense of relief on the part or the voted bonds to the amount of seventeen and committee, in the acceptance by St. Gaudens three-quarter millions for various practical of this commission, can be understood; but improvements. When the sale of these their delighted promise that the work will be NOTES AND COMMENTS. 4OI completed in three years, because the con- this subject, obtained by Mr. Ford from eight tract calls for such result, may be added to men "eminently qualified by special training" the humorous sayings of innocent commit- to treat of the matter, and nearly all of them tees. Those who deal with St. Gaudens men of national reputation in their special usually end by learning that ars est longa. field. The articles were first syndicated That is because he is more conscientious with through the press of Connecticut, so reaching regard to the demands of art than of com- a very large circle of readers, in an effort to mitteemen e. g., the Shaw Memorial, or the have the commonwealth seize the oppor- ancient and still bare pedestals before the tunity offered by the building of a new ar- Boston Public Library; but the committees senal to make a beginning in rendering the also learn, if they live long enough, that art State Capitol the center of a conspicuous is worth waiting for. Pittsburgh, as a city group of public buildings. The site commis- of double turns, night shifts, and the "quan- sion originally selected a characterless loca- titative analysis" in the matter of record tion on the side of a street, and it was this breaking outputs, may find such teaching weak and unimaginative course, so lacking in hard to appreciate; but where this lesson is foresight, that stirred Mr. Ford to make his hard to learn it is the better worth the learn- fight for the proper grasp of the opportunity. ing. If the argument has accomplished nothing The Municipal Art Soci- else, it has had a broadly educational effect, ety of Hartford has issued and has brought together a group of illus- GROUPING as its second bulletin a trated articles on the grouping of public PUBLIC pamphlet on the Grouping buildings that may well be of service else- of Public Buildings. It has where. It is rarely that a city includes BUILDINGS been prepared under the among its officials one who, out of public auspices of Frederick L. spirit, will throw himself into a contest with Ford, the city engineer, and so much enthusiastic earnestness, resource is a reprint of a series of twelve articles on and energy.

ENTRANCE TO THE BUILDING OF THE U. S. LEATHER CO. No. 38 Ferry Street. New York City. Frank Freeman, Architect. THE ARCHITECTURAL RECORD. 402

BROADWAY FACADE OF THE CHEMICAL NATIONAL BANK. New York City. Trowbridge & Livingston, Architects. S\VEET'S "The Book of the Catalogue" A Department Devoted to Items of Interest Regarding "Sweet's Indexed Catalogue of Building Construction"

"Sweet's Index" is now on the press, and will be distributed this Fall

We print herewith another fac-simile let- sional man are lumped together and a ter in regard to "Sweet's Index." The pub- single book is sent out to both of them, lishers have received several thousands like apparently on the assumption that the unto this one. All testify to the same fact, bigger the book the bigger the impression namely: That the old catalogue has become created on the recipient. To a certain almost valueless; first of all, by reason of its extent this may be so. The book ar- numbers which are too great for any archi- rives in a pompous way in the office tect to read, or even to handle, and sec- of the big architect. But the office ondly, by reason of its contents which are boy takes hold of it and leads it to usually too verbose, too full of "hot air," some remote shelf where it remains almost too indefinite, too full of matter that cannot as undisturbed as the big annual books of possibly interest any architect, and too free Government Reports. It is supposed that from definite prices, definite statements, and they may be of value some day. Nine- definite facts of any kind whatsoever. It is tenths of this expenditure is wasted. These interesting to study some of these cata- big books are not built for reference and logues. A certain firm has just issued an the more "mixed" they are and filled with expensive hardware catalogue. A great heterogeneous matter the more difficult it many dollars were spent upon it. One is for the architect to make any use of would naturally think that before expend- them. This is an age not of big books but ing thousands of dollars a careful inquiry of small books, and while publishers all over would be made among the very people for the world say it is the small handy pocket whom the catalogue was intended, asking binding that sells best, building material them or discovering from them what in- firms are almost, one might say, striving formation was of the most value. We saw to increase the bulk of their catalogues and one of these books recently on the desk of to get them bigger and bigger each year. an architect. It had been delivered with a Why not split them up into sections and mass of other mail matter, four-fifths of then distribute these sections where they which were catalogues. We asked the arch- belong, giving to the architect only the in- itect to examine the book with us and his formation that he needs? judgment finally was that the greater part One of the difficulties, no doubt, with of the catalogue was of no possible interest some of these big books is that in each case to him whatever. No architect, he asserted, there is usually some man "sitting on the specifies padlocks, or trunk locks, or drawer job." He tells the "boss" that the big locks, or key blanks, or cheap iron keys, or book is a great thing, and the "boss" is too trunk key blanks, or any one of a number busy with other matters to look into the of other articles which went to make up question. He does not go out among the considerably more than one-half of the vol- architects himself and rarely scrutinizes ume. These things were, of course, in- how far they use his gigantic catalogue. tended primarily for the hardware trade, He sits in his own office instead and justifi- but rather than reach the dealer separately ably enough, feels a certain amount of giving him the information suited to his pride in seeing the big book go out, and case, and the architect separately giving the thought does not occur to him that this him the especial information in which he feeling of pride may really not have very is interested, both tradesman and profes- much to do with a far more important mat- ARCHITECTURAL RECORD. 404 THE

_. _, OFFICE BU.LDINO HOUSE OF REPRESENTATIVES,

WASHINGTON. D, C.

September 29th 1905,

Index Department,

The Architectural Record Co.

14-16 vesey street, Hew York City.

Gentlemen :-

I note In the Architectural Reoord your de-

scription of "Sweet's Index Catalogue of Building Con*

struct ion" which seems to promise to tie. a very useful

device. Kindly advise me If there is any expense at-

tached to the installation of this catalogue, as I be-

lieve it would be of considerable use, In this office

for reference ,in connection with the work on the House

Office -Building the senate Office Building and the Power

Plant for the u. s. Capitol and adjacent Buildings.

Very respectfully,

OW-H. SENATE AND HOUSE OFFICE BUILDINGS. THE ARCHITECTURAL RECORD. 405

ter to him that of efficiency. It is in this tect asks for "a new catalogue system?" way that "the old catalogue method" has for Sweet's Index? And mind you, the run to weed. None has sought for the common idea is that the architect is an im- facts, or for that matter, cared about them. practicable person and it is the business Money has really been thrown out in a man that is the fellow of solid horse sense! routine manner for pamphlet after pamphlet "Sweet's Index" is now on the press and and book after book, 70% or 80% of which shortly will be issued to the architectural have gone directly into the waste paper profession and to others. basket. Here are some of the Building Material Is there any wonder that the archi- Firms that are represented in "Sweet's":

Acetylene Apparatus Mfg. Co. Chicago Hardware Co. Goodale Marble Oo. Allith Mfg. Co. Chicago Spring Butt Co. Goodhue, Harry E. American Art Marble Co. Chicago Varnish Co. Goodyear Tire & Rubtw Co American Enameled Brick & Tile Churchill & Spalding Goulds Mfg. Co. Co. Cliff & Guibert _;o. Graf, Frank H. American Encaustic Tiling Co. Clinton Wire Cloth Co. Graff Furnace Co. American Luxfer Prism Co. Cole, George N. Grand Rapids Carved Moulding Co. American Machinery Co. Colt Co., J. B. Grand Rapids Refrigerator Co. American Mason Safety Tread Co. Columbia Heating Co. Grant Pulley & Hardware Co. American Porcelain Co. Columbian Fireproofing Co. Griffin Roofing Co. American Prismatic Light Oo. Consolidated Rosendale Cement Co. Gross & Horn. American Terra Cotta & Ceramic Continuous Glass Press Co. Grueby Faience Co. Co. Cooley, Win. H. Guastavino Co., R. P. & F. American Tin Plate Co. Corbin, Hainee, Jones & Cadbury Co. Co. Cornell J. B. J. M. American Tin & Terne Plate Co., & Harris Safety Co. Covert Co. H. American Varnish Co. W. Hart Mfg. Co. American Ventilating Co. Creamery Package Mfg. Co. Hartmann Bros. Mfg. Co. Anchor Post Iron Wks. Crocker-Wheeler Co. Hascall Paint Co. Andrews & Johnson Co. Crook, W. T. M. T. Cragln. Hawes & Dodd. Robt. Anthrydine Co. Cummings, A. Hayes Co., George. Anstheimer. Hans Dahlstrom Metallic Door Co. Hayes Mfg. Co. Artificial Marble Co. Darby & 9ons Co., Edward. Heaton & Wood. Artiste & Craftsmen Co. Davis Acetylene Co. Hecla Iron Wks. Metal Oo.'s. Associated Expanded Davis Co., John. Hewitt & Bros., C. B. Asbestos & Magnesia Mfg. Co. Decorators' Supply Co. Heine Safety Boiler Co. Ashtabula Mfg. Co. De La Vergne Machine Co. Herbert Boiler Co. Atlantic Terra Cotta Co. Deming Co. Herring-Hall-Marvin Safe Co. Atlas Portland Cement Co. Detroit Show Case Co. Higgin Mfg. Co. Automatic Mail Delivery Co. Dexter Brothers Co. Holland Radiator Co. Dow Wire Glass Badger, B. B. & Sons Co. & Iron Wks. Holophane Co. Rarber Asphalt Paving Co. Duplex Hanger Co. Howard Iron Wks. Barnes & Erb Co. Davidson, M. T. Howard Clock Co., E). Detroit Barrett Mfg. Co. Fireproofing Tile Co. Humphrey Co. Huntington Roofing Tile Co. Bassett-Presley Co. Eastern Sheet Steel Wks. Hydraulic Press Brick Co. Benjamin Electric Mfg. Co. Eaton, Cole & Burnham Co. Ideal Bernstein Mfg. Co. Eco Magneto Clock Co. Register & Metallic Furniture Co. Berry Bros. Economy Drawing Table Co. Bickelbaupt, G. Economy Paving & Const. Co. Imperial Clay Co. Instantaneous Binswanger Co., H. P. Edison Portland Cement Co. Water Heating Co. Bird & Son, F. W. Hlectric Utilities Co. International Fence & Fireprooflnc Co. Bird & Co., F. A. & W. Electro-Dynamic Co. Blanchard Co., J. F. Elektron Mfg. Co. Jackson Co., Wm. H. Blatchley, C. G. Elevator Supply & Repair Co. Janusch, Estate of F. G. Blenio Fireproofing Co. Elite Co. Jewett Refrigerator Co. Marble Co. Blue Ridge Empire Safety Tread Co. Johns-Manville Co., H. W. Bommer Bros. Emmel Co. Johnson Temperature Regulating Borough Bronze Co. Enos Co. Co. Brown Hoisting Machine Co. Eureka Refrigerator Co. Kaestner & Co. Broschart & Braun. Excelsior Terra Cotta Co. Kanneberg Roofing & Ceiling Co. Bruce-Merian-Abbott Co. Excelsior Steel Furnace Co. Brunswick Co. Keasbey & Mattison Co. Refrigerating Metal Buffalo Machine Co. Farrin Lumber Co.. M. B. Keighley Ceiling & Mfg. Refrigerating S. Burdett-'Rowntree Mfg. Co. Federal Electric Co. Co., Burlington Venetian Blind Co. Filbert Paving & Construction Co. Kellogg-Mackay-Cameron Co. Kelsey Heating Co. Burrowes Co., E. T. Fireproof 'Building Co. Kennedy Valve Mfg. Co. Burton Co., W. J. Fireproof Door Co. Fleck Bros. Co Kent-Costikyan O. Cambridge Tile Mfg. Co. Flint Granite Co. Ketcham, W. Caldwell Co. Kewanee Boiler Co. Mfg. Flour City Ornamental Iron Wkf C. W. Kewanee Pneumatic Capes, Folsom Smow Guard Co. Water Supply Carbondale Machine Co. Co. Ford Co., Thomas P. Carey Mfjr. Co.. Philip. Keystone Co. Frink. I. P. Fireprooflng Conrad. Plaster Carlson, Frost Mfg. Co. Keystone Co. Carpenter Co., F. EX Kinnear Pressed Radiator Co. Cayuga Lake Cement Co. Galloway, Wm. Kinnear Mfg. Co. Central Foundry Co. Gamewell Auxiliary Fire Alarm * King, J. B., Co. Central Iron Wks. General Fireproofing Co. Kitts Mfg. Co. Chamberlin Metal Weather Strip Geetzy Co. Knisely Bros. Co. Gilbert ft Barker Mfg. Co. Knisely Co., H. C. Chesebro. Whitman & Co. Glen Mfg. Co. Kohler Bros. Chester Mantel & Tile Co. Globe Mfg. Co. Koppel, Arthur Chicago Clothes Dryer Wks. Globe Roofing & Tile Co. Koch & Co. ARCHITECTURAL RECORD. 406 THE

Larsen, Anton. Northampton Portland Cement Co. Sloane, W. & J. Lasar-Latzig Mfg. Co. Northwestern Terra Cotta Co. Smith Mfg. Co., H. C. Lawler Co., W. F. and D. Northern Electrical Mfg. Co. Smith's Son, John R. Lawrence Gas Fixture Mfg. Co. Norwall Mfg. Co. Smith & Anthony. Lawson Mfg. Co. Brick Co. Smithson, C. and S. Opal E. G. Lindstam, S. F. Otis Elevator Co. Soltmann, Co. Spencer, Robert C, Jr. Link Belt Engineering John John K. Peirce, Spiers, R. N. Livezey, Pullman Automatic Ventilator Co. W. N. S. Sprague Electric Co. Lloyd Co., T. C. Filter Co. Prouty Co., Stanley Hod Elevator Co. Loomis-Manning Prometheus Electric Co. Burnham Co. Standard Concrete-Steel Co. Lord & Pressed Steel Tank Co. Lorillard Refrigerator Co. Standard Co. Paddock, W. W. Standard Table Oil Cloth Co. T May and Fieberger. Paltridge & Co., R. W. Stanley W ks. McCabe Hanger Mfg. Co. Pantasote Leather Co. Stevenson Co. McCreery & Co., Jas. Parker, Preston & Co. Stewart Iron Wks. Co. McCreery Co., Joseph Parsons, Charles H. Storm Mfg. Co. McCray Refrigerator Co. Peerless Brick Co. Stowell Mfg. Co. McFarland & Co., J. C. Peerless Kitchen Boiler & Supply Sunlight Gas Machine Co. McGuire, S. K. Co. Swain Mfg. Co. McLain Co., S. C. Pels & Co., Henry. McLaury Marb.e Co., D. H. Penn American Plate Glass Co. Taylor Co., N. & G. McWade, Wm. J. Penn Engineering Co. Tea Tray Co., The Mackolite Fireprooflng Co. Perfect Fresh Air Inlet Co. Terwilliger Mfg. Co. Door Co. Thatcher Manhattan Fireproof Perfect 'Safety Window Guard Co. Furnace Co. Mannen & Esterly Co. Persian Rug Manufactory. Thermograde Valve Co. Co. Marine 'Engine & Machine Philadelphia Water Purification Co. Thomas, Roberts, Stevenson Co. Marsh Co., Jas. P. A. J. Thomas & Smith John W. Phillips Co., Masury & Son, Philadelphia Pitt Balance Door Co. Thompson-Starrett Co. Maurer & Son, Henry J. Plate Glass Co. Thomson Wood Finishing Co. Co Pittsburgh Mechanical Metal Mfg. Plenty Skylight Wks., Josephus Tiffany Enameled Brick Co. Meneely Bell Co. Portal Bed Co. Tirrell Gas Machine Lighting Co. Menzel & Son, Wm. Porter Screen Mfg. Co. Toch Bros. Co. Merchant & Evans Power Specialty Co. Trent Tile Co. Merritt & Co. Powers Regulator Co. Trenton Potteries Co. Mertz's Sons, George Prescott & Son, J. B. Truss Metal Lath Co. Meurer Bros. Co. Preservaline Mfg. Co. Tucker & Vinton Corp. Michigan Pipe Co. Protective Ventilator Co. Tuttle & Bailey Mfg. Co. Miller & Bro., Jas. A. Tyler Co., W. S. Milner Seating Co., A. B. Rambusch Glass & Decorating Co Union Brassworks Co. Mississippi Glass Co. Ramsay, Andrew Union Fibre Co. Moore & Co., B. B. Rapid Heater Co. Union Steam Co. Morgan & Co. Rapp, John W. Pump Universal Tread Martin J. Raymond Concrete Pile Co. Safety Co. Monahan, Unit Monarch Acetylene Gas Co. Reading Stove Wks. Concrete Steel Frame Co. U. S. Radiator Co. Monarch Water Heater Co. Redlich & Co., Wm. F. U. S. Mineral Monroe Refrigerator Co. Reliance Ball Bearing Door Hang- Wool Co. Montauk Fire Detecting Wire Co. er Co. U. S. Wind Engine & Pump Co. Mosaic Marble Co. Reno Inclined Elevator Co. Utica Heater Co. Mosaic Tile Co. Revis, Wm. H. Van Kannel Revolving Door Co. Muralo Co. Richards Mfg. Co. Variety Mfg. Co. Murphy Varnish Co. Richardson & Boynton Co. Vehicle Specialty Co. Mueller Mfg. Co., H. Richardson Engineering Co. Voigtmann & Co. Co. Murray Iron Wks. Rinald Bros. Wadsworth, C. J. Murtaugh Co., Jas. Roberts Mfg. Co. Waring, Chapman & Farquhar. Co. Municipal Lighting Rock Plaster Co. Warner Co., Charles Municipal Engineering & Contract- Rockport Granite Co. Watson Mfg. Co. ing Co. Roeblins; Construction Co. Wheeling Corrugating Co. Iron S. Murphy Wks. Roebuck Co., White Enamel Refrigerator Co. E. Morse Co., F. Ronalds & Johnson Co. White Fireproof Construction Co. Mycenian Marble Co. Rookwood Pottery Co. Whitehall Portland Cement Co. Rush Acetylene Generator Co. Machine Co. Whitman Co., J. Franklin Narragansett Russell and Erwin Mfg. Co. National Filter Co. Whitley. John Wiener Ernst. National Fireproof Paint Corp. Sackett Wall Board Co. Co., National Fireprooflng Co. Safety Window Lock & Ventilator Wight-Eaeton-Townsend Co. National Lead Co. Co. Wilcox Mfg. Co. Wilks National Tile Co. Sail Mountain Asbestos Mfg. Co. Mfg. Co., S. Wilke Co. National Ventilating Co. Samson Cordage Wks. Mfg. John National Waterproofing & Cleaning Sayre and Fisher Co. Williams, Co. Schouler, W. W. Williams & Whitman. Wilson A. Naturo Co. Sealey & Co., Henry E. Co.. & S. Brick Lumber Wilson Mfg. Co., Jas. G. Newburgh Co. Schroeder Co., John Wimmer New Construction Co., T. Scully Ventilator Co. Adjustable Window Shade New Zinc Co. Machine Co. Co. Jersey Sedgwick Winslow New York Asbestos Mfg. Co. 9hirley Radiator Foundry Co. Bros. Co. E. New York Fireproof Column -Co. Shone Co. Winslow Co., J. Wirt & Knox New York Mosaic & Marble Co. Sicilian Asphalt Paving Co. Mfg. Co. New York Prism Co. Silver Lake Co. Wood Mosaic Flooring Co. Nonpareil Cork Wks. Simmons Co. Woodbury Granite Co. Norcross Co. Simplex Concrete Piling Co. York Mfg. Co.