tTbe

VOL VI APRIL-JUNE, 1897. NO. 4.

WOODEN HOUSES IN SWITZERLAND.

to the Geneva National amples presented have been taken VISITORSExposition of 1896 have had an from almost all parts of Switzerland, opportunity to admire quite a and we find every architectonic form large number of wooden buildings of wooden house, from the humblest typical of those peculiar to the different and most modest, such as the little Cantons of Switzerland chalets for chalets (mazots) built high up on the mountain, valley and plain, country mountains to shelter the cowherds in houses, etc. of various epochs, from summer time, to the richest and most the sixteenth century to the present day, artistic creations in the way of carved all grouped together under the title of and painted fagades adorning cha- the "Swiss Village." The idea in the lets of the valley and of the plain, minds of the organizers of the Expo- handsome inns, or dwellings of well- sition was to give a sort of epitome of to-do farmers, such as the Chalet de one of the most interesting, and cer- Fischental or the Auberge de Treib. tainly the most original chapters in Everything is authentic enough to the history of Swiss art that of house satisfy the most exacting of archae- building in wood and it was import- ologists. Imagination has been ant that visitors should have before brought into play only in the group- their eyes a picture of the surround- ing of the chalets and the arranging ings amid which former generations in a village street, square, lanes, passed their lives, and should see pump, etc. of elements procured what a thorough and charming sense from all parts of Switzerland. of art, what graceful and picturesque But the "Swiss Village" in the Ge- originality, had been displayed by neva Exposition goes beyond the ob- Switzerland in that architecture which ject which was at first contemplated. is peculiarly her own. The "Swiss The idea was to reproduce a national Village," therefore, was arranged on feature, and we find that the bringing historical lines. Each house or chalet together of the elements of this his- figuring therein exists, or did at one torical picture has resulted in the re- in each has its vival of a and the restoration to time exist, reality ; date, style of honor of a mode of house- its place of origin in fact, its identity a place which can be at the is fully established. These reproduc- building employed thus a va- tions are absolutely faithful, not only present day, resuscitating most architectonic the general plan and the mode of con- riety of agreeable It is a natural album for the use struction being exactly followed, but forms. and we are in- also the smallest details of the painted of architects and artists, and carved ornamentation. The ex- clined to believe that, the example now RECORD COMPANY. All rights reserved. Copyright. 1897, by THE ARCHITECTURAL

Vol. VI. 4. 1 . 416 THE ARCHITECTURAL RECORD. having been given, we shall witness a the decoration of the interior. Noth- renaissance of the art of wood- ing is better adapted for this purpose working. In Switzerland, architects than wood, by its color, its grain, and have already begun to study the old the facility with which it can be orna- models of chalets, and the modern edi- mented, moulded and carved; yet in fices in course of erection (photo- most cases it is sought to hide the ma- .graphs of which will be given) no terial employed by means of papers longer present those architectural ab- and hangings, thus taking away the surdities that are embodied in certain stamp and character of the building. fanciful chalets built during the last Lastly, the deplorable custom which twenty-five years. By studying the exists in the United States of painting faultless works of former times one the whole of the woodwork puts the gets a fuller comprehension of the finishing touch to it! All the houses fundamental principles of chalet archi- are colored in some hue or other, and tecture, all of which principles have beneath this coating there might just their in the art of in as well be or or stone. origin working plaster, brick, wood in carpentry. The effect is cold and commonplace. In America, where wood is such a In Switzerland, on the contrary, where favorite material for the construction the woodwork is left in its natural of country houses, it is evident that the color, being merely treated with re- fact mentioned above, namely, that fined linseed oil, the fronts of the cha- this art has its own principles and its lets become bronzed and take various own technique, is in too many cases shades as the years go by with their forgotten or ignored. It would ap- showers and their sunshine, and they pear that architects are unable to acquire an exquisite patina which cast aside the theory and practice of makes each habitation a living thing in stone work and believe it is possible to harmony with its surroundings and its produce the same effects with wood that climate. are obtained from stone. Hence the In Switzerland, too, and the other ridiculous result that many of the countries where the woodworking art of in country houses wealthy people has flourished and created a style, in- the United States have colonnades and stead of masking and hiding the mate- frontons, attics and porticos, treated rial employed, every effort has been in wood. This has 'been done and is exerted to make the most of its deco- still done and it is rative hence the being every day, properties ; joists are nothing less than an architectural exposed, the projections of the upper heresy. It is a complete jumble floors emphasized, and the joints left of the most elementary principles of uncovered; the roofs are developed the building art. An architect who and the eaves extended, protecting the desired to reconstruct the Parthenon house and producing the finest decora- in iron would not be guilty of a graver tive effect imaginable with their sup- error than this. porting brackets. Inside, .wood forms Another cause of the inferiority of are the basis of the ornamentation, the wood architecture in America is the walls are wainscoted and the beams manner of placing the boards on the are left visible in the ceiling. This is walls, the upper ones usually over- the natural and logical decoration of a lapping the lower. The certain result of chalet. Following in this way the most this is to prevent any decoration of the simple and the most evident principles fronts, and to produce, by the numer- a style of architecture has been created ous lines of the revetments, a fatiguing which is full of grace and originality. effect which mars the appearance of Before giving a detailed description the edifice. Besides, the joists are not of the different types of chalet, it is visible and give no idea of the internal necessary to furnish a little general in- structure of the house. Furthermore, formation as to their dates and history. a proper use of wood is not made in The art of building in wood has flour- WOODEN HOUSES IN SWITZERLAND. ished in Switzerland to a special ex- very curious survivals, showing how tent since the sixteenth century. The the trades' corporations have clung to finest specimens of wooden edifices their traditions and defended them belong to the seventeenth and eigh- against the learned innovations of the teenth centuries. The chalets of those architects. Even in the masons' trade periods are those which have the best we see how the existence of the Gothic ornamentation and present the most arch has been prolonged long after the perfect styles. The farmers' cnalets of resurrection of Vitruvius radically our own day are not so rich, nor in modified the principles of architecture. such impeccable taste. It is for the In the woodworking branch this resist- edifices of the upper classes to con- ance has been complete. The carpen- tinue the sound traditions of~the last ters have repelled all attacks made century. All the elements exist, and upon the traditions handed down to architects have the opportunity to them by their ancestors. They have make a close study of the most perfect realized that they exercise a special models. It would be unpardonable to art, with its own principles, require- copy the errors of our predecessors ments and beauties, and also its own and be content merely to get some- limits. These principles have been de- where near the mark. veloped by them and carried to their There is another interesting obser- full conclusion, and, remaining thus vation to be made upon the style of faithful to themselves, they have at- decoration illustrated in chalets. We tained a genuine architectural style. have here an art which flourished in Even if one is only slightly ac- the sixteenth, seventeenth and eigh- quainted with the early Romanesque teenth centuries that is to one cannot fail to see the ; say, during decoration, the period when, in stone architecture, resemblance thereto of some of the the ornamentation borrowed from the motives met with in the Swiss chalets. antique Roman was, through the neo- And if one has studied the origin of classic Renaissance, at the height of its the Romanesque style and traced its when the of ancient bas- roots in the industrial arts; if one has glory ; study reliefs and monuments led Italy, first, examined the earliest manifestations and then France and the rest of the of carpentry in Norway and Sweden civilized world, to abandon the archi- all that distinct and very original deco- tectonic and decorative styles evolved ration revealed in the doors of certain by Christian and feudal Europe, in or- churches constructed in wood one der to resume a tradition long dead and cannot have helped noticing the large which had been beautiful and brilliant part which wood decoration, in a word the has in the only because it was the natural and carpenter's art, played formation of the am1 legitimate outcome of a special society Romanesque This influence is unde- and a special civilization. At that Gothic styles. it has been studied period, when the craze for the uncouth niable, although by few. who have examined and the rococo sprang up (it endures very People reached those of wood- still), wood architecture had primitive examples have been struck the fullness of its growth, and its eff- work must by lorescence was in no wise modified by the very oriental character of some of the decorative motives. In some of the strong current which carried Eu- the twine and rosework there is clear rope towards the antique. On the con- has con- evidence of our common oriental ori- tary, the woodworking art least sub- served the traditions of the Middle gin, and it is not one of the for astonishment to find that civi- Ages and we are able to see on the jects fronts of some of these chalets, per- lization did not spread solely by way of the Mediterranean basin, but that petuated for our delight and wonder- and a certain current of art ment, the arabesques and palm branch- traditions cre- traveled from the East to the es, the roses and the flower-work, directly ated bv the inventive fancv of the mas- North. It is thus to Romanish art, to the ters of that period. We meet with some !

422 THE ARCHITECTURAL RECORD.

art of as in of this woodworking practiced kind of roof. It is scarcely ne- early times in the North of Europe, cessary to draw attention to the ex- and, if we wish to back still treme go further, gracefulness of this roofing, nor it is to the that we must in to East, look the elegance and style which it im- order to find the of the orna- to the entire origin parts edifice ; but it should mentation that subsists to-day upon be noted that not only is its silhouette the fronts of our chalets. These are charmingly picturesque, but it is the sound and authentic patents of nobility sole logical and rational roof for a cer- for Wood Architecture. Our carpen- tain kind of temperate climate the ters have been unconscious of the high Swiss, in fact. The greater number of of the traditions antiquity of their call- chalets of the plain are covered by but have their ing; they performed high roofs of this sort, recalling the task with earnestness and candor; they beautiful roofs of the Middle Ages have a and ancient pursued good craft, which the French sixteenth century and it is legitimate, even in an ephem- has handed down and was able to com- eral review to so and render for article, say bine, a time, even with the prin- them this homage. ciples of construction of the Renais- * * sance. We lost a great deal, not only Let us now deal with the practical in grace and picturesqueness, but also and technical side of our subject. Va- from the point of view of comfort ried as are the chalets found in Switz- and durability, when we abandoned erland, they can nevertheless be com- this system and replaced it by flat prised within three principal classes, roofs, and often by galleries after the to wit: the chalet of the plain, the Italian fashion. chalet of the mountain side or of the Fig. III. shows another admirable valley, and the chalet of the heights. specimen of these large roofs, which We will give two or three examples of seem to envelop the house protect- each of the first two classes, but will ingly. It belongs to a house at Stanz. limit ourselves to one chalet of the The faqade is constructed in bays of third class. The last-named type is not joists bricked in and covered with suitable for us, whereas in the other plaster, so we are here only on the categories there are numerous speci- border land of wooden buildings. The mens that could be copied by us and roof, however, is typical, being quite adapted to the reciuirements of con- that of a chalet. The line of the main temporary life; in fact, there is a large roof is broken; it is inflected so as to series of edifices in exquisite taste cover the staircase and the external which would furnish country houses gallery; at the summit the gable-end thoroughly habitable and of pleasing is cut off, in order to avoid the too aspect. In a future article we shall acute angle which would have result- treat of the technical side of chalet ed from the meeting of the two as- construction in Switzerland, giving cending lines. This ingenious ar- the methods followed at present and rangement is very frequent in wood the cost of erection. architecture. The reader will remark The roof will assist us in classifying the large mass of the dormer win- the chalets. It is modified in a very in- dow. True to the principle enunci- teresting manner according to climate ated above, the architects in wood and altitude. If the climate is a wet one, have never sought to deceive by hid- the roof is made higher and steeper; ing the organic parts of the building, the gable is raised and brought for- but have preferred to let them stand ward to shelter the front, while the forth in all their picturesqueness. It steep slope of the roof causes the rain should be noticed, too, as we have an to off run rapidly into the gutters in- *We give here, after the Chalet de Fischenthal, stead of on the thatch- one of the most elaborate types of chalets of the remaining plain, a mazot, simple and primitive chalet of th planks. The fine Chalet de Fischen- heights, which is only in use during the summer and which needs no more detailed thal description. (Fig. i)* affords a perfect example (Fig. II.) WOODEN HOUSES IN SWITZERLAND. 423 illustration before our eyes, that the was built in 1785 for some well-to-do chimney is provided with a board, farmers in the Canton of Zurich. The which is intended to be upraised on "Swiss Village" contains a reproduc- one side or the other according to the tion of the front and roof, and it is direction of the wind. Before finish- from this double point of view that we ing with this house, we must not omit shall examine it. It will tell us a good to say a word about the beautiful as- deal about the principles of house- pect of its front, with all its frame- building in wood and about the decor- work in full view, its exposed beams ative effect aimed at and which is only adding to the architectonic effect, and obtainable from that material. of its window-frames and roof-brack- We have already spoken of -the roof ets, which appear in all their solidity, as regards its height and steep slope. to the advantage of the general effect. Fig. V. gives a three-quarter view of We see here a most successful appli- the chalet, showing the roof under a cation of those principles that consti- new aspect. One can form an idea of tute the beauty and elegance of wood how it juts out over the faqade and architecture. However, we shall deal how the house seems to take shelter in detail with each of these points, and beneath it. In the "Swiss Village" the for the present only wish to show one chalet has a frontage of 27 feet, and or two of the best specimens of high the roof projects a little more than 4 roofs, which are to be met with in feet. It is to the steepness and the places where rain is more often to be overhanging of the roof that the cha- expected than snow. let owes its admirable state of preser- On the other hand, in spots where vation. Wooden constructions require there is much snow the roofs are en- that their front and lateral walls the tirely different. Instead of being built should be protected from inclem- so as to throw off the snow, they are ency of the seasons; hence the exten- flattened in order that it shall accu- sion of the roofs, a feature from which mulate on the house, for a thick layer the ingenuity of the architects has of snow protects the dwellings from managed to obtain such picturesque the roof the extreme cold just as it shields the effects. In front (see Fig. i) seeds in the earth from the verv hard is sustained by large brackets, which frosts. Thus the roofs are flat and are sufficiently massive to contribute the and low,and are usually covered over with to the general effect of fagade, it is in the shingles,the beams projecting beyond we see once more how very to throw the house and forming a sort of ledge nature of wood architecture on which the snow rests. They cer- into relief all the frame-pieces of the utilize the same for the dec- tainly have a less picturesque effect edifice and is further than the high roofs, but they are in- oration. The roof supported of handsome dispensable in certain climates in the by pendentives design, the brackets. These relieve mountains, the upper valleys, etc. We resting on the lines give an illustration of one of these in the monotony of ascending a the Chalet de Berlingen, Canton de and give the entire building stamp Thurgovie (Fig. IV.). The gable in this of elegance. itself tells us case is also cut off, and the roof pro- The fagade unequivo- all the secrets of the construc- jects nearly two meters. Compare cally the horizontal lines of this roof with tion. The whole framework of joists Be- the almost vertical ones of the Chalet is vertical, and, of course, visible. boards are olaced de Fischenthal. The two systems are tween the beams the the other. The fa- totally different. one overlapping of these as- At this point we will make a halt with qade is entirely composed the window the rich and handsome chalet of the val- cending lines/ broken by ley that of Fischenthal, for instance, frames. here one of the which is one of the most perfect tvoes We touch upon wood-builders of wood architecture. This chalet points on which the

THE ARCHITECTURAL RECORD.

FIG. VII. DETAIL OF CHALET WENDOW. have displayed their taste with the ever have been obtained by an inflex- greatest success. They have deeply ible adherence to the principles of the studied the matter of windows; they architects. have employed divers forms; they One other characteristic of the win- have made them double and triple, dow in wood architecture is found in united in a single frame, and have pro- the Chalet de Fischenthal, namely, duced some charming varieties. In the prolongation of the frame. It the course of these articles we shall does not merely surround the win- show a number of examples. These dow, but extends below it as far as the windows rarely appear singly; mostly floor, thus giving it a larger place in they are double, and very often triple the ensemble of the facade. The panel and quadruple. The reason of this is enclosed by the frame below the win- found in the arrangement of the cha- dow is generally decorated. In the let, which usually has only two floors, present instance this decoration con- and with low ceilings it is not admiss- sists of a lozenge, which is repeated ible to have high and wide bays, beneath each window. whereas a series of little connected Lastly, the frame itself demands some windows has a most pleasing effect sort of decoration, and in chalet archi- from the inside. tecture the frame-motives have fur- It is to be noticed also that symme- nished ornaments admirable in style. try is scarcely ever aimed at, although We need only cite the frames belong- it is considered by pur architects to ing to the Chalet de Fischenthal and be an absolute necessity. In the finest those of the Maison de Stanz, of the chalets the place and grouping of the latter of which we give a separate il- windows have been decided by fancy lustration (Fig. VI.). Here we have, not and personal taste, and one cannot merely efforts more or less happy, but help recognizing that the graceful a complete art that has attained its full freedom of our forefathers has done expansion and the full mastery of its more to make the window a decora- effects. tive future of the facade than could Fig. VII. shows a delicious set of low FIG. VIII. -DECORATION IN CARVED WOOD CHALET DE FISCHENTHAL. 428 THE ARCHITECTURAL RECORD. windows taken from a chalet in the nothing to the ancient classic, has that Canton of Appenzell. It is after Va- special beauty which was attained in rin's well-known work. We propose the most exquisite works of medieval to give other models of windows with decoration. overhanging ledges, which will be The wood used in the construction found equally charming. of the Chalet de Fischenthal is deal. Our last illustration (Fig. VIII.) It was left in its natural state and shows one of the best specimens of probably merely treated with linseed carved woodwork. It is the foliag-e on oil. It has, therefore, a beautiful red- the ground floor of the Chatel de Fisch- dish brown patina to which each pass- enthal,which separates the two groups ing year adds an additional mellowing of windows. This ornament, owing touch.

Jean Schopfer. FIG. 6. HIPPLEWHITB SIDEBOARD.

CHIPPENDALE FURNITURE.

furniture is the The most common misuse of the WHENEVERsubject of conversation it will name is its application to sideboards, not be long before the name and this is encouraged by many deal- Chippendale is introduced. It seems ers in furniture who know better but to have a peculiar fascination for the thereby avoid dispute and make a tyro in furniture lore and often his sole sale. stock in the names of prominent furni- It is the endeavor of this paper to ture makers. Usually there is a more or explain what are the characteristics of kind less definite idea of some style or Chippendale furniture, and the differ- }f furniture with which the name is as- ences between it and the nearly con- sociated, even among those least in- temporaneous makes with which it is formed on the subject. In a general confused. way every one on hearing the word In the second half of the seventeenth Chippendale calls to mind some article century what is known in architectural in the of furniture he has seen either arts as the Rococo style began to exert shops where "antique" furniture is sold its influence in all civilized countries. or in the house of some friend who has At first the purer and simpler forms of a "Chippendale room." Such a piece the Renaissance were mixed with those of furniture they recollect is of mahog- of the new style, but finally the greatest any, and, perhaps, has claw feet, but freedom of treatment prevailed, every- further than this no definite idea of its thing taking the most fantastic forms detail is fixed in their memory. The and combinations. term is used so' regardless of its pro- In Rococo work there is a promi- per application that those who are fa- nence of ornamentation, and an entire miliar with styles are in doubt whether disregard of constructive principles. in the most varied the speaker is applying the word cor- The lines are curved for no all rectly or not. And to those who do not manner, particular reason; understand the differences in furniture straight lines are avoided. The most ornaments are styles the word includes almost any- characteristic scrolls, fruit flowers. thing that is old-fashioned. shells and garlands of or 430 THE ARCHITECTURAL RECORD.

Rosengarten says: ''During this period man and Cabinet Maker's Directory" the deterioration of architecture and was published. This was by Thomas taste went hand in hand with the con- Chippendale, and was printed in 1754. unnatural of temporaneous fashion Chippendale was a carver, who un- wigs and the senseless want of taste in the employment of pigtails and pow- der; and a certain affinity between the architecture of the seventeenth and eighteenth centuries, and the method of dressing the hair which then pre- vailed has led to the expression 'pig- tail and periwig style' being employed to describe the period under consider- ation." This style of work was almost uni- versal. It was better carried out in

Fig. 2. Type of Chippendale Chair.

doubtedly learned the trade from his father, a maker of carved furniture. The book of sketches he published is one of the earliest (perhaps the earli- est) of books on furniture in the Eng- lish language. This, together with the fashion for old work, has much to do

Fig. 1. Chinese Chair Chippendale.

France, where it characterized the work at the time of Louis XV., than elsewhere. In other countries the details are coarse and less refined. Paris was the model for imitation throughout Eu- rope, and except for the local influ- ences the Rococo style became univer- sally the same. England did not escape the fever for the French style, though, Fig. 2a. Simple Chair ty Chippendale. perhaps, it did not accept it as early or adhere as closely as some other coun- with our associating his name with a tries. style of furniture which surely he did Some years before the Rococo pe- not invent. Styles are never invented; riod was replaced by a new style, an they are due to a slow development, English book known as the "Gentle- step by step until fully evolved. Where, CHIPPENDALE FURNITURE. 43* then, did he receive his inspirations, Many articles had been brought to if we may call them such? He lived at from England China, and they were a time, as we observe, when the Roco- used as models by Chippendale, and co period was to a but drawing close, others of his time, who introduced his father worked at the furniture trade Chinese forms into the carvings of when the French craze was at its full their furniture. Such forms were no height. His son's more apprenticeship prob- out of place than many of the was devoted to Rococo ably carving other meaningless almost shapes employed. exclusively. How furniture of this character was to as he have Interested, may been, in be used he explains in the table of con- the French style, ample tents of his opportunity book, thus: "Nine designs was afforded both by and of chairs examples after the Chinese manner, and are very proper for a lady's dress- ing-room. They will likewise suit Chi- nese temples." (These latter were lit- tle garden houses built on English es- tates at that time.) "They have com- monly cane bottoms, with loose cush- ions but if ; required, may have stuffed seats and brass nails." Chippendale also mixed with ornament forms taken from the Gothic period, and pro- duces what he called "Gothik" furni- ture. We may claim, then, that Chip- pendale furniture belongs to the de- cline of the Rococo period, and that it is a mixture of French forms, with or- namentation adopted from the French, Chinese, and occasionally other styles. It remains for us to see what are the particular features which characterized his work. We shall at the very outset find a difficulty. Chippendale had many contemporaries, who worked in exactly the same manner, so it will be almost impossible for us to say that any particular detail was used by him ex- clusively. There are, however, forms employed by English furniture makers of that Fig. 3. A Chippendale Chair. time which may be called "Chippen- dale," as he is the best known to us publications for him to study the forms. among them. If we examine the de- But when conducting a business for signs and examples of the chairs which himself there were other influences are preserved to us, we will notice that which were felt, and not the least if the ornament is omitted, so they are among them was that of money. He reduced to lowest terms, there is a sim- undoubtedly made anything that ilarity of design in nearly all. This is "would sell" or that fashion dictated, what may be called the type of the and fashion in England at that time Chippendale chair. It is only a ques- called for things that were Chinese. tion of addinsr ornament to this form to Sir William Chambers, an architect, produce his most elaborate design. The who had traveled in China, introduced ornaments he employed are principally the fashion, and it was soon adopted those common to all Rococo work, by the furniture makers of the times. with the addition of Gothic or Chinese

Vol. VT. 4. ?. MmaaOOi CHIPPENDALE FURNITURE. 433

The Gothic is found of- shapes. feeling The chair leg which Chippendale ten in the of the chair perforations seems to have preferred was the bandy back, where we see a resemblance to leg, usually ending with a ball and claw the form of a cusped, pointed arch. foot. It is strange to note, however, Sometimes there is a surface decora- that not one of these simple claw-foot tion like the of a series of profile small forms is shown in his book, all the de- Gothic finials. This is what he did signs there being more elaborate. He when making a chair without did not use striving exclusively the curved leg,

FIGS. 5 AND <>. CHIPPENDALE SIDEBOARD TABLES.

to produce a particular style. In those for we find chairs, tables, etc., with shown in his book under the caption of square legs, the same size throughout "Gothick Chairs," we find less of the their lengths, and others which taper Rococo ornament, with more of that towards the foot. The turned leg does sawn perforated work representing tre- not seem to have been much used. foils, quartre-foils, and lattices, which The shaping and ornamentation was are believed by many to typify Gothic also confined to the front leg, in most ornament. But even in these chairs instances the back leg being square. he has not been able to avoid introduc- We know that mahogany was not the ing a little of other ornament. onlv wood used bv him, for in describ- 434 THE ARCHITECTURAL RECORD.

FIO. 7. SHERATON SIDEBOARD. ing the drawing for a dressing table able that the early English sideboards he says it was "made of rosewood, with were merely tables. gilt ornaments." And speaking of a In 1787-91 Hepplewhite & Co., Eng- library table, he says, "the ornaments lish cabinet makers, published a book are intended for brass work." of designs. Among them are those for His book contains a great variety of sideboards, with a deep drawer at each designs which were never executed, end, and a long shallow one in the mid- and some of his critics (as he states in dle. They also published in the same the preface of the third edition) said book for r designs of sideboards of the many were "impossible to be worked table form, without drawers, similar to off by any mechanick whatsoever." He those shown in Chippendale's work. resents this and claims that "every de- In the preface of Hepplewhites' book sign in the book can be improved, both are the following remarks: "Side- as to beauty and enrichment in the exe- boards. The great utility of this piece cution of it." of furniture has procured it a very gen- Chippendale not only made chairs, eral reception, and the conveniences it but almost everything in the furniture affords render a dining-room incom- line, except the one article with which plete without a sideboard. Of those "his name is most frequently associated with drawers, we have given two de- fit into to-day. We refer to sideboards. It is signs. They are often made to -doubtful if he ever made a sideboard. a recess, but the general custom is to In his book there is no reference to make them 5^ to 7 feet long, 3 feet -sideboards, though there are several high, from 28 to 32 inches wide." similar to these ,arg:e tables which he calls "sideboard It was a sideboard tables." Thoueh the word sideboard (that is, a Hepplewhite pattern) which in a was used long before his day, it is prob- was placed on exhibition recently CHIPPENDALE FURNITUKE. 435

collection of colonial relics and was no- the of work Chippendale, it is con- ticed in the as yet newspapers "a mahog- called stantly such, probably because it any Chippendale sideboard, 200 years has a quaint appearance, and it has be- old !" come customary to call anything odd, Hepplewhites' work is mahogany Chippendale. usually severely plain and the legs Sheraton's furniture is more elabo- square, tapering towards the bottom. rate than that of Hepplewhite. The legs The ends of these sideboards be may are fluted, whether or or square turned, square rounded, and the front and the square portions receiving the

Fig. 8. A Hipplewhite Chair. swelled out, straight, or curved in. framing are veneered with inlay or They are most often of mahogany, and carved. The edges of the drawer faces almost invariably inlaid, though carv- often have a band of inlay made of al- ing is not excluded. The inlay consists ternating strips of colored woods. of lines and veneers with a rich grain. Every opportunity is taken to or- Another Englishman, Thomas Sher- nament the different surfaces by aton, published, in 1791-93, designs either carving or inlay. The inlay showing sideboards, with pot cup- serves as a means of distinguishing boards, cellarettes and shelves. The these makes from that of Chippendale, character of the designs by these two for probably he did not make use of men, Hepplewhite and Sheraton, does inlay at all, certainly not frequently; of not resemble in scarce any particular and if a piece of English furniture S

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M L, S r Hn a a CHAIR DESIGNED BY CHIPPENDALE. 43* THE ARCHITECTURAL RECORD. this period is inlayed we may quite of Hepplewhite or Sheraton. We say safely call it a Hepplewhite or a Sher- pattern because we do not wish to infer aton. that either of these three men whose Sheraton says of sideboards: "It is names are so prominently associated not usual to make the sideboards hol- with the furniture of the late eighteenth and early nineteenth centuries, were the exclusive makers of the styles which bear their name. There were many others who made the same char- acter of furniture and it is impossible to say from its appearance alone that any particular article was made by either of the men referred to. All we can say is, that it is in the style of Chip- pendale, Hepplewhite, or Sheraton. Hepplewhite used the shield shape, ornamented with wheat ears, for the back of the majority of his chairs, and the legs were square. Sheraton used on most occasions an approximation of the rectangle for chair backs, and the legs were turned. Though Hepplewhite made chairs and carved them in a manner similar to that of Sheraton it was when work- ing in woods to be lacquered and dec- orated, instead of mahogany. This lacquered work was subsequently dis- placed by white paint, like our enam-

Fig. 9. A Sheraton Chair. low in front, but in some, circumstances it is evident that advantages will arise from it. If a sideboard be required nine or ten feet long, as in some noble- men's houses, and if the breadth of it be in proportion to the length, it will not be easy for a butler to reach across it. I therefore think, in this case, a hol- low front would obviate the difficulty, A Window Seat and at the same time have a very good by Hepplewhite. effect, by taking off part of the appear- ance of the great length of such a side- elled work, and was popular with all if the furniture makers of the board. Besides, the sideboard be near period. the entering door of the' dining-room, With the above facts in mind there the hollow front will sometimes secure should be but little difficulty in decid- the butler from the jostles of the other ing whether an article of furniture is servants." of the Chippendale (Rococo) period or It is quite easy to distinguish chairs of the later Renaissance revival used by of the Chippendale pattern from those Hepplewhite and Sheraton. AIvan C. Nve. THE STUDIO OF M. EMILE WAUTERS.

A FLEMISH PAINTER'S ART TREASURES.

the city of Brussels, at the end of traits of many American beauties have INthe Rue de la Loi, not far distant been painted by him.* from the Pare du Cinquantenaire, Mr. Wauters' art treasures com- and the Decorative Arts Museum, prise pieces of furniture dating from there stands a house built in the Flem- the Renaissance and the Regency, ish Renaissance style. The edifice we banners of the "Guilds," wood carv- speak of, which attracts notice by its ings, terra cotta, an interesting group handsome turret, here depicted, was a of musical instruments, Delft-ware, few years ago the residence of Mr. varnished earthenware from Lorraine, Emile Wauters, the well-known paint- some very original stoves of the last er, collector and keen connoisseur. century, numerous woven and em- This large building, designed by Mr. broidered cushions with the arms of Janlet, who received the Grand Prize the United Towns and Provinces, sac- of the Rue des Nations at the Paris erdotal and other vestments of the Exposition of 1878, contained a splen- 1 5th, i6th and I7th centuries, weap- did studio which was one of the great ons, brasses, etc., etc., the whole being sights of Brussels. Here Mr. Wauters displayed with a colorist's taste and gathered together a choice collection *Among these ladies we may particularly men- Miss Pierre Lor- of Dutch and Flemish works of tion Miss Carroll, of Baltimore; art, illard, Mrs. Parker Deacon, the Comtesse de la nee Audenred, the Princesse de the whole of which, we say, now Forest-Divonne, may Chimay, nee Ward, the Misses Isaac Bell, and adorns his Paris atelier, where the por- Mrs. Sharron, of San Francisco. RESIDENCE OF M. EMILE WAUTERS. A FLEMISH PAINTER'S ART TREASURES. 441

eye for harmonious effect. This truly sanctuary of art, which the Paris "Fig- artistic collection includes a number aro" once referred to as being one of of those life-like portraits the belonging most fascinating in existence, com- to the fine i^th century school it repre- paring with those of the painters sented by Moreels, De Mierevelt, Vos, Mackart, at Vienna, and Munkacsy, Terburg and others, as well as in Paris. paint- The subjoined plates will ings, studies, etchings and sketches by give the reader an idea of a few of the various masters. many rare and curious objects in- The walls of the immense staircase cluded in M. Emile Wauters' collec-

FIG. 1. FLEMISH CUPBOARD. were adorned with Brussels tapestry, tion. The following is a description having large designs illustrating in- of these: cidents in the lives of Jacob and Es- (i) An oak cupboard of the Flemish ther; its steps were covered with long Renaissance period. It consists of two Persian carpets brought back by Mr. parts, and is inlaid in rosewood and Wauters when he returned from his satinwood. This handsome piece of travels in its furniture is considered the finest of its Egypt and Morocco ; two large windows were of richly colored kind in Flanders, where it is known as stained glass with escutcheons and ar- the "Cupboard of the Five Senses." morial bearings evidently the debris The lower part is ornamented with of some Friesland castle. Corinthian columns at each corner We reproduce a general view of this and in the center, and is surmounted 442 THE ARCHI IECTURAL RECORD. by a frieze of foliage and lions' muz- heavy, lacking, as it certainly does, the zled. The upper portion is separated delicacy of the Italian and the French, into two divisions by caryatides repre- but it possesses, on the other hand, a senting the Five Senses. The middle wider grasp, a more virile spirit, and one, Hearing, is playing the lute. the restricted ornamentation allows These busts are supported by brackets the geometrical element to speak with carved with angels' heads. On each all its grandeur and eloquence. In leaf of the two folding doors there is French furniture, dating from the a man's head in high relief. The upper Renaissance, the lavish decoration is frieze is divided by grinning masks, often a positive defect, and we know of all of different models. This cupboard a certain celebrated example of which

FIG. 2. LIEGE CLOCK-CASE. stands 8 feet high, and is 6 feet in it might be said that "it is all ornamen- width. Date 1620. The proportions tation." are well planned and imposing, the (2) A Liege clock-case, in carved mouldings finely traced, and the pro- oak, belonging to the Regency epoch. files strong and animated. The gen- This piece of furniture came from a eral aspect is simple, without too much convent of the Black Sisters at War- ornamentation, the heads and the emme. It stands 8 feet high, and is a friezes being bold but not affectedly gem of elegance. It resembles French so. The whole is in decorative har- art of the same period. It is supposed mony, sculptural art sustaining archi- to be the work of the Hermans, of tecture while according it a pre- Liege, a family of wood carvers who dominant role. Flemish Renais- have left numerous specimens of their sance may perhaps be somewhat talent. The design is perfectly orig- A FLEMISH PAINTER'S ART TREASURES. 443

Fig. 3. inal, the taste exquisitely refined, and design, and arms the curves of which the execution in all respects marvel- are well traced. The cushion placed lous. The glazed cupboards by these on this chair is finely woven and bears artists, in two parts and with a fron- the arms of North Brabant upon it. ton, are much sought after. The Bel- It dates from the beginning of the gian museums possess a few speci- 1 8th century. The stitch is fine and mens in the most charming Regency close and the heraldic lion very ar- style. chaic, the colors standing forth dis- (3) An oak chair, which connois- tinctly from the dark green canvas seurs have attributed to Vredman de ground. Vries, de Lesuwarden, the celebrated (6) A small door of a room. Re- furniture designer of the i/th cen- naissance style, in oak, incrusted and tury, whose engravings show how fer- inlaid with ebony and rosewood. It tile was his imagination and how se- came from a castle at Ypres, in Flan- vere his style, a style strictly his own. ders. Height, 7 feet 7 inches; width, A chair of the same model is com- 3 feet. This is a charming composi- prised in the Sauvageot collection in tion, delicious in its simplicity and high- the Louvre, except that a St. George ly architectural in its arrangement takes the place of the small upper and coloring. The lines are easy, the portico. mouldings fine, while the delicate treated in (4) A chair, in walnut, Dutch Louis carvings are a really mas- the archi- XV. style, with rococo ornamentation. terly manner. Here, again, tecture stands with The carving, perhaps, is not very deli- prominently forth, cate, but the outline is graceful, the its perfectly balanced lines and pro- lines supple, the movements undulat- portions. small bench shown in the same ing and nervous, indicative of boldness The the of tran- of invention. The chair is rich, elegant figure belongs to period the Gothic to the Renais- and very handsome in appearance. sition from sance. the bench is an (5) An armchair, Dutch Louis XIV. Upon ivory lute inlaid with and style, in polished walnut. The back mother-of-pearl is onannes Hof- has open-work ornamentation. The ebony. It signed "J XVII. general effect is extremelv pleasing; man, Leipzig, century." table, in small columns and balusters of pure (7) This moneychanger's 444 THE ARCHITECTURAL RECORD.

oak, is an extremely curious sample earthenware, made in Mombaert's of 1 5th century art. The top, when pottery in the year 1720. The cover, turned, brings to view a number of representing the head of the bird, may drawers and hiding places. The table be detached from the dish. This orna- stands on two massive carved feet. mental piece is well executed and Height, 32 inches; width, 39 inches. very realistic, the coloring being The wooden figures in the Bruges strong and rich-toned. The enamel- style, standing upon the table, are very ing recalls that of the most beautiful rare specimens; the St. Sebastian Delft polychromes. seems to have been taken from a paint- A dalmatic in green silk velvet, em- ing by Memling, while the Virgin, broidered with bands of orfravs is

FIG. 6. DOOR FROM A CASTLE AT YPRES. draped in her Gothic robe, with its another of M. Wauters' treasures. long and ample folds, might conceiv- On the horizontal bands, behind, St. ably have come out of one of Jean Van Elizabeth, of Hungary, is depicted dis- Eyck's panels. A chased silver crown, tributing garments to the poor, while enriched with precious stones, once on the front St. Martin is shown in covered the Virgin's head, but was the act of dividing his mantle. The stolen. vertical bands are ornamented with By the side of these, which date figures of male and female saints. The from 1400, is a soup tureen in the workmanship is exceedingly fine. This shape of a turkey-cock, in Brussels dalmatic, which formerly belonged to A FLEMISH PAINTER'S ART TREASURES, 445

FIG. 7. MONEY CHANGER'S TABLE. a church at Gouda, in Holland, dates sesses numerous examples of her once from the year 1500. It has retained flourishing art industries, and that the its original ample shape. town halls, museums, hospitals, con- The second dalmatic, of similar pat- vents, etc., contain an immense num- tern, and coming from the same ber of these treasures. The exposition church, is now in the collection of the also enabled manufacturers to learn city of the Hague. something from models and processes The whole of these rare objects that were very little known; it re- were exhibited at the important ex- awakened the artistic spirit in work- position of ancient art which was men, improved their technical knowl- held at Brussels in 1888, and dem- edge, while it opened up to the archae- onstrated that Belgium still pos- olop-ist a wide and fertile field of studv. A. J. Wauters, Professor of the History of Art at the Royal Academy of Brussels. VIEW OF SAFE BURGLARIZED IN FRANKLIN GROVE BANK, FRANKLIN GROVE, ILLINOIS. READING ROOM OF THE MISSOURI SAFE DEPOSIT CO. St. Louis, Mo. John Beverley Robinson Architect.

MODERN VAULT CONSTRUCTION.

ordinary portable burglar- more than eight by sixteen feet for THEproof safe is the type of the the use of banks. burglar-proof vault. Vaults in- Safe-deposit vaults are often built of deed are distinguished chiefly by their great size, forty feet square or more; size; a vault is a safe big enough to the height, however, does not exceed walk into, with other minor differences eight or eight and a half feet. that we shall hereafter note. With the portable safe we have not Ordinary portable safes, such as that much to do at present, as it is only which is in I are of various when the safe has to the shown Fig. , grown dignity sizes up to about six feet width of front of a vault in size that especial provi- and seven feet height. The depth inside sion need be made for it by the archi- in the clear, even of large safes, must not tect. exceed the reach of a man's arm, which In arranging a place for the vault, means about three feet depth outside, whether of a b^nk, safe-deposit com- owing to the thickness of the walls and pany, or other concern needing one, doors and the space required for the the first consideration is to place it mechanism. clear of contact with the building on Vaults proper, such as are large all sides. A space wide enough for enough to walk into, are usually eight convenient passage at least, must be feet high inside and as large as re- left all around the vault; a similar space quired on the floor seldom less than between the top of the vault and the eight feet square, and seldom needed ceiling of the room in which it stands* Vol. VI- 43 44* THE ARCHITECTURAL RECORD.

FIG. 1. PORTABLE OFFICE SAFE. Showing inside of door and mechanism of bolt-work.

while the space in the room below the betted jamb (a matter which will be vault must also be open for continual explained hereafter), and again an- inspection. Often an open grating in other foot for the splayed, rabbetted the floor surrounds the vault, making jambs of the outside door. Add to it possible for a patrol to watch the this several inches more for the work- whole circuit in two stories at once. ing of the mechanism of the hinges, and When this is done the bars of the grat- we have four feet six or eight as a ing must run in the direction of the minimum throw of the outer door to path of the patrol, to permit an easy be provided for. Again, it is quite view. usual to place the floor of the vault a This matter of the isolation of the foot or so below that of the room in which it vault, although often neglected, is a stands. This is done so as to the of the fundamental requirement for safety. bring highest point rab- betted sill low to allow a The next thing to be looked out for, enough mov- able to be over ter- trivial as it may seem, is the swing of platform placed it, the in an inside the entrance door. In the first place, minating easy slope vault. This is the throw of a vault door is very much done to do away with greater than the width of the clear en- the annoying and dangerous stum- trance. If the inside entrance door is bling-block that would otherwise be to be two feet six inches wide, clear of formed by the rabbetted sills of outer the bolt work, we must add to this and inner doors. It is one of the stand- about three inches for the bolt work, ing difficulties in the use of vaults; as so so that much again for the opposite rab- much a movable sill, which MODERN VAULT CONSTRUCTION. 449

out of the has lies down flat, way, been of the offices, and upon this, in turn, invented and may be used. But, when depends the laying out of the passages this is not used, the lower edge of the and banks of safes inside. outer door will swing below the level Every safe .deposit vault must have of the floor of the room, and provision two entrances, each complete, with must be made for it. vestibule and outer and inner doors, as will be hereafter Finally, all vaults must stand on a explained. The most economical form of vault is about foundation of their own ; not on beams, eight feet with a door at each and however strong. Beams are sure to wide, end, banks of safes on each side. to bend a little, and the slightest bend- Up twenty or feet in ing will throw the swing of the great twenty-five length, this will do well. doors out of true, so that it will be im- very Beyond this, some form of square possible to open and close them. Be- or oblong vault, with transverse sec- sides, the tremor of a floor would tend from the to disturb the mechanism of the time- ondary passages, branching main passage must be used, as the locks. Moreover, to stand a vault on single straight passage begins to pass a floor makes the integrity of the vault reasonable length. the stability of the build- depend upon Two entrances are essential for saf j a or or ing; fire, earthquake, explo- deposit vaults on account of the ever- or unaccountable fall of the build- sion, present possibility of an accidental would with it the ing, carry vault, lock-out, caused by defect or stoppage which might be penetrated in the of the time-locks. With banks a lock- crash. So it may be laid down that a out is disagreeable enough, but for a foundation of its own a vault must safe-deposit company, with hundreds have, preferably of brick arches. We of concerns wanting to get at their de- shall again allude to foundations, after posits, such an occurrence would be we have spoken of the construction of fatal. Two entrances render the chance the vault itself. of an accident to both at the sam? time infinitesimal.* In planning a safe deposit vault it would be were much more careful provision is re- Indeed, always well, it not for the to bank quired than for any other kind. The cost, provide vaults and all kinds of vaults with two arrangement of the interior depends entrances. On account of the cost, how- upon the placing of the banks of small ever, this is rarely done. Various ex- safes, with which the vault is to be pedients are resorted to with the same filled. These safes are of a regular end. I have designed two vaults along- depth, usually two feet, whatever may side each other with a hole in the par- be the size of the door in the face of tition wall, usually covered by a steel the stack. The passages between the plate cover, secured by bolt work and stacks should not be less in width than locks, but serving to give access to in for a three feet, nor greater length either safe from the other in case of a "cul-de-sac" than ten feet. for This, lock-out. A similar design I have for as two reasons, partly ventilation, made in two stories, with a hole in the the air is to in blind apt stagnate long floor between, similarly made secure. passages; partly to avoid undue inter- Another continual care of safe-de- ference and jostling among the depos- posit officers is the ventilation of the itors. vault. The unavoidably contracted Fig. 2 shows a plan of a large vault space, with many people frequenting admis- and the arrangement of the banks of it, and only two doors giving small safes. sion to the outer air, is sure to make trouble. Fig. 3 shows the interior of the same vault, with a bank of safes in place. The of the entrance and *Fig. 4 shows the entrance door of a vault, the placing outside and Inside doors both open, and the open- exit is determined by the general plan barred "day-door," as it is called, visible. 45 THE ARCHITECTURAL RECORD.

The best thing to do, although same thickness of walls built up with costly, is to make one or more holes inch plates throughout. Inch plates in the ceiling of the vault, with covers are stronger and better construction, fitted precisely as the doors are fitted but half-inch are very good, and quite that can be lifted by screw, or other usual. power, while the vault is in use, and The plates are not generally all of closed at night and bolted inside. the same material. Steel, indeed, they Such an opening, enclosed in a all are, but the alternate plates are us- sheet metal trunk, may be connected ually of chrome steel. with a Blackman-wheel air-current, Nor are these chrome steel plates and the interior of the vault supplied simple; they are in themselves com- with abundance of fresh air. pound, each plate being built up of The use of electric lights has sim- five plates, rolled together hot, welded plified the question of vault ventilation, into one mass, the central and interior which, in the days of gas light, was layers being of ordinary homogeneous an almost insoluble problem. Bessemer steel, the intervening two

100 MODERN VA UL T CONS TR UCTION. 45*

companying lack of which the of the tenacity outer doorway no larger than of steel are layers ordinary intended to that of the inner in the latter case the supply. outer doorway must have additional The that are not plates chrome steel width enough for the inner door to are of the usual mild which is steel, stand out at right angles. so fast both supplanting iron, being The clear width required for th: better and as those cheaper, rarely inner doorway is not less than two qualities are found together. feet six inches, nor more than two Ine illustration Fig. 5 shows this feet ten inches. Both outer and inner the difference construction, although doors are by preference single doors, of the steel is in color chrome exag- because such can be made stronger for the sake of clearness in gerated ex- than double doors; often, though, for 1 planation. In fact, it is difficult to convenience the inner doors are made distinguish the different layers by the double, one opening into a oocket on eye in a piece of polished or cut five- each side of the vestibule. ply chrome steel. A broken edge shows Both outer and inner doors fit into differences in the but some fracture, their jambs with rabbets and grooves, these are not even conspicuous. shown in Fig. 6. Each steel plate The plates are fastened together by of which the door is comoosed sets bolts screwed in from the in- screw back from that outside of it, and if side. These are not long enough to more than half-an-inch thick is itself the outside penetrate plate ; they give rabbetted in its thickness in half-inch no indication of their position. The steps. Besides these rabbets there are bolts that secure each succeeding used in each door usually two groove plate are carefully laid out so that no irons, as they are called, really angle two bolts occur at the same point. irons; for thick doors three are used, The whole vault is built uo in the but rarely less than two, for in addi- shop of untempered plates screwed tion to the rabbets, and as far more together just as it will be in the bank, efficient, the grooves are depended safe-deposit office or other institution upon to exclude explosives. For still for which it is destined. It is then more perfect protection the edges of taken apart; the plates are tempered the angle irons are corrugated, as seen and afterwards straightened before in the illustration, and in the bottom of they are taken to the place where the the opposed groove is ^laced a strip of vault is to be built. rubber or asbestos packing upon The walls of vaults vary in thick- which the sharp edges of the corruga- form an air- ness. Three inches is a good thick- tions press tightly and ness, four inches amole, and the tight joint. This closeness of joint is to keep out nitro- thickest built, so far, is six inches especially meant thick. glycerin, which is used in licmid form All vaults of any pretension at all in the attack. are provided with a double set 'of Two things are needed for the at- doors at the entrance with what is tack, force and time. The force must Drills called a vestibule. The illustration, be such as can be used quickly. are all but driven Fig. 2, shows the plan of a large vault very well, wedges, bv a copper-headed which I built under the charge of ths writer sledge, but little start the ! with the usual vestibules. The vesti- makes noise, edge ' more Into the bules may be deep enough to contiin of a plate quickly. minutest crevice a little i the whole of the inner door, when nitre-glyce- or be rin penetrates, drawn into incrediblv open, may only deep enough The to accommodate the knobs and levers small space by capillary force. or less of of the inner door and the bolt work explosion tears away more i next ex- on the inside of the outer door when the plate, leaving the joint both doors are shut. In the former posed for the wedge. circumstances prevent the us* case it is possible to make the openin? When 452 THE ARCHITECTURAL RECORD.

Fig. 3. Interior of large vault shown in plan in Fig. 2. Of the safe deposit safes the larger lower ones are for the use of banks and large concerns, the upper and smaller for individuals. The two large columns are part of the construction of the building. The small columns will be removed when the rest of the stacks of safes are put in place. of explosives the drill and the hy- glycerin is obtained by the simple pro- draulic ram are resorted to, but for cess of dissolving it out with ninety- speed and force combined, exnlosives five per cent alcohol, and then precip- are preferred. itating the nitro-glycerin by the addi- The noise of the explosion, muffled tion of water. by the walls of the building in which In order that doors constructed as it occurs, to outside ears, seems to has been said with rabbets and grooves passers who may happen to notice it may be opened and closed, something like some distant report, or often at- more than ordinary hinges is clearlv tracts no notice at all. For this reason reciuired. Something it must be that it is often possible to use exolosives will move the whole door parallel to where it would seem to be impossible itself a distance equal to the depth of without immediate discovery. the grooves and rabbets, in most cases Nitro-glycerine is the agent most that is to say, half an inch. To do feared nowadays. It will penetrate any this several kinds of crane-hinges, as and at least relax it with its tre- are have been joint, they called, devised, mendous shock, giving space for the which accomplish their purpose admir- introduction of a heavier charge. Al- ablv. Not a trifling matter this either, though dangerous to make and diffi- to wield at the end of a rotating arm, : cult to buy, it is easily obtained from to suspend upon it in a pos tion ordinary commercial dynamite, which where it can easily be moved back- is nothing more than nitro-glvcerin wards and forwards, and yet is so held in absorption by infusorial earth firmly immovable otherwise as to fit or other absorbent. The liquid nitro- with accuracy into its complicated MODERN VA UL T CONSTR UC 77(9 A . 453

seat, a not less than four weight tons, The ceiling of the vault up to eieht often six, and sometimes as much as or ten feet soan will sustain itself. ten. For wider spans some interior sunnort the of the Alhough weight heaviest must be provided. This is often fur- vault is with the trifling compared nished in safe-deposit vaults, which that architects are accus- weights are the largest vaults in use, by the tomed to deal with in building, yet banks of small safes with which th- certain are precautions necessary in vault is occupied. foundations for them. The providing These, however, are not usually put vestibules must be an especially upon in all at once when the vault is built, immovable base, for the slightest sag but gradually as the business requires; or settlement means a distortion of the because often the character of the and the door-jambs, impossibility of business requires a change in the stvle closing the doors. The bottom of the of safe used, or new inventions must vault, although amply strong enough be included to make the safes rentable. to sustain itself over ordinary spans, Until the banks of safes are put in it sav, to ten is to up feet, apt sag slightly is usual to support the ceiling of the in its of and reaching point resistance, vault by small cast columns or pieces is better bv rolled beams supported of wrought pipe. The ceiling is jacked three or four feet placed apart. up the half or three-quarters of an These must be adequately support- inch necessary, and when it comes ed or walls, for by columns, piers down it holds the column firmly in the vault not rest must upon the earth place. as such a situati n iivites directly, When the ceiling must be carried attack from by tunnelling a distance, without columns over a clear span the which can be carried out < with perfect steel beams necessary to carry it are as observation is in such an security, placed outside, above the ceiling t^ bs arrangement impossible. carried, and the outer shell is attached Therefore all vaults are on some by conical eyebolts and suitable hang- kind of open foundations, usually ex- ers to the beam. It would be as well tending through a basement, and sup- or better to put the beams inside were porting the vault level with the floor it not for the valuable space they above. Sometimes these foundations would occupy. are in the form of a brick vault, less Vaults are usually made only eight secure than the steel vault above, but feet high in the clear, because of the sufficient for the storage of s Iver, great cost of every added inch, and paintings and valuable books. In this beams inside would cut this down, both case the brick vault has a door like for use and looks, very materially. that of the steel vault, less ponderous The steel walls of the vault itself perhaps, but substantially the same afford sufficient support for the sus- thing. pended ceiling without special provis- But if not used for this purpose the ion in addition. foundation should be as open as possi- Thus built and upon such founda- ble, the walls perforated with arches tions stand some vaults, good ones at everywhere. Brick walls are much to that, without defense against fire at be preferred to iron columns, as less all, being in buildings called fireproof, likely to be destroyed by fire. and certainly uninflammable in their Columns, if used, should be securelv constructive parts. covered with fireproof material, as It is better, however, in all cases to also should any iron columns that sup- provide some kind of fire-resisting port the floor of the vault. jacketing. Of this, two kinds are For supporting the floor brick commonly used. Nothing is better vaulted arches, dispensing with iron for fireproofing than a brick wall. It altogether, are as much to be preferred should be hollow, if possible, with two as brick walls are to iron columns. eight-inch walls or an outside eight- 454 THE ARCHITECTURAL RECORD.

Fig. 4. Entrance to a large vault, showing the main outer door open, one of the vestibule doors also open, and the "day-door" of ornamental scroll work closed.

inch and inside four-inch at least. The concrete cinders, plaster and cement, ceiling must be covered with at least mixed and filled in between the outside four courses of brickwork. of the vault and a quarter or three- All should be laid in good cement eights-inch plate of soft steel held to mortar; although lime mortar gauged the shell of the vault by anchors at with plaster of paris might be even frequent intervals. better than cement. In a combustible Besides the construction of the building at least, this covering of the vault itself above described, there are, ceiling should be in form of brick as has been said, several other arches, laid between iron beams, methods. placed on the top of the vault, with In one, which is much used, and the usual tierods, and made as strong which is the subject of the Herring as possible, to resist crushing bv a patents, spiegeleisen is used to resist falling wall if fire should occur. penetration. This is a kind of iron The great objection to brick walls ore found in nature and also produced is the space that they occupy. Two as a waste product in certain processes. eight-inch walls with a four-inch space It can be cast into plates, and is of an will be twenty inches, and this carried excessive hardness, altogether impen- around a vault of fifty feet circuit cov- etrable by the drill, although it can be ers about eighty-three square feet chipped away without difficulty. a considerable space where space is It is therefore used only with an most valuable. So sometimes the fire- outside .covering of chrome steel proofing is done with a covering of' ^-plates, such as has been described, to MODERN VAULT CONSTRUCTION. 455 protect it from violence, the soiegel- mit it to be taken out. To unlock, the eisen or Franklinite being depended interior sphere is screwed back an upon to resist the drill. inch or so, and then is revolved, bring- Another constructon that gives a ing the rear hemisphere to the front very good safe, and a much cheaper and giving access to the drawers and one than those hitherto described, is boxes. It is a clever device, and made of railroad iron steel rails, seems far less vulnerable to the pow- placed head and flange alternately erful liquid explosives of to-day than locking together. Thev are held to- a construction with numerous un- gether by iron rods, and they are avoidable joints. bedded in a mass of Portland cement, It is, however, not well suited to which fills all interstices, preventing vault construction. rust, and forming a continuous shell. It has always been a favorite fancy Outside and inside are covered with of mv own to construct a vault with a steel plates for a finish. water jacket. In all of our large cities there is inexhaustible water This construction presents a serious an supply. It would need but a water- obstacle to the drill, as the rounding strictly door to the vault and a and irregular surfaces of the rails and tight itself, to the vault with the certainty of encountering voids watertight envelope another door. Th> make drilling impracticable. watertight space between, once filled with water, from To the wedge and to explosives it more than one secreted and does not present by any means the protected and with resistance of the steel plate construc- pipe provided proper expan- sion would be a protection tion. If used, the type in which the pipes, quite fire. im- rails are placed horizontallv and bent complete against Equally would it be to the enter- at the corners is much to be penetrable preferred The to that in which the rails are vertical prising burglar. slightest pene- tration would make further and depend upon the outer covering penetra- tion Tools could not work for connection at the angles. impossible. in a flood of water. To check it would It is not to be recommended for be out of the question, as the valves important work, but may serve a pur- which controlled it would be at a dis- pose for country banks, where cost is tance. Explosives would be useless a paramount consideration. if started the flow against it, and once Less used than of these is a any of water would soon give an alarm of construction of cast- peculiar patented itself as it covered the floors and leaked iron. Massive or ten blocks, eight out under doors. inches thick, are united and by groove All of the strength of wall and door, tongue joints. The hardness and of ceiling, floor and vestibule, would thickness resists the and the drill, avail nothing without adequate pro- joints cannot be attacked satisfactorily vision for locking. Nothing of course by the wedge. is thought of but the combination lock, Another in- exceedingly interesting an invention of admirable simplicity vention is the Corliss safe. and efficacy. It has tumblers, three, It is a massive spherical envelope four or more, as any other lock, but containing another sphere, which re- that these may all be thrown at the same volves on vertical pivots within the time several wheels, each one with a first. This second is divided that sphere single notch, must be turned so into halves, one of which contains the notches coincide. Simple as it is the the other the lock- of the deposit space, in principle, this is the basis ing mechanism and the fortifving most elaborate vault locks. metal face. The locking is done by This alone, however, would not suf- bringing the interior sphere forward, fice. The secret of the combination en- into close contact with the jambs of trusted, as it had to be, to two officers, burden to the minds the opening, which is too small to per- was a distressing 45* THE ARCHITECTURAL RECORD. of both and at the same time placed heir to, the other still would do its the sole responsibility on no one per- work at the proper time. son. At times, under fear of physical Notwithstanding this, both clocks at violence or at the point of a pistol, times fail to work and the vault is im- cashiers were compelled to reveal the penetrably secured; must be broken

Inside Ptatc, s " /te Iron^ .

!. *&" Chrome Steel

find Irons .

" Chrome J'feel

Outside Plate, 1" Iron,.

Fig. 5. Section of a part of the wall of a vault 2 13-16 ins. thick, composed of alternate soft steel or iron plates, and rolled, laminated chrome steel plates. combination, or were taken bodily to into by force if there be no other help the vault and compelled to open it. for it. As a safeguard against this the time A perfect precaution is the use of lock was invented and is generally two entrances to the vaults, which are used. It is the same in principle as the necessary for every safe-deposit vault, alarm clock, but at the prearranged even the least important, and almost hour, instead of going off with an irre- as necessary, though not so invariably pressible jangle, if noiselessly with- used, on bank and other vaults. With draws a small piece of metal which, un- two entrances the chances against

flate.

Jamb .

Fig. 6. Section of the edge of an outer vault door 4^ ins. thick and corresponding edge of jamb, showing rabbets of jamb and groove irons with serrated edges. Four conical headed screw- bolts are indicated. til then, prevented the working of the both being out of order at the same combination lock. moment are infinite. Two clocks are always used in each There is another device to avoid the lock, in order that if one should stop annoyance of locking-out, an exceed- from some of the ills that clocks are ingly clever and simple device it is.

MODERN VAULT CONSTRUCTION. 459

On each wheel of the combination small safes rent easily. There is a lock at the time of manufacture is cut multitude of small details of informa- another notch at a certain distance tion about these matters quite essen- from the unlocking notch. A record tial to the proper construction, yet of the relation that these notches bear almost impossible to communicate in to the first set of notches is kept by a magazine article. The horizontal the manufacturers. It is so arranged, partitions are a quarter-inch thick, too, that the combination secondary rabbetted for a door-stop. To these will not work unless the time-lock is the doors are hung by a special form not If a lock-out occurs the of going. hinge that permits them to open manufacturers send a man with the flat back against the adjoining- box. information and the lock is necessary The hinges are all on the right hand at once. Even the opened discovery of the person facing the door, tne of the clue to the combina- secondary sinister side of the door, except when tion would no it will be give clue, seen, the door is against a wall on the to the combination. dexter primary side, then it is hung the other A weak point of every vault is where way. Key locks and combination the of the spindle lock penetrates the locks are both used, usuall/ inter- door. A hole a how- through door, changeable to suit the tenant, and ever is an carefully protected, imper- each having advantages of its own, fection in its resisting power. Ac- which will occur to anybody. The cordingly there has been, devised an keys are different up to a certain automatic lock, a time-lock like the point, but when the safes exceed a rest, but so arranged that at a certain certain number there will be more hour a mechanism of powerful springs than one safe in that vault which a is released, which throws the bolts key will open. Not much risk to be and locks the door; and again at a cer- sure, but some. tain hour withdraws the bolts and un- There must be provided a key locks it. closet in some corner of the vault, The serious objection to this is that built like the safes themselves, and it does its work so well. Should a used to keep the keys of the unoccu- mob hold possession, having disposed pied safes. of the proper officers, all the mob The doors of the safes are from would have to do would be to sit half an inch to an inch thick of a around chewing tobacco at its leisure plate of five-ply chrome steel, the until the lock unlocked itself, when it larger, say above a square foot of could enter and amass considerable face, provided with bolt work like anv wealth. This consideration often rules large safe. out this clever automatic lock. The construction of these banks of The boxes, as they are commonly safes is, so to speak, iron cabinet called safes, more properly with work, so great is the care and accu- which a safe-deposit vault is fitted up racy of fit required. are matters of minute consideration. The details of the construction and The depth is uniformly two feet: the the reasons for certain ways of doing difference in size is upon the face. things might be indefinitely elabor- This size varies from two-and-a-half ated. Enough has been said to give a by -five inches to twenty by thirty, or notion of the requirements and ac- more. Safes have been made as cepted methods to one entering upon small as one-and-a-half bv five inches, such work without previous knowl- and under certain conditions these edge of it.

John Severley Robinson ce ec

THE ST. JAMES BUILDING.

Broadway and 26th Street, New York City. Bruce Price, Architect. THE BANK OP COMMERCE BUILDING.

Nassau and Cedar Streets, New York City. Rowe & Baker, Architects. THE GILLENDER BUILDING. Architects. Vail and Nassau Streets, New York City. Berg & Clark, SPINGLER BUILDING \V* H HUME * SON ARCBTTS- Union Square. New York City.

Vol. VI- 1-4 1 XT** 1 T3* ; s i r,'

-

: j^'l^s^t;^; :i

' '

1* [Hi" k" it i* i S I m pfll^t&fe&t. ..

* - - II I? ? Hi p^i ' iis !::r' :

THE STANDARD OIL CO.'S ENLARGED BUILDING. Kimball & Lower Broadway, New York City. Architects, Thompson. OFFICE BUILDING. Southwest corner Broadway and White Street. John T. Williams. THE CENTRAL BANK BUILDING. Broadway and Pearl Street, New York City. John T. Williams, Architect. NEW YORK ATHLETIC CLUB

J jd'.AWtew* . /Y XfA". THE WOODBRIDGE BUILDING.

William, Platt and John Streets, New York City. Clinton & Russell, Architects. CATHEDRAL OF SISTERON AND TOWERS OF ANCIENT WALLS.

FRENCH CATHEDRALS.

Part X.

THE CATHEDRAL OF PROVENCE. VI.

1.

a limited area in the the others, however, there is scarcely WITHINDepartment of the Basses a suggestion of that rich art that flour- Alpes is a group of three ished in Provence in the eleventh and small cathedrals which have many twelfth centuries. They belong, there- points of similarity. While retain- fore, to a somewhat later time than the ing, to a considerable extent, the plan cathedrals we have been studying, and structure of the other Provencal though the complete absence of any cathedrals, they have characteristics records renders their date a matter of of their own. I refer to the cathedrals conjecture. Of the cathedral of Sis- of Sisteron, Digne and Senez, and teron it is stated that its reconstruc- with them may be included the little tion was begun in 1015 by bishop concathedral of Forcalquier, whose Frondon (died 1030); but the struc- portal resembles that of Senez which, ture and the detail are manifestly so in its turn, is manifestly derived from much later that it is impossible to be- those of Digne and Sisteron. None of lieve that the present edifice is the one these churches have detail of Roman undertaken at that time. The second character, though the influence of Ro- half of the twelfth century is certainly man motifs has not wholly disappeared a safer period in which to place it. from the cathedral of Sisteron. In Sisteron is a city that enjoys the ad- 470 THE ARCHITECTURAL RECORD.

vantage of an extraordinary situation. north aisle, and a low octagonal lan- Built on a rocky gorge on the river tern over the dome of the choir. Save Durance, arid surrounded by precipi- the west front its exterior is plain al- tous rocks, on the highest of which is most to severity, yet it exhibits marks one of the strongest citadels in France, of Italian influence in its flattish gable its narrow streets, its ancient military and its main portal, which is almost

CATHEDRAL OF SISTERON; Longitudinal Section Through South Aisle.

remains, its curious old houses and its identical with that of the cathedral of primitive aspect, give it an interest Notre Dame du Bourg at Digne. apart from its cathedral, and though The nave is of the Provencal type; seldom visited it is one of the most in- four bays with tunnel vaults, a fifth teresting cities in Provence. bay with an octagonal dome, and an Its cathedral of Notre Dame de apse beyond. The vaults, however, Pomeriis is the most important of the depart from the usual form and are sub-Alpine cathedrals. Though small round instead of pointed as in earlier its greatest length is 144 feet its churches. They are carried on single interior consists of a nave and aisles, vault arches resting on slender half with three apses, and chapels added at columns applied to the centre of the

CATHEDRAL OF SISTERON; Longitudinal Section Through Nave. various times. The interior is of a large square piers separating the nave very dark stone, almost black, and be- from the aisles. These piers are square ing lighted by but few windows, has in plan, with half columns applied to a most impressive effect. There is a the centre of each face, all resting on a small tower at the east end of the large unmoulded base, whose height FRENCH CATHEDRALS. 47*

diminishes towards the altar. The string. It has an inward slope of a coni- capitals of the half-columns carrying cal section, and a string a short dis- the arches between the nave and the tance up divides the dome, which is aisles are continued on the rectangu- without ribs. The entrance arch of lar part of the piers to the half-col- the nave apse is round, though all the umns of the nave vault, which rise other lower arches of the nave are pointed. A pointed arch in the wall over it is below a small round splayed window, over which is an open maltese cross cut in the wall. The apse is a short rectangular portion with a semicircle beyond roofed with a semidome. which is slightly lower than the tunnel vault or deep arch over the preceding part. The original structure of the apse wall is almost com- pletely hidden by the altar piece and niches for statues CATHEDRAL OF SISTERON; (XVII. century); it is lighted Transverse Section. by a round topped window on the south side, and on the north .above them. The first pair of col- side at the entrance, is a large and in- umns have strongly conventualized teresting door frame in the Renais- foliage, while the others are of a plain sance style now used as a canopy for swollen type. The arches opening to seats placed below it. the aisles are double pointed and The aisles are high and narrow, as tmmoulded, those in the first bay hav- is usual in the aisled churches of Prov-

CATHEDRAL, OF SISTERON; Plan. Like the nave have round ing a small hollow worked on the ence. they vaults with arches on edge. tunnel plain half columns. The outer walls have The dome has some peculiarities of round arches, below which are itsACO own.\J VV 11* The-L 11V_. pendentivesL^ V^ 1 1 V_l V- 1 1. I * V ^-w* haveA-ll-V V \~> some-*~" single entrances None of these what long triangular bases and sup- the chapel note. On the north sid port the octagon without a separating are of special 47* THE ARCHITECTURAL RECORD.

CATHEDRAL OF SISTERON. Photographed by M. Eysseric.

they are of various depths, those of three parts, of which that to the right: the first and fourth bays being scarce- with inclined sides contains stairs to> ly more than recesses with tunnel the organ gallery. In the upper part vaults. The second bay on this side of each division is a round window, is the usual entrance, and entirely the central one larger than the other, featureless, while the chapel of the and all with deeply splayed frames. third bay, which has a ribbed cross The portal, rather slender and high, vault, is the onl" true chapel on this consists of a round arch with a half side. On the south the chapels have arch on each side resting against the the merit of regularity, though not all adjoining buttress. The half arches- built at the same time. The wall are single, while the central one is re- arches have disappeared in some bays, cessed with roll mouldings carried on and save the second chapel all the en- two columns on each side. The trance arches are large and clumsy. structure is almost identical with that The ribbed cross vaults differ in mi- of the portal of the ancient cathedral of nor particulars, and the windows are Digne, but there is an essential dif- round or pointed, and arranged one ference in the upper part, which is or two to a chapel. The aisle apses here inclosed with a pointed gable, are small and without ornament. with half gables over the half arches. The exterior of the cathedral though A small bas-relief of an animal is in- plain is not uninteresting. The west serted in the central gable over the faqade has been restored, but care- arch. The columns are recent restora- fully and judiciously. It is rather low, tions, and are slender delicate shafts owing to the fact that the ground whose bases stand on a high base with slopes downward behind it, the floor a moulded top that run across the of the nave being nine steps below the wall. The capitals, however, save ground. Four large buttresses, with those of the outer columns, are origi- sloping tops, divide the front into nal, and their conventualized acanthus / "VJ

CATHEDRAL OF SISTERON. EAST END. CATHEDRAL OF SISTBRON. INTERIOR. CATHEDRAL OF NOTRE DAME DU BOURG, DIGNE. WEST FRONT.

Photographed by M. Eysseric. RECORD. 476 THE ARCHITECTURAL

leaves indicate a considerable depart- The eastern wall is as featureless as are ure from the Roman type. The first the sides. The apses unornament- ed. The choir has no but a arch within the portal rests on a pilas- gable, of its end wall forms of ter, and has a somewhat broad capital portion part base of the which sur- with symbolic animals. the octagon the dome. The latter is a The' other portions of the exterior mounts loggia- but- like structure, with small on the are plain walls and unimportant piers

CATHEDRAL OF NOTRE DAME DU BOURG, DIGNE. MAIN DOORWAY.

tresses. The tower is rectangular, its corners and columns between them, longer east and west sides having two with a passageway behind closed by a small pointed windows in its upper solid wall. A high piece of plain wall stage, with one in the others. It has a surmounts the loggia. The treatment low modern octagonal spire. Beyond is novel and beautiful, but the mis- the tower is the uninteresting sacristy shappen form of the eastern wall of the and former chapter house, enclosing cathedral, the awkward effect of the the north apse. adjoining tower, and the severity of NAVE OF THE CATHEDRAL, DIGXE. 478 THE ARCHITECTURAL RECORD.

CATHEDRAL OF NOTRE DAME DU BOURG, DIGNE.- SOUTH SIDE, NAVE AND TRANSEPT. Photographed by M. Eysseric.

every part, deprive it of those adjuncts larity of its plan, together with the of regularity and beauty which are es- almost unique circumstance among sential to a fine effect. French cathedrals that it is practically unrestored, make it more than usually II. valuable for comparative study, and a The city of Digne, the flourishing really delightful church to visit. and busy capital of the Department of It is extremely simple: a nave of the Basses Alpes, has two cathedrals. five bays, 165 feet long and 26 wide, The present cathedral of Notre Dame shallow transepts of a single bay each, et S. Jerome is a Gothic structure of a short rectangular apse, a tower, and the fifteenth century. The old cathe- a sacristy quite formless in its archi- dral of Notre Dame du Bourg, on the tecture which, when it was built outskirts of the city, dates from the towards 1335, formed a chapel. And twelfth century, in plan at least, though the construction is as simple as the the whole of its upper fabric appears plan. It has pointed tunnel vaults to be of the thirteenth, while the es- throughout, of the usual type, carried sential parts of the facade belong to on double arches, but the supporting the fourteenth. Even in its present piers, instead of being, as heretofore, a dismantled and deserted state it is one group of rectangles, have the central of the most interesting monuments of or outer rectangle displaced for a half the region. It is an excellent type of column. The capitals are clumsily a simple form of Romanesque archi- carved and of a distinctively Roman- tecture, in which the direct reproduc- esque type, with a heavy abacus that tion of Roman-like ornament has disap- forms a string at the base of the vaults. peared, while the simplicity and regu- This form is used throughout the CA FRENCH TUEDRALS. 479 church, in the aisles, at the opening of out, is very similar to the main porch the transepts, and at the entrance of of the cathedral of Sisteron. It con- the apse, which, like the other parts, sists of a deeply recessed arch with has also a pointed tunnel vault, though large roll mouldings; the columns slightly lower than that of the nave. which supported it have disappeared, The nave wall is marked off by single but the capitals remain. The outer arches, whose piers have plainly arch, plain and unornamented, is con- moulded capitals. There is practical- tinued on each side by a single half decoration in this and arch ly no interior, that rests against the enclosing even the windows are of the same buttress. A projecting stone between severe character as the rest of the the junction of the main and half structure. On the north side there arches was formerly supported by a are none at all, but the south wall con- column standing on the back of an tains three, with splayed frames with archaic lion. The lions are still in roll Three similar win- but the mouldings. place, columns have disap- dows the end wall of the Above the light apse, peared. arches is a plainly and larger ones the end walls of the moulded string, with two corbels be- the low transepts. Instead of apses tran- which were doubtless part of the in eastern a septs have, each wall, original finish of the porch. It is com- and in the south tran- a pointed recess, pleted by narrow sloping covering. sept, in the west wall, is a doorway This porch was repaired in the four- to a small vaulted un- teenth that opens crypt century, at which time the cap- der the tower, where the curious who itals were put in place. This was need other things than cathedrals to probably prior to 1330, at which date interest them, mav see some particu- a consecration of the church took larly horrid mummified human skel- place. etons. Above the porch is a large circular It is, in truth, a strange and deserted window, with a broad frame of rolls little church, used only at certain fes- and hollows, which are repeated with- tivals, and perhaps not now as its his- in, and which is evidently of the same date torians record was once the annual as the portal. The' thin pointed custom; for its ancient caretaker, to arch of the nave vault appears on the must for the will outer wall over whom you apply key, it, the space above, under flat protest against your removing your hat the pointed roof, being filled in with in its cold damp interior. It contains stone-work that has partly an altar, but it does not suggest use fallen away and been roughly restored. nor that loving care which might be Below, on each side, is a small niche of the looked for in so curious and ancient a fourteenth or fifteenth century, building. There are some nearly ob- that to the south containing a statue. literated remains of frescoes on the The north wall is entirely plain ex- nave walls, dating from the fifteenth cept for the top of a pointed door-frame or sixteenth centuries. The most in- and the flat buttresses, which are teresting is a Last Judgment on the stopped with a slope below a string south side, which, though much de- that runs along the wall, a system we faced, is still legible. have seen in the cathedrals of Vaison Of the exterior there are but two and Cavaillon. The roof a bare cov- parts that show architectural treat- ering is carried on a rough piece of ment, the facade and the tower. The wall above. west front, which has been repaired in On the south side the wall is in bet- the our own day, -though scarcely more ter shape. The buttresses are than was necessary to keep it intact, same, but the nave windows have is enclosed wi f hin two huge buttress- moulded frames as within. The tower, in es. The central part is divided hor- which lost its spire 1568, adjoins the west face of the south izontally into two nearly equal divi- transept, r exception of the main sions, of which the lower is formed by and, w ith the is the most feature the porch, which, as has been pointed portal, interesting Vol VI. 4. 5. 480 THE ARCHITECTURAL RECORD.

of the exterior. Various dates have stones, and of which the first is solid been assigned to it, some authorities and plain, with an applied columnette dating its lower part as a gallo-Roman on the corners with capitals too wall of the sixth and seventh centur- small for the columns and apparently ies, repaired in the ninth, while the from another structure and the up- upper stages are placed in the tenth per with two round arched windows, century. These dates are certainly too with triple recessed frames, without early, for no other portion of the ornament; a construction which ap- church goes as far back. But the pears to date from the epoch at which lower stage, whose south face is decor- the cathedral was built, and prob- ated with two pairs of small round ably completed in the twelfth century. arches with a central corbel, and The lower part of the west wall of the which is built of small stones, is un- tower has a shallow projection, nearly questionably earlier than the two up- in ruins, with a small window that per stages, built of largish smooth lights the crypt below. Barr Ferree. Fig. 1. S. Apollinare Nuovo, Ravenna (Gth Century).

A DISCOVERY OF HORIZONTAL CURVES IN MEDIEVAL ITALIAN ARCHITECTURE.

I. lines by counteracting certain optical appearances of sagging and downward announcement that the refine- deflection, is also a very general one in ment of horizontal THE curving lines, the rare mentions of the subject by hitherto to be generally supposed English or American experts. restricted to the temples of the Greeks, As long as the account of the Greek has been discovered in Ital- Medieval curves is mainly confined to the Par- ian cloisters and churches is doubtless thenon it does undoubtedly appear im- open to preliminary suspicion and probable that a refinement considered scepticism. The facts, however, specially characteristic of this marvel- to be established appear firmly lously perfect building should be the Institute Sur- by Brooklyn found in Medieval work, separated by vey of 1895,* and what these facts are many centuries from the Greek cul- it will be of the purpose the present ar- ture of the fifth century B. C. As ticle to describe. long as the presumption is general that Inasmuch as scepticism and incre- the Greek curves were always curves dulity are to be anticipated, it may be in elevation and always intended to well to disarm them in advance, as far correct an optical downward deflec- as possible, by some preliminary ex- tion, so long the existence of curves planations. These will take the shape in Medieval architecture, which could of a reminder that our knowledge of not have had this purpose, is open to the uses and purpose of curves in an- suspicion. cient architecture is at present ex- It seems, therefore, wise to stress tremely limited and fragmentary. the importance of an article which ap- The general and practically univer- peared in the "Architectural Record" sal presumption is, at present, that in the Spring of 1895, as bearing on the these curves were all rising curves in announcements of the present Paper,* vertical planes and that they were con- and to urge a review of this former ar- fined to Greek temples. The mention ticle, by any one who is disposed to of the curves is generally confined in subject these later announcements to popular works to the Parthenon at critical investigation. Athens and the presumption that they *Vol. IV., No. 4. "The origin of Greek hori- were intended in the Parthenon to zontal curves." This article has been republished in "Smithson- the effect of by the Smithsonian Institution the produce exactly straight ian Report for 1894 "the actual publication dat- ing 1896; under the title of "A Discovery of *For a preliminary account of the work of this Greek Horizontal Curves in the Maison Carree at Survey, see Vol. VI., No. 1. Nimes," pp. 578-578. THE ARCHITECTURAL RECORD.

It was shown by this article that the ers, lest us accent the following points prominence given to theories of op- as important to our own account of tical correction in the matter of the curves as found in the buildings of Greek curves, on the part of English Medieval Italy. and American experts, is due to their (a) The Greek refinements were not natural respect for the high authority confined to curves. They included of Mr. Penrose, who has especially de- constructive asymmetry in apparently veloped this explanation in depend- equal dimensions, of all members ence on the account given by the Ro- and spacings. They included an man author Vitruvius. (But Mr. Pen- avoidance of all parallels in verticals as rose, be it observed, in the first place, well as in horizontals. (Even the does not offer his explanations as to curves do not have the same amount optical correction as final, or as more of deflection on the stylobate which than tentative. In the second place he holds for the entablature.) These re- suggests additional explanations of a finements consequently included an Greek preference for the beauty or avoidance of all exactly perpendicular variety of the curving line as alterna- lines in favor of constructed leans, both tive or additional causes.) It was also outward and inward. (These facts are shown by this article that the curves also found in the buildings of Medie- in plan (as distinct from curves in ele- val Italy, as being due to construction vation) on the flanks of the Neptune and not to accident or carelessness. Temple at Paestum were unknown to See article preceding and the article Mr. Penrose,* that such curves are to follow.) also found in the Roman temple at (b) The curves of ancient architect- Nimes known as the Maison Carree ure are not confined to Greek temples. and in the court of the Egyptian tem- They are also found in Egyptian and ple at Medinet Habou. It was shown in Roman temples. moreover that the curves at Medinet (c) The curves of ancient architect- Habou were discovered by Mr. Pen- ure are not confined to curves in ele- nethorne before he made the discov- vation, but they also include curves in ery of the Parthenon curves and that plan. This holds even of the Parthe- this Egyptian discovery actually led non, although no authority known to to the other; in spite of which fact the me has mentioned the curves in plan Egyptian curves, which are curves in of the alignment of the portico col- plan and not in elevation, have never umns of the Parthenon aside from been considered as an element in the Burnouf.* They are convex to the problem of purpose because their ex- exterior. istence has been overlooked and ig- (d) The theories of optical correc- nored. The curves in plan which tion, as explaining Greek curves, are have just been mentioned have not best known to readers of English pub- been considered in the theories of a lications, but they are not favored by purpose of optical correction, and the Boutmy,* the leading French author- facts are outside of these theories. ity on this subject, nor by the Ger- It is a natural tendency of popular man art historians like Jacob Burck- writers to restrict their mention of hardt and Schnaase. Greek refinements to the curves, to (e) Neither Penrose nor any other restrict their mention of the curves to authority has ever antagonized the the Parthenon, and to restrict their view that an effect of "life" and beauty mention of the probable explanation was one purpose of the Greek curves, to the one which is best known to and Penrose has expressly mentioned them. this explanation. Lest readers should be mis- popular * "Revue de 1' Architecture," 1875, p. 152. led by this tendency of popular writ- * "Philosophic de 1'Architecture en Grece." This work has been recently republished with a *These curves were photographed by the Brook- new title, Le Parthenon et le Genie Qrec. ArmancJ lyn Institute Survey in 1895. Colin et Cie., Paris. CURVES IN MEDIEVAL ITALIAN ARCHITECTURE. 483

mentioned that in (f) It may also be Apollinare Nuovo the 6th century two authorities, Hotter and Boutmy, A. D. This gap is not much greater (to whose names we may add that of than that which exists at present be- the American artist Stillman) ,have tween the curves of the Maison Carree supposed the purpose of the Greek and those of the temple of Olympian curves to have included that of exag- Jupiter at Athens (dated by Penrose to gerating dimensions by artificial ef- 174 B. C.) or between these last and fects of curvilinear perspective. Arti- those of the Parthenon. The gap is ficial effects of perspective were cer- not nearly as great as that which now tainly intended by other devices used separates the curves of the Neptune in Medieval Italian churches* and temple at Paestum (6th cent. B. C.) there are, in Italian churches, some from those of Medinet Habou (i3th cases of bends in elevation (if not of cent. B. C.). curves) in which a purpose of perspec- Aside from a list of the Medieval tive exaggeration seems to be clearly Italian buildings in which curves have involved. been observed and an account of their appearance, it is necessary to show the II. possible sceptic that thrust of vault- ings or arches or other accidental Many or most of the Medieval Ital- causes could not account for them. It ian horizontal curves are found in the is also necessary to show that careless or Italo-Byzantine Byzantine-Roman- building could not explain them. churches. None of the horizon- esque We will begin our list with Ravenna, tal curves have been found in the Ital- because the sixth century church of S. ian Gothic, excepting in cathedrals in Apollinare Nuovo is the earliest one like those of Siena and which Orvieto, which the Medieval curves have been in other details, and in recorded his- of noticed (Fig. i). The ascendency have affiliations with Pisan in- tory, Greco-Byzantine influence in this fluences and artists and consequently church is, of course, undisputed with the Out- Byzantine-Romanesque. In S. Apollinare Nuovo the lines of side of the Fiesole Cathedral (Roman- the nave columns supporting the clere- esque) most of the important instances story are arranged in parallel curves of horizontal curves have been deflection in plan, of about six inches found in centres like Ravenna, Venice, at the centre from a stretched line. Pisa and Lucca art Genoa, (an depen- The curve is convex to the nave on of Pisa). This is suggestive of con- dency the right side of the church and historic Greek continuity through By- cave to the nave on the left side (look- zantine art and of a historic connec- curves ing toward the choir). These tion with classic architecture. continue in the clerestory walls up to It would thus as a conse- aisle vault- appear, the ceiling. There are no that later Greco-Roman An- quence ings in this church to exercise thrust, use of these re- tiquity made a wider and if there were, one of the curves than has been nave finements supposed. would be against the thrust. The instant that curves the In fact, on the is timber-roofed, as was always been used of are conceded to have case in the early Christian basilicas in the architecture, of the Italo-Byzantine Italy, and the arched ceilings the conclusion will be inevitable aisles are Renaissance lath and plas- de- that it is only the general ter. This is visible through an un- struction of the monuments which as one as- repaired break in the ceiling links has obliterated the connecting cends to the organ loft, by a stairway curves as found between the use of the from the right aisle. The best place at in the 2d A. D., and of the walls is Nimes century, to sight for the curves their use as found at Ravenna in S. from this organ loft. The walls of this church retain the original sixth cen- * No. "Architectural Record," Vol. VI., 2, and this is the only case "Perspective Illusions," etc. turv mosaics, 484- ARCHITECTURAL RECORD. in Europe of an early Christian bas- (a) The curves start at the pavement in ilica which has retained its side wall the alignment of columns and the mosaics. This is a fortunate point for measures are taken at this level, (b) our observation, because if the walls There are no vaultings in the church, had moved, the mosaics would have the aisle ceilings be.ng Renaissance dropped off or would have been lath and plaster, (c) The curves are badlv damaged; but no one will ser- parallel as regards direction and if a iously suggest a movement of the "thrust" could be imagined as having earth's surface or any accidental dis- ever existed in the building one of the placement of masonry as having two parallel curves must have been moved both lines of columns, from the counter to the thrust. pavement up, and both walls, up to the It is generally conceded by experts ceiling, into parallel curves in plan. that curves in masonry construction These curves were discovered on Oct. must be due to constructive purpose, i/j-th, 1895, after Mr. McKecknie's five unless they are due to thrust. This months' time had expired and after he view is explained by the obvious point had left Italy. Consequently no pho- that careless or rough building might tographs were taken here. The meas- produce a "wobble" or an irregular ures as given below were taken to a line, but that it could not produce a straight line. On the left side of the curve. The thrust which produces a church this line was stretched tightly bulge or curve can only be exercised from the first column to the last, on by a vaulting of masonry and it does the side toward the nave, and the meas- not operate in timber-roofed buildings. ures, in inches, begin at the entrance. In all vaulted churches the push or o.o, 2j, 3, 4i 5, 6, 4, 2j, a, 2j, o. thrust of the vaultings against According to these measures the the supporting walls or piers is curve, concave to the nave, is strong- greatest at the centre of the est at the centre and is unbroken with building, because at the ends of exception of the placing of the tenth the thrust the vaulting is tied in by column. On the right side of the transverse walls. Hence there is a nave a line was stretched on the nave tendency in the thrust of the vaulting side of the columns at a distance of of a side aisle to bulge out the wall of six inches from each of the two end the clerestory toward the centre of the columns. Thus the measures below, church. Otherwise a curve in ma- as they decrease toward the centre, in- sonry must be produced by a gradual dicate a curve convex to the nave, and delicate series of changes in di- which is strongest at the fourth and rection, all tending at first in one direc- fifth columns from the entrance and tion and all tending subsequently in a which is regular, with exception of a contrary direction. Such an arrange- bend at the tenth column. The same ment implies contrivance and the ef- bend occurs in the case of the same fort of the human will, as a matter of column on the opposite side. See the course. When the curve "in plan" of a measures below, which begin at the clerestory wall starts in the alignment entrance: of a series of columns, the conditions of the are the same. In the 6, 5f , 3i 2, 2, 25, 2j, 3f, 4i 74, 6J. problem case of one line of columns the Fig. i is taken from an ordinary chances an accidental in a photograph and does not sight on the against arrangement to are curve, which in the given aisle is con- curve, due carelessness, the same vex to the nave; but it illustrates the which hold against drawing a se- survival of the wall mosaics in the nave quence of numbers first in a regularly and the general appearance of the rising and then in a regularly descend- church. ing scale, and where two lines of col- We will now rehearse the facts al- umns are in question, of which each ready mentioned which bar out the One shows a deviation from the recti- 'suggestion of accidental movement. linear line of the same general charac- CURVES IN MEDIEVAL ITALIAN ARCHITECTURE. 485 ter and direction, the chances against tion. This is implied by the existence accidental arrangement, due to care- in this church of the before-mentioned lessness, are so increased that the cer- mosaics. Byzantine artists are at least tainty of a constructive purpose is fair- free from the suspicion of making mo- ly established. The doubts which may saics with an uneven surface. In other still cling, in spite of all probabilities, words, the well-known fact that the to a single case, where the conse- mosaics are here verifies my asser- quences involved are revolutionary for tion that the curves of the walls are the present attitude and knowledge of even and regular. The expert who the art historian, ought to disappear wishes to test my observation for in face of such a series of observations curves in the clerestory walls of S. as will follow. Apollinare Nuovo should make use of Meantime it may be suggested that the organ gallery over the entrance, scepticism, even for one case, must be from which point of view the most sat- the consistent with itself. If it could be isfactory sightings are obtained for even suggested that the phenomena upper walls of the church. The pho- in S. Apollinare Nuovo were acciden- tographs published in this article for idea of tal, it would follow that the masons of other churches give a correct curves. the given church and the given city, at the nature of these the given time, were unfamiliar with The church of S. Donate in Genoa the method usual in building a straight (nth century Byzantine-Romanesque) of with a wall, stretching a line, and build- shows regular parallel curves, ing to it. How then could it happen deflection of six inches, in both lines of that the outer walls of S. Apollinare nave columns, beginning at the bases Nuovo are perfectly straight, which is and continuing in the clerestory walls the fact? to the height of the ceiling. These facts If again it should be assumed that were noticed by our party of three on land- these parallel curves are due to the first day we spent in Italy, on were Medieval carelessness, how can it ing at Genoa; but the measures be explained that the columns of not taken until a second visit to Genoa, S. Apollinare in Classe, another after Mr. McKecknie had left Italy. sixth century Ravenna church, They were then taken on a Sunday, are placed in perfectly straight lines. shortly before Mass, and consequently The measures in this last church for in a hurried way, as regards details, widths of nave and aisles, as compared but with perfectly satisfactory results. at the two ends of the church, show ac- A cord was stretched in the left aisle, curate building in the right aisle to a 4j inches out from the column nearest hair's breadth, accurate building in the the entrance and 5^ inches out from nave with an error of only tivo centi- the column next to the choir. The there metres,, accurate building in the left nave is thirty-five paces long and aisle, with an error of only five centi- are seven columns. The measures at metres. These errors do not specify a the first and last column show the stretched deflection of straight lines, resembling points at which the cord was a curve, but they relate simply to dif- and must be subtracted from the other ferences in width at opposite ends of measures to obtain the amount of the building and in measures which curve. were intended to be equal. They may 4i 6, 7^ ioi, ioi, 8i 5i be as establishing regarded,- therefore, There is no break in this scheme, for this church the limit of error due the measures show a curve of about six to causes. ordinary inches convex to the nave (the line be- As I am not able to publish photo- on the aisle On the oppo- on the wall curves ing side). graphs sighting with site side a pulpit interfered taking of S. Apollinare Nuovo for reasons measures, but the facts are the same. explained above, it is well to say that There are two witnesses besides my- they are of regular and even construc- 486 THE ARCHITEC1 URAL RECORD.

self for the existence of the curves in of the masonry joints; the curve is del- the clerestory walls of this church, Mr. icate and regular and it starts in the Nelson Goodyear and Mr. John W. bases of the columns at the pavement. McKecknie. It is much more pronounced on the As to the general delicacy of these line photographed than it is at the curves in the upper walls of the given pavement, but the aisle vaulting could

Fig. 2. CURVE IN PLAN, CATHEDRAL OP GENOA. The curve begins in the columnar alignment at the level of the pavement, and has an upper de- flection of about eight inches. Brooklyn Institute Survey. buildings a photograph taken in the not have produced this increase, be- Genoa Cathedral by Mr. McKecknie ing too far above it.. The curve has on the first day of our survey in Italy about eight inches deflection, accord- will be of interest (Fig. 2). The pho- ing to Mr. McKecknie's estimate, on graph was taken from the organ gal- the line photographed. The deflection lery above the entrance, sighting down in the line of columns at the pavement on the curve. There are no partings is about two inches. The curve would CURVES IN MEDIEVAL ITALIAN ARCHITECTURE. 487

be in much more apparent the picture Mr. McKecknie's survey of the if it had been to possible place the Fiesole Cathedral (twelfth century camera farther to the left and sighting Romanesque) deserves the close atten- more on the line. tion of directly the expert (Fig. 4). Our pho- No curve could be noticed in the tographs here (made under many dis- opposite clerestory wall of the Genoa advantages) were less successful in Cathedral. showing the facts which actually ap- It is also the case at Trani that only pear by sighting, but as seen by the one wall is curved. Here also the eye the curves at Fiesole are more re- curve starts in the bases of the col- markable than any so far mentioned;

Pig. 3. THE CURVE AT TRANI.

It extends upward from the supporting columns and their bases, showing thrust to be impossible. Republished from Vol. VI., No. 1. Fig. 5. Brooklyn Institute Survey.

timns and here also it increases in the having a deflection of about twelve upper wall. Our photograph at Trani inches, and they are attested by the was so successful that it is repeated extremely careful and accurate survey, here from the first article of this series published herewith, as well as by the (Fig. 3). By Mr. McKecknie's meas- eyesight of three observers. The ure the columns are placed in a curv- curves are parallel returning curves ing line of five inches deflection at the (Hogarth's "line of beauty") on both bases and in the upper wall the curve sides of the church, starting from the increases to over a foot deflection, by bases of the piers and rising in the Mr. McKecknie's guess. The survey walls to the ceiling of the church. The also possesses a photograph sighting extreme deflection of the line of the on the curve at Trani along the line piers from a straight line at the of the bases of the columns. bases is about a foot. We have here Fig. 4. PLAN OF THE FIESOLE CATHEDRAL. Showing pier spacings which narrow toward the choir and parallel returning curves in the align- ment of piers. These curves continue in the clerestory walls. Survey by Mr. John W. McKecknie. CURVES IN MEDIEVAL ITALIAN ARCHITECTURE. 480

another case attested by a detailed plan. In this case, if my memory does survey into which no susoicion of not fail me, both outer walls of the either carelessness or thrust can be church follow the same line, which is injected. No case has been so far not the case at Fiesole. Some re- quoted in which the objection of marks on an explanation current in thrust could appear, for this is nat- Northern Europe and offered by the

Fig. 5. PHOTOGRAPH SIGHTING ON THE CURVE IN PLAN OF THE FACADE OF ST. MARK'S, VENICE.

The deflection at the pavement is ten inches, concave to the Piazza; i. e., counter to supposable thrust. The curve is repeated in the retreating upper story. Brooklyn Institute Survey.

urally eliminated when the curves are sacristan of St. Ouen, regarding the found in the plan of the foundations. representation of the bending of the Moreover, there are no vaultings at head of the Saviour on the cross, have Fiesole. That both clerestory walls of been made in the preceding Paper, a church, including the supporting which related to the subject of deflected piers could be built in parallel return- and oblique plans. As mentioned at ing curves as a result of accident, is the close of that article these deflected wholly incredible. plans grade over into the curved St. Ouen at Rouen has a similar plans, and among these are many 49 THE ARCHITECTURAL RECORD. which could not possibly represent The facade of St. Mark's at Venice the bending of Christ's head on the has a curve in plan of ten inches deflec- cross. A section of the Fiesole Cathe- tion starting at the foundations and dral, showing a remarkable case of concave to the Piazza.. That is to say, perspective illusion in the arrange- in the upper surfaces, the curve is ment of arches and pier spacings was against the supposable thrust of the

Pig. 6. CURVE IN PLAN OF THE SOUTHWALL, PISA CATHEDRAL.

Deflection, 22 inches. Compare ground-plan in last issue (Fig. 5.) Brooklyn Institute Survey. published in a recent issue (Vol. VI., vaulting in the vestibule. See the pho- No. 2). These pier spacings are also tograph sighting on the curve (Fig. in represented the survey of Fig. 4. 5). This curve is best seen by noting It would be possible to describe in first the corresponding line on the sur- detail a number of additional cases of face of the pavement. It is naturally curves in plan against which even the much more easily seen in the dimen- suspicion of thrust cannot be urged, sions of the building than in the small but for the time being they will be dimension of a photograph. brieflv mentioned. The north wall of S. Paolo Ripa CURVES IN MEDIEVAL ITALIAN ARCHITECTURE. 49 i

d'Arno at Pisa has a curve in plan con- the aisle vaulting within. These above vex to the street, starting at the foun- three instances do not acquire import- and about four dations, having inches ance until they are considered as part deflection. Photographs of convex of a system of building in bends and curves in are not plan generally sat- curves which holds in other parts

Fig. 7. PORCH OF S. GIORGIO IN VELrABRO, ROME. The cornice curves in plan; no vaulting within. isfactory, and our photograph of this of the given buildings. They then be- curve is not reproduced in this article. come important as cases which are The south 'wall of the Pisa Cathe- wholly free from the suspicion of dral has a curve in plan, starting at the thrust. foundations, concave as regards the The instances of exterior cornice exterior and having a deflection of curves in plan, which do not rise from twenty-two inches. See Fig. 6. This the foundation, are always potentially curve holds, of course, in the upper open to the suspicion of thrust when wall and is there counter to thrust, of they are convex to the exterior. It is 492 THE ARCHITECTURAL RECORD. well to remember here however that suggested from the timber truss-work these cases are numerous in Italy for within. The joints of the brick-work the period of Byzantine influence and have not parted. (Fig. 7.) that there are no known examples of It is so far apparent that no general exterior cornice curves for the Gothic. theory of thrust or other accidental If masonry movement be assumed to displacement, will make headway as explain these curves there does not ap- explaining the phenomena, or receive pear to be any reason why they even a moment's consideration from should disappear in the Gothic period. experts when the facts are known; we

Fig. 8. CURVE IN THE SOUTH GALLERY, PISA CATHEDRAL. View looking toward the facade. The same curve appears in the gallery cornice, deflection about five inches. This curve is counter to thrust of the aisle vaulting. Brooklyn Institute Survey.

We offer an illustration of such an ex- shall therefore begin to consider more terior cornice curve in plan from the in detail the possibility of carelessness porch of S. Georgio in Velabro at or constitutional inability to construct Rome (i2th century porch; 7th cen- straight lines of masonry. Mentions of tury interior). There is no vaulting individual or isolated curves like those inside this porch and no thrust to be just specified for the faqade of St. CUA VES /A MEDIEVAL ITALIAN ARCHITECTURE. 493

the north wall of S. Mark's, Paolo in the last issue, favor the belief d'Arno, or the south wall of the Ripa that the masons knew what they Pisa do not much Cathedral, carry were doing there, but in weigh- with a a re- weight sceptic considering ing a report the sceptic is dis- and not tne facts on the port weighing posed to suggest careless building for In ground. face of the monuments every isolated curve. Hence the value

Fig. 9. CURVE IN THE NORTH GALLERY, PISA CATHEDRAL.

View looking toward the facade. A line is stretched to exhibit the curve. Brooklyn In- stitute Survey. there is an aggregation of facts point- of the evidence offered by the churches ing to a system of optical refinements in which the curves are found in pairs and such a multitude of instances of in the lines of the nave or clerestory. curves that the cases wholly free from The number of instances of this class suspicion of thrust are not easily to be is sufficient to show that they belong to explained as due to carelessness. For a system of building connected with instance, the remarkable points the more distinctly bent and deflected published for S. Paolo Ripa d'Arno plans discussed in our last Paper. RECORD. 494- ARCHITECTURAL

Fig. 10. CATHEDRAL OF VOI/TERRA.

View looking toward the entrance. Showing parallel curves in the clerestory walls. Brooklyn Institute Survey.

These would appear to be a medieval choir. The columns on the right side exaggeration or development from the of the nave are in line, but the corre- more delicately bent or curved plans sponding bend appears in the align- now being considered. From this ment of the choir. See Fig. 13 for a point of view the quoted cases at Ra- photograph of the left clerestory wall. venna, Genoa, and Fiesole appear to In the Cathedrals of Siena and Pisa be very satisfactory evidence. We will the upper lines of the nave are curved now add mention of similar instances or bent in plan and in the same direc- at Toscanella, and in the Siena and tion on both sides of the church, but Pisa Cathedrals. The bend of the the bends are not found in the align- facade of S. Pietro at Toscanella is rep- ment of the supporting columns or resented by the survey of our last Pa- piers of the naves. The bend of the per (Fig. i, Vol. VI., No, 3). No ex- Siena choir (Fig. 12) is much more pert will suggest careless construction abrupt than the bends in the clerestory here. cornice lines of the nave. These clere- In this last Paper (Fig. 18) was story cornice lines at Siena corre- also published a survey of S. Maria at spond in arrangement to the gallery Toscanella, but reference was purpose- lines at Pisa, and our illustration for then avoided to the Curves. Atten- both, as the facts, ly regards general tion is now again called to this survey will be drawn from the latter cathedral and to the curve in plan of the line of (Fi

Vol. VI-4-6 496 THE ARCHITECTURAL RECORD.

Fig. 11. S. AGNESE, ROME (7th century).

Showing a curve in plan of the gallery cornice. The opposite gallery shows the same curve of 3 inches deflection in 70 feet. Brooklyn Institute Survey. ies). This is the only case noticed in arguments against the possible view Italy of two curves concave to the that careless or rough building may nave. There are no aisle vaultings here, explain the phenomena mentioned, as but if there were, the curves would nearly all the instances quoted nega- both be counter to thrust. The sur- tive without debate, thrust or acciden- vey possesses photographs of these tal masonry movements. curves. The masonry construction is (a) The phenomena of curves or in good condition and wholly without bends in plan are not characteristic of partings in the joints. Curves or bends the churches which are distinguished in plan for clerestory walls are also by rough building in other details. All mentioned in my note-books for Troja the most important cases known to our (a Byzantine colony) for Amain Cathe- survey have been specified (except the dral (a Byzantine centre) and for the cloister curves) and it will be admitted Cathedrals of Naples and Beneventum. that the cases are all in the more im- These observations are not however portant churches of the given locality. sufficiently minute and specific to be The phenomena have not been noticed, of value in this Paper, excepting as for instance, in the minor churches of possibly corroborative facts, attesting Siena, or Orvieto or Volterra. They a widespread diffusion of the phenom- appear in St. Mark's but have not been ena, and supporting the view that By- observed at Torcello or Murano. They zantine Greek influence is the origi- are seen at Pisa in S. Paolo Ripa nal source of the medieval curves. d'Arno (the old Pisa Cathedral) and in We will now consider some general the Pisa Cathedral but not in the neigh- CURVES IN MEDIEVAL ITALIAN ARCHITECTURE. 497

humbler boring basi.icas of S. Piero in carelessness seems also improbable on Grado or Calci or in the minor Pis- this account. an churches. are They not known to (c) The point as to Byzantine cen- the multitude of poorly built minor tres has been dwelt upon. No church early Christian basilicas at Rome. is known for instance in Florence, in The above is (b) point repeated here Perugia, in Prato, or in Pistoja which

Fig. 12. BEND IN PLAN OF THE CHOIR. SIENA CATHEDRAL.

Taken from the dome gallery. Brooklyn Institute Survey.

in other words. There is too much exhibits horizontal curves. Of all rectilinear building in Medieval Italy refinements dwelt upon by these arti- in poorly built churches to favor the cles that of the horizontal curves is suggestion that building to a straight the rarest and the most definitely re- line was either difficult, unusual or un- lated to the known facts of Byzantine practiced. It may be added that rec- Greek influence, or of classic survivals tilinear building occurs so constantly in other particulars. It is impossible in some portions of churches showing to understand why horizontal curves bends or curves that the theorv of should not be frequent in Gothic 49* THE ARCHITECTURAL RECORD. churches, in roughly built churches, uniform for the whole nave and is re- and in centres or periods remote versed as regards direction in the from Byzantine influence, provided choir (Fig. 4). they are to be explained by accidental (e) Many of the curves are too del- causes or medieval carelessness. icately regular to admit of the theory

Fig. 13. S. MARIA, TOSCANELLA.

View looking toward the entrance and taken from the pulpit. The curve of the wall begins in the bases of the supporting columns (12 Inches deflection). Compare survey for plan Fig. 18, Vol. VI., No. 3.

(d) In no one of the cases quoted of careless building see for instance do we find a "wobble" or a line bend- the curves of S. Agnese (Fig. n), of ing back and forth. If the bends are Genoa (Fig. 2), of Trani (Fig. 3). due to rough building why is the one (f) Some of the bends are so abrupt uniform direction preserved? A re- and so accurately jointed withal that the turning curve of the large sweep seen theory of careless construction is again at Fiesole does not interfere with this inadmissible. This applies to the bend argument. At Fiesole the curve is in plan of the choir at Siena. (See Fig. CURVES JN MEDIEVAL ITALIAN ARCHITECTURE. 499

There are cases in 12.) many which have been a general one, the bend will the accurate and close of fitting joints, illustrate this feeling as well as the which is involved in the purposed con- curve. If the curves at Orvieto or at struction of such bends, can be Toscanella (see Fig. 13) were the as for instance in studied, Fig. 12. only ones, they might be attributed If it be (g) urged that such bends to rough construction, but when the

Hg. 14. BEND IN ELEVATION, NORTH GALLERY, PISA CATHEDRAL.

Brooklyn Institute Survey. Compare the section Fig. 6, Vol. VI., No. 3. ought not to be included in an ac- facts are viewed as a whole they show count of curves which are supposed to in the given cases exactly what provin- be derived from classic tradition, the cial or medieval builders would natur- answer is obvious -that medieval tra- ally have done with an originally dition and practice would have tended Greek refinement. to produce ruder and more imperfect III. repetitions of the Byzantine Greek originals, and that if the standpoint of Our demonstration has not yet ex- purposed asymmetry be admitted to hausted its points, for so far the curves 500 THE ARCHITECTURAL RECORD.

and bends in elevation have not been and over the same corresponding col- considered. umn in both galleries. The bend of The expert is requested to consult the north gallery (Fig. 14) shows a the surveys for the gallery levels at rise from the facade gallery to the Pisa, which were published in the last third column of .78 and a fall from issue, showing the bends in elevation that point to the transept of .93 (deci-

Fig. 15. BEND IN ELEVATION, SOUTH GALLERY, PISA CATHEDRAL.

Brooklyn Institute Survey. Compare the section Fig. 1, Vol. VI., No. 3. of these galleries (Figs. 6, 7, Vol. VI., mals of a foot). The bend of the south No. 3), and then to compare the pho- gallery (Fig. 15) shows a rise from the tographs herewith (Figs. 14, 15). That facade to the third column of .83 and these bends are in the masonry con- a fall from that point to the transept struction is of course undisputed. It of .83. If it be suggested that the bend is as little open to dispute that no the- in Fig. 14 is so obvious as to defeat ory of accidental irregularity or care- its own purpose and 'that it is too pro- less building will account for them nounced to be regarded as a "refine- as occurring at exactly the same points ment," it may be answered that it CURVES IN MEDIEVAL ITALIAN ARCHJ TECTURE. 5oi

detection from the wholly escapes to see the whole line, and its deflec- floor of the as hundreds and nave, tion then corresponds to the ordinary thousands of visitors at Pisa can testi- facts of vision, with some exaggera- Not is its effect discounted fy. only by tion of apparent .dimension. We the into eye perspective in the nave, have illustrated and described in this but from most of view this bend points Paper the curves in plan of these

Fig. 16. CURVE IN ELEVATION, NORTH CLERESTORY WALL, PISA CATHEDRAL.

View looking toward the facade. There is a corresponding curve on the opposite side which has also been photographed. These curves are directly above the interior gallery bends. Brooklyn Institute Survey. also escapes detection in the galleries same gallery cornices (Fig. 8). If and is only noticed by sighting. The now it be admitted that the bends in results for the eye are not represented elevation are constructed and that they by such photographs as Fig. 14. The cannot be due either to accident or to photograph is seized by one glance oi carelessness is it not likely that the the eye, but in the dimensions of the bends in plan of the same cornices building the eye must move in order were also intentional, and if this be ad- 502 THE ARCHITECTURAL RECORD.

mitted does not the probability grow in order from the entrance to the tran- that the curve in plan of the south wall sept (feet and decimals). had also a constructive purpose? The 1-35: 1-57: 173: 2.17: 2.47: 2.30: curves in elevation of the upper exte- 2.05: 1.84: 1.30: 0.57. rior walls of the Pisa Cathedral would These figures rise gradually to the then appear also to be due to construc- centre and drop gradually beyond it tive purpose (Fig. 16). These curves without a break in the scheme. Ac- are directly above the corresponding bends in the galleries. The survey has a photograph for a corresponding curve on the opposite side of the Cathedral. Bends which are similar to those of Figs. 14, 15, occur in the clerestory cornices of the Cremona Cathedral. (The remarkable plan of this cathedral appeared in the last issue and the illu- sive arrangement of arches and pier spacings was described inVol.VI.,No. 2.) The given bends at Cremona are wh'olly imperceptible from the pave- ment, where they are discounted into perspective effect. They can only be detected by ascending to the .space be- neath the aisle roofs, and above the vaultings of the side aisles (there are no galleries at Cremona). The rise of the cornice appeared to be about three inches and the drop about a foot. Bends which occur at corresponding opposite points cannot be due to care- lessness. The gallery bends at Pisa have their counterparts in the stripings of the outer walls of the cathedral. (See Fig. n, Vol. VI., No. i.) These exterior bends occur at the fifth bay from the faqade on both opposite sides of the church. They cannot therefore be due to carelessness. Our next Paper will show that they cannot be due to set- tlement, as was supposed by Mr. Rus- kin. Our survey has photographs and observations for many delicate curves in the Pisa Cathedral (as distinct from Fig. 17. Curve in elevation, S. Michele, Lucca. bends) which are not entered in this Paper. The curve has about 5 inches deflection in 76 feet. There is a similar curve in the cornice One more remarkable case above. These curves are repeated on the opposite may sides of the church, where they are slightly less be noted here. It is that of the plinth than three inches. Brooklyn Institute Survey. blocks which support the aisle col- umns on the north side of the Cathe- cording to the law of permutations and dral. The measures for the heights combinations, otherwise the law of of these plinths are entered in the sur- chances, the chances are about three for the vey gallery levels (Fig. 6 of the million to one against accident in the last issue). They are repeated below arrangement of this series. CURVES IN MEDIEVAL ITALIAN ARCHITECTURE.

Fig. 18. BEND IN ELEVATION, GALLERY OF ST. MARK'S, VENICE. Brooklyn Institute Survey.

also We photographed very delicate Mark's at Venice (Fig. 18). There are curves in elevation on the exterior of twelve other galleries in St. Mark's- S. Michele at Lucca (Fig. 17). On having similar curves in elevation and both sides of this church the curves the survey has photographs for six are found in the base courses (see of them. In St. Mark's the ques- photo.), and also in the cornices. On tion of settlement had to be care- the side photographed the base fully considered, and all possible means courses curve about five inches, with were taken to reach certainty on this slight increase in the cornice. On the head as regards the origin of the given opposite side the curve is slightly un- curves. It is believed that experts wha der three inches, both above and be- examine the galleries of St. Mark's in low. The length of these walls is connection with the evidence from about seventy-six feet. The survey Pisa and other sites will agree with possesses accurate photographs for all the opinion that these curves are not these curves. The survey has also due to settlement but it might be photographs and measures for ma- well for such experts first to consult sonry bends below and cornice Mr. Street's observation as to the more bends above, in S. Alessandro at prominent bends in St. Mark's pave- Lucca. These are also bends in eleva- ment and to imitate his example of tion. The survey has also photo- testing the facts regarding the pave- graphed curves in elevation of a more ment by a visit to the crypt. roughly built character on the side of The following passage will be found the cathedral of Ferrara, and they ap- in Street's: "Brick and Marble in the pear in all the interior galleries of St. Middle Ages," relating to St. Mark's, 504 THE ARCHITECTURAL RECORD. and my readers will remember that the served by our survey all exhibit the observation is that of a practical archi- rising line that is, they are always tect and of an expert in construction. convex to the skyline or to the ceiling "But of all the features of this grand of the building and always concave to church that which next to the gor- the spectator below. geous colors of the walls most attract- The only case noted in Italy of a ed me was the wild beauty of the pave- curve in elevation concave to the sky- ment. I know not what other word to line is that of the centre string-course use which quite describes the effect it on the north wall of the Pisa Cathe- produces. It is throughout arranged dral (see next issue). If the curves in in the patterns common in most Opus elevation were not intentionally con- Alexandrinum, but instead of being structed it is difficult to understand level it laid and even, swells up and why they are all rising curves. If, for down as though its surface were the instance, the gallery cornices of St. petrified wave of the sea, on which Mark's were due to careless construc- those who embark in the ship of the tion, one would imagine that some church may kneel in prayer with safe- would be concave and others convex ty, the undulating surface serving only and that some would be "wobbles." to remind them of the stormy sea of As a matter of fact there is one "wob- life, and of the sea actually washing ble" in the whole large list of St. the walls of the streets and houses Mark's gallery curves, but none are throughout the city. It cannot be sup- concave to the sky-line. posed that this indication is accidental, It has been remarked in the open- for if it been the had consequence of a ing of this Paper that when the proof settlement of the ground we should see of the existence of curves in Italo-By- some marks of it in the crypt and walls zantine building is admitted the infer- and some tokens of disruption in the ence as to a connection of these phe- pavement itself. And the correspond- nomena with those of antiquity will be ing example of Sta. Sophia at Con- unavoidable. The question will now stantinople where we have it on record therefore be considered as to what that there was an intentional symbol- present evidence there is of such con- ism in just such a floor is conclusive nection. as to the intention of its imitators It is an astounding fact that several here." Our own examination of the of the Italian medieval cloisters ex- of St. Mark's pavement shows many hibit curves in plan which are the ex- minor which must be depressions due act counterpart of those discovered by to settlement, but the ceiling of the Mr. Pennethorne at Medinet Habou.* crypt argues that the main and promi- These Italian curves are also convex nent wave line (across the church) of to the court on all four sides of the the pavement is intentionally con- court, and they are as regular and as structed. At all events the piers have delicate as any ancient curves. An im- not settled and it is here only that the pregnable case, as regards construc- curves of the could have been galleries tive purpose, is offered by the cloister accidentally produced. One point of the Celestines at Bologna. In this is clear for the curves in elevation of two-storied cloister (Fig. 19 and Fig. the of St. Mark's. galleries No move- 20) the walls curve regularly in ment in the of settlement way plan (on all sides and in lines all con- has taken place since the casing was vex to the court) from the foundations for put on, its joints are close and well- up, which eliminates the suspicion of fitted and the follows the lines casing thrust from the vaultings. On one of these curves The (Fig. 18). casing side of this court, moreover, there are in question dates from the original no vaultings on either story. These construction of the church. curves have a deflection on the second It is an important point that the curves and bends in elevation ob- * See "Architectural Record," Vol. IV., No. 4. CURVES IN MEDIEVAL ITALIAN ARCHITECTURE. 505 story of about 5 inches in 51 feet and The cloister of Sassovivo near Fol- are somewhat less prominent at the igno offers a beautiful example of foundations. For these delicate curves, curves in the cornices but not in the which are all convex to one point, there parapets (Fig. 21). The deflection is are only two theories possible, con- 2^ inches in 50 feet. They are found structive purpose or thrust, and where on all four sides of the court of the thrust is impossible constructive pur- same delicacy. The joints of the ma- pose must be admitted. Experts who sonry have not parted. Our photo- wish to test the facts described in this graph sighting on one of these cor- Paper are advised not to take adverse nice curves is fairly successful in show- ground before ithey have examined ing the facts. They also appear this cloister of the Celestines. As the in the cloisters of S. Paolo Furori upper story is accessible, the curves le Mura and of the Lateran at Rome.

Fig. 19. CLOISTER OF THE CELESTINES, BOLOGNA. (11TH CENTURY.)

of these latter instances are can be literally studied under one's feet Both pos- to but and in the jointing of the blocks of the sibly open sceptical objection, the Celestine cloister parapet. when the case of The cloister of the Certosa at Pavia at Bologna has been examined such not be exhibits similar curves in all its para- objections will probably urged. of the in pets and in the alignment of columns, The details masonry jointing offer but not in the cornices, as far as my St. Paul's cloister many argu- observation went. Similar curves in ments in favor of the view that the cor- were built in the alignment of the columns were no- nice curves by gradually toward the ticed by Mr. Nelson Goodyear on all leaning out the pilasters sides of the cloister of S. Zenone at centre of each side. This appearance if the vault- Verona which I did not visit. would of course also hold, 506 THE ARCHITECTURAL RECORD.

ing had pushed out the cornice, but the court. The Lateran curves measure tops of the pilaster capitals do not tilt about 4/J inches in 87 feet at the cor- downward as they would do, in the nice, and from i^ to 2^ inches at the latter case. There are other indica- parapets; all convex to the court. tions of a constructed bend of the cor- Let us now rehearse the points as nice in the cutting and fitting of the to cloister curves. No case has been masonry blocks. The survey has a found in which the curves are not series of photographs to show these seen on all four sides of the court.

Fig. 20. PLAN OF THE CLOISTER OF THE CELESTINS, BOLOGNA.

Showing the curves in plan at the level of the second story. The drawing exaggerates the curve.

facts. In the case of the Lateran clois- There is no case known in which the ter the curves appear also in the para- curves are not delicate and regular pets, which is decisive for questions of and of the same character on all four purpose in construction, but a thrust sides of the court. For these facts of the vaulting has possibly accented there are three witnesses in the case and exaggerated the curves seen here of the two cloisters named at Rome in the cornices. At all events, there and two witnesses for the cloisters at are slight partings of the masonry Sassovivo and Bologna. If accidental joints which might ~have been caused causes be assumed, would it not be in this wav, on the east side of the surprising that a movement of mason- CURVES IN MEDIEVAL ITALIAN ARCHITECTURE. 507

had short in so cases the ry stopped many standpoint of the sceptic, it will at the same and be inconspicuous point found that, generally speaking, he that it had in so produced many in- will be obliged to assume thrust for stances curves of the same delicate the cloister curves and carelessness Thrust is a quality? force tending to for the rest of the curves. He cannot, disruption. Outside of the mind of for instance, assume carelessness for the there is no reason it sceptic why the cloister curves, because they are should always stop short at the point always delicate and always in one required to produce a Greek curve. given direction. He cannot assume

i

Fig. 21. CLOISTER OF SASSOVIVO, NEAR FOLIGNO.

Showing a curve in plan of the cornice, with a deflection of 2 l/2 inches in 50 feet. The same curve is found on all sides of the court. Brooklyn Institute Survey.

Admitting that steps had been taken thrust for the nave and clerestory to secure these vaultings from farther curves, because so many are counter disintegration, how does it happen to thrust. He cannot assume thrust that these steps have always been for the curves in elevation, because taken before the masonry has parted thrust does not operate here nor perceptibly and before a bulge, as dis- could any theory of settlement cover tinct from a delicate curve, has re- the facts which are known, for the sulted? These arguments apply to S. curves and bends in elevation. Even Paolo Fuori, to the Lateran and to if such a theory applied to St. Mark's Sassovivo. They are not needed at it would not cover the facts known at Bologna. Our case here is impreg- Lucca and at Pisa. nable. If now we undertake to sum- Having: thus shown the sceptic marize the results of this Paper from what is the best around for him to THE ARCHITECTURAL RECORD.

take generally, we will still farther as- if they are classic survival or inheri- sist him by pointing out the instances tance this must consequently have which he needs to deal with most care- been one purpose of those used in An- fully. Having generally assumed care- tiquity. There are cases of bends in lessness for nave and clerestory curves elevation like those of the Cremona and for curves and bends in elevation, Cathedral clerestory cornices and like he should study the gallery levels of those of the Pisa Cathedral galleries the Pisa Cathedrals (Figs. 6, 7, Vol. which are locally connected with VI.. No. 3, and photographs of this the obviously illusive arrangement issue, Figs. 14, 15) and the ground found in the nave arches of these two plan of the Fiesole Cathedral (Fig. 4). cathedrals. It is therefore probable Having: grenerallv assumed thrust for that the use of curves and bends in ele- the cloister curves, he should pay a vation was occasionally connected visit to Bologna.* with a purpose of increasing effects of dimension. All curves in convex The point still remains to be consid- plan ered whether the phenomena of Me- to the position of the spectator give the dieval curves tend to illuminate the result of curves in elevation for opti- cal but the number of in- purpose of those used in Antiquity. purposes,* stances in which two curves in Everything goes to show that the Ital- parallel plan were used in the church naves ian curves represent a dislike for math- would show that ematical symmetry and for the hard- optical mystification and an effect of "life" were the results ness and dryness of straight lines, and generally sought. *The cloister of the Celestines belongs to the complex of churches indexed in Baedeker under *See "Architectural Record," Vol. IV., No. 4, the name of the church of S. Stefano. "Origin of Greek Horizontal Curves." \Vm. H. Goodvear.

(To be Continued.} DECORATIVE WINDOWS IN ENGLAND AND AMERICA.*

book is peculiar in having a to be the case here. In fact, if the book THISvery elaborate analysis ot its were lost and these leaves of the table matter in the form of contents alone were would presented left, they of a table of contents. Pages 7 to afford an admirable scaffolding by 15 are occupied with this analysis, which to erect a structure similar to the each chapter having its general title book before us in purpose and in aim. followed up by a close and well-rea- Any student of the art might find a soned statement of the course of theory of his proposed book ready thought of the chapter itself. Thus, made to his hand, and might, with the chapter on Light and Shade is an- confidence, proceed to develop the se- alyzed through more than a page of verely abstract statement of principles close printing, as follows: "Light and here given into a treatise. It is, of Shade may enhance the interest of de- course, in the development of these tails, or the decorative beauty of the thoughts into a treatise that different whole; these two considerations must writers will differ greatly. The decorative always go together, p. 75; light and windows of the shade as means of expressing model- Middle Ages were made by putting to- ling; possibilities of light and shade gether, with leaden sash bars, irregu- unlimited in glass; but limits to their larly shaped pieces of glass of differ- use very important; extreme degrees ent colors, upon which glass, painting in was of light and shade seldom sought by opaque, verifiable pigment used. This painters, 76; plausible contention that freely opaque pigment capacity for depth without blackness naturally joined with the leads in form- should be utilized for effects of chiar- ing a dark background, which was so oscuro; objection that this would lead formed as to its outline that the trans- to false expectation and put spectator lucent color was left to express the the the different ob- on wrong track, 77," and so on, down figures, drapery, of the in- to page 101. A careful reading of this jects which the design glass of blue synopsis of the book reveals a re- cluded. A piece glass would, for form the sleeve of a markable intelligence and Tightness of instance, gar- of was theory and a consistent and thorough ment, and this piece glass for the development of the thought from the shaped nearly as required but the exact of the beginning to the end of the work. sleeve, outlining in Nowhere is there to be found a sound- sleeve was produced by painting the blue from the lead er theory of fine art as developed in upon glass which surrounded it on either side. the matter of decorative painting, es- That is to the narrow of lead pecially in that translucent decorative say, strip was widened on the side toward the painting which we call stained glass; blue sleeve with this nowhere is the series of truths, which by painting brownish-black color directly every worthv artist admits in his prac- opaque, the of blue More- tice, whether he has thought them out upon piece glass. the folds which were to or not, more perfectly expressed in over, required the sleeve and to it some brief words of analysis than is found model give semblance of roundness, and also to *Stained Glass as an Art. By Henry Holiday. express its tumbled and creased char- With a colored reproduction of the drawing for "The Creation," twenty collotypes, and many il- acter, were rendered by the same lustrations in the text Ed- from designs by Sir in color carried into ward Burne-Jones. W. B. Richmond, R. A., painting opaque and the author. London: Macmillan & Company, the blue from the solid background. Limited. New York: The Macmillan Company. The same treatment marked the paint- 5*0 THE ARCHITECTURAL RECORD.

or 01 ing of the face, the naked hand, wrapped round a stick has frequently arm, with this difference, that as the been used to draw open lines in the the flesh are gradations required on solid pigment before tiring; and that those which a more delicate than piece these open lines produce necessarily the of drapery makes necessary, pro- a semi-translucent thinning of the pig- cess of painting with the opaque pig- ment. ment is less uniform. In the sleeve The strong background made the have taken as an instance by which we opacity of the lead extended on either of a or a of as garment piece drapery side by the painting in thick pigment treated in medieval the neces- glass, gives to the unpainted parts such sary shading is commonly given by luminosity that the touches of the between which the opaque touches opaque color which are to serve color of the is left un- glass nearly the purpose of folds of drapery touched so that the character of the and shadows under eyebrows, round-- artistic here, is like that of gradation ing of the cheek, and the like, must on with a coarse point- shading paper be put on as the glass picture itselt ed of black chalk, or the like. pencil requires. No cartoon done on paper The is done bold touches shading by in advance can serve as a precise and the from complete opac- gradation model for the painter on glass, for it is to unobstructed, translucent color ity not until the brilliant dazzling lustre is the constant diminu- produced by of the translucent medium is before tion in thickness and nearness together him that he, the painter, can judge of as all the of these touches, exactly the touches which are needed to modu in our art schools are pupils taught late his piece of blue, or crimson, 01 without the and by drawing stump yellow glass into the object which he means of the point alone. In the flesh, endeavors to represent, or, at least, to however, are frequently attempts suggest. The piece of blue, crimson, made to reduce this opaque pigment or yellow glass will always be some- to such thinness that it becomes not thing unexpected; its color is not a much as we nowa- wholly opaque constant quantity, but varies in depth days in house painting thin out oil as the thickness of the piece of glass paint into what we call a "stain" in varies. The cartoon can only give the to make the on the attempt gradation general arrangement of the color- as if in this case a the flesh softer, masses because the actual colors can- tint was substituted for bold graduated not be appreciated by the designer cross-hatching and similar point-work. until he begins to handle the glass It is as if a pupil in our drawing schools itself. were to shade the of taught drapery Now, one of the difficulties in the his with the alone but figure point of production stained glass is, and to draw the face and hands with the probably has always been, the satis- stump because with the drawing point faction which the artist feels in his car- alone would not save sufficiently deli- toon. Perhaps the glass workers of the cate gradation. It must be said that Middle Ages were least concerned in this attempt has not generally been this way, because we can im- successful. In the finest ancient glass, hardly them their cartoons the heads will probably be found to be agine exhibiting as works of art shaded in the same vigorous manner worthy of anyone's at- tention. We are bound to believe that as the drapery; as if with touches of a those cartoons were made for full brush and opaque pigment alone. the The design is so arranged in the mind workshop alone, and were cut up, or the head so appears to the painters used up, in the workshop without any imagination that he can render it by attempt to show them off in the first means of opaque color without any place as if they had a life of their own. attempt to thin it out to a semi-trans- In our own time things are different, lucent pigment. It is to be noted, how- and large surfaces of wall in the exhi- ever, that a drv brush or a cloth bitions, as of the New York Architect- DECORATIVE WINDOWS IN ENGLAND AND AMERICA. 5 n

ural a League, once year, are hung the window will be like in its outlines. with cartoons which are supposed, by Even if it is not the chief who is to do a fiction to artists and agreed by pub- the actual painting, the assistant will lic to in some the alike, represent way paint as he knows his chief expels future windows. That is well enough. him to paint, and as the traditions of If the artist were sure to remember the workshop are. He will not paint that the cartoon is not what he has exactly as the cartoon seems to in- been employed to produce, what the struct him. The lover of glass design- think of it would be of public might ing, he who has seen and studied the little moment. The few visitors to the finest ancient and modern work and Gallery who care for designing in glass loves it, will be the more apt to select as a noble and independent fine art not for observation in the galleries the car- very closely allied to opaque painting, toons that seem the flattest, the palest such as that upon walls, be and may least completely worked up. If a trusted, to wait for the window perhaps, fine window has perished, that whi-ch and to use the cartoon as a merely such a student would wish to have hint that there will be bet- something preserved from the wreck would be ter worth seeing and in such by by such a flat outline cartoon, together and such a church. in the same Just with, if possible, a small scale-color the book under is way consideration sketch, whether that color sketch had illustrated by photographic copies of been made in advance to show the the cartoons for windows. important general intent of the artist, or after- These are to those supposed represent wards as a memory. These propo- windows and to stand for them al- sitions may be elucidated by the ex- do so no more than an though they treme difficulty of rendering in modern outline in a of print History Painting illustrated books anything of the effect the of represents masterpiece Correg- of fine old windows. There is a mag- it the gio. Indeed, represents glass nificent work on the glass of Le Mans less well than the outline represents Cathedral, in which the colors of the the oil It serve painting. may, indeed, glass are given as nearly as was found as a of the distribution memorandum practicable, and the scafe is that of the to of parts, but care should be taken original. There exist also several explain that it can do no more than this. valuable books of recent date in which the mis- The danger is, and, in fact, the photograph has been called into chief is to in the state of proved be, use to give, directly from the glass, mind of the artist himself, who grows to black and white reproductions of the care about his cartoon and to think of main outline and main system of light it in with undue as of some way respect and shade of fine windows, and this, a finished composition. This it is so far of course, on a much reduced scale. one almost from being that may say Neither of these two methods of repre- most and that the highly-finished senting windows of colored and paint- is to elaborate cartoon likely produce ed glass can be called satisfactory, but 7 the least good window . The process the peculiar fact is that the latter, the of making a very rich and elaborate photographic method, is the more in- window is so complex, the mingling teresting and instructive of the two. of the pieces of colored glass is such a Such photographic illustrations as are slow tentative process, the painting given in the works of Lucien Magne, upon the glass is so much a personal for instance, come nearer to recording matter of feeling of the painter as he the spirit of ancient glass of fine qual- takes brush in hand and plunges into itv than the elaborate colored plates his work, that no drawing on a large given by M. Hucher, in the Le Mans sheet of brown paper, made in ad- collection. Neither small photographs vance and for his guidance, can be nor large chromo-lithographs give any anything more than a programme, as real idea of the beauty of the window it might be called a statement of what represented, but of the two, the photo- Vol. VI- 4 7 512 THE ARCHITECTURAL RECORD.

to treat without an exami- graph brings the student nearer to the impossible is a oi nation of windows original. All this merely way many important of and Ameri- saying that a design in translucent in many parts England material cannot be rendered by an ca, but it is intended as a criticism of this is to which Mr. opaque drawing or print, and the school Holiday may advanced merely as a suggestion of be said to belong. In his interesting awaits that and instructive Mr. is the great difficulty which text, Holiday are im- artist who fancies that his cartoons never weary of insisting on the his to of form in combination with capable of giving to workmen, portance looks in window himself, or to the public who color modern designing, of what his is a or hia- at them, any precise idea but, perhaps, there break, window is to be. tus, as it were, and a lack of considera- not as tion in this valuable book as to what These suggestions are made Mr. should be aimed at in studies of form in any way commenting upon his beloved the in That the form Holiday's explanation of by painter glass. should be in a art or as in any way deteriorating severe, sense, abstract, of from the excellence of his own way with but few details and little effort to are intended motion or unusual and stating his case. They express rapid which somewhat distorted that the only to point out the difficulty attitude; have to of of Renais- he and all writers on the art severity medieval and illustrations of sance should be or at experience in giving design followed, the to his own or other men's work and least studied with a view approxi- notion that mate that the danger which attends the reproduction; drawing ex- accurate and scien- the opaque design is in any way should be perfectly It is certain as far as it but that it should pressive of the window. tific, goes, of which not that the main that many of the cartoons go very far; object of the in should be the large and fine photographic reproduc- design glass us tions are given in the work before display of brilliant and glowing color that is to with the form subordinated to are finer than the windows ; strictly the idea of a more that; all these we take to be conditions say, that they give advanced and more perfectly success- precedent for any fine result. in ful work of art than the windows Allusion has been made above to the for which they may have resulted. If, school to which Mr. Holiday may be instance, the large plate opposite page said to belong. The principles of this 86 and numbered Fig. 28 be con- school are nearly those which govern sidered, it will appear that a most medieval glass but with added modern elaborate piece of figure drawing, fill- skill in drawing, especially in drawing ing four panels of equal size, has been the human figure. The outlining, the so combined that each of the four pan- minor details of the drawing and the els is worthily filled with a group at modelling into some slight roundness once fine in line and fine in mass, and and relief are done by the opaque pig- that the four panels together make ment nearly as was done in the Middle up a composition, which, if somewhat Ages. A modern window, built upon restless and contorted, is still impres- this principle, should be nearly what sive. It does not follow that the win- a thirteenth century window was ex- dow would be a very fine one, and a cept that the human figures would be somewhat imperfect recollection of more accurately delineated. As, how- that window leads to the conviction ever, the art of true decorative design that it is not as fine as the cartoon and has been almost wholly lost to the mod- that it does not even seem as elaborate ern world, it has resulted that modern or as masterly, considered as a design. windows are generally as inferior to the This is not introduced as a criticism of medieval ones in appropriateness, in Mr. Holidav's work as a designer of good taste and in true artistic worth windows, which question is not before as they are superior to them in science. us at present and which it would be The attempt to keep in a window by DECORA TIVE WINDO WS IN ENGLAND AND AMERICA. 513

Burne-Jones as much as possible of absolutely non-existent. The only the qualities of an oil painting by graphic ornamentation which has life Burne-Jones, has ended disastrously and originality is the direct application for the beautiful art of designing in of representative painting, of what translucent color. All that Mr. Holi- might be called, by a slight forcing of day says in his valuable treatise on mod- the phrase, realistic painting, into the ern corruptions and the artistic falsity service of adornment. No one now and worthlessness of what is com- can design a diaper, no one can de- monly known as Munich glass is sign a border of scrolls, no one can true and good, but some part of it cut up the surface of a panel into may be extended to splendid windows diaper or can fill it with floral orna- of the English school designed by the ment. If we have a vase to adorn, what best men. The attempt has been to we instinctively do is to lay a sprig of substitute modern decorative feeling flowers upon its surface, painted as it for medieval decorative feeling. With grows, or not more conventionalized that desire every lover of art must sym- than the unmanageable enamel color ' pathize. In that attempt every lover of makes necessary. The trained work- art must be interested. If there had ex- man who could design ornament along isted a modern decorative sense, at all traditional lines and as he had learned equivalent to the decorative sense of in his father's or his master's work- Western Europe in the Middle Ages shop, no longer exists. The complete or in the sixteenth century, it might failure of all the attempts at Gothic have succeeded; indeed, it must have revival has had other causes, indeed, succeeded. Had the decorative sense but no one cause has been more power- existed in the modern world the feel- ful than this, that there were no work- ing for what a window should be and men left who could carve ornament in should not be, the feeling for propriety, stone. In like manner there are no for keeping, for what may be and workmen who can paint ornament on may not be done, would have been walls or on plates or on fans; all our strong enough to guide the modern decoration that is worth anything has to be pictorial sense in the right way. This produced by highly trained art- however, could not be. The modern ists who have been through the regular course of pictorial sense is strong and active; study in the art schools it is alive with realization of the im- or in the studios of great masters, and mediate past and of the present, who turn their attention awav from and with expectations of a clearly the more usual quadrangle of canvas foreseen future. Admirable works to painting on walls or on fans. This of art in the way of painting is so generally true that the few ex- are and in the way of figure designs in ceptions registered in the mind of monochrome are made every day, and every student of decorative art. Five the novelties and the innovations are or six potteries; three or four makers of furniture three or four looms where those which healthy progress allows and ; stuffs are and even causes. There is a modern world splendid woven; these, such as these, in all the world of of painting worthy of comparison with great European stock, make but a short list that of any past time, and what that of or of comparison will result in we cannot designers, groups designers, who produce decorative work now judge. How nearly the painting along natural lines of and of of our present taken in the mass, development -day, what seems will compare for excellence with the originality; everywhere else there is either direct from painting of great epochs in the past, copying: stores the or there is we do not know, but we do know that the ample of past chill nonentitv. Under these condi- the comparison will have to be made decora- tions, the decorative sense be said by posterity. In the world of may tion there is none of this success and to be non-existent. The pictorial sense energy. Decorative art, as such, is carries it over the decorative sense, 5 '4 THE ARCHITECTURAL RECORD.

and must do so in ninety-nine cases sees them, and nearly as he would out of a hundred. The window pro- paint them on canvas, the other is by duced under these conditions is nearly means of the textile quality of silk or certain to refuse to keep its place in worsted, the interlacing of basket the wall; it is nearly certain to be un- work, the ribbed and fluted surfaces dignified, because of the crowded and of matting, the lustrous quality of restless grouping of the figures; it is beaten and embossed metal, the vi- nearly certain to be non-decorative bratory and cloudy quality of vitrified because of the exaggerated gesture color, the grain of wood, the veining and realistic and unconventional of marble or alabaster. If there is not pose of the figures. In the work be- money enough to paint the wall with fore us, Mr. Holiday speaks again and the fully-realized figure subject for again of the importance of giving to which an artist of rank must be em- our glass designs the modern skill ployed, the wall shall be hung with which as a matter of course representa- white cotton stitched with silk or wool tive drawing requires; but we may be in pale tints hardly visible as a distinct accurate and yet be severe; that is what color relieved from the ground, but the windows require. In like manner effecting its general aspect, or faced Mr. Holiday speaks again and again with tiles or with marble, or wains- of the supreme importance of coted with wood; or the plastering color, and brilliant glowing color, shall be slightly embossed with a for- in glass, but he insists also on mal chequer or scored with irregular the co-ordinate importance of form. lines. There is no half-way meas- If by this is meant elaborately ure. We cannot endure unskill- modulated form, then that is asked for ful painting; therefore, we will have which cannot be had. So, with the none unless we can have the mas- ter. cannot matter of light and shade; if light and We even endure figures a shade, considered as a principal or drawn on vase as a Chinese of three centuries or important part of a composition, is ago, as a Greek of twenty- four centuries would have drawn kept in mind by the designer in glass, ago, will his design, considered as a piece of them; and, therefore, we have no translucent mosaic in color cannot but figures on a vase, but, instead of them, mere and with be ruined. In every piece of decoration dragging splashing the colored is also to be one or another principle must prevail glaze. This, then, considered in our As we can and the principle which must prevail glass. draw the in glass designing is that of color in figure admirably well, whether in action or in severe its purest, freshest, most strenuous lively and as we have the of and richest variety. repose, power beautiful It has been said before that the producing surfaces and incal- varied of color in the power of designing conventional pat- culably gradations accidental of color in the terns, diapers, scrolls and such like gradations translucent let util- ornaments, is non-existent among Eu- material, us, then, ize these two and see whether ropean peoples; it is also disappearing powers a decoration will not come of them, very rapidly in those Eastern lands a decoration from where European influences are at different, indeed, that of the Middle work. There is one very curious phe- Ages, but, perhaps, on that account the more to be cher- nomenon to be noted in this connec- ished as being our very own. It is tion; it is the appearance of qualities probable that such considerations as of surface and of texture used as a sub- these have been of with those stitute for the patterns which we can- weight artists, mostly who have not design. We moderns have but Americans, tried to make innovations in the art two of a wall or ways adorning of decorative a vase or a metal glass. tray ; one is by repre- The principle of the so-called sentative drawing and of men, painting American school may, perhaps, be animals and plants nearly as the artist stated in this wav. There shall be no DECORATIVE WINDOWS IN ENGLAND AND AMERICA. 5 i5

painting on the that can glass possibly The American system is obviously be avoided. The itself shall glass be nearer to that of the sixteenth century, produced in such variety of color and as illustrated by the Fairford windows, with so many gradations and modu- by those of St. Etienne de Beauvais, lations in the shades themselves that by those of the Cathedral in the same almost every conceivable combination town, by those of Saint Foy at Con- of tints, passing one into another, or ches, by those of Santo Spirito at Flor- sharply contrasted, may be obtain- ence and by those of the Cathedral of able. This glass shall be combined on Lucca than it is to medieval glass, a glass easel, or in some way by actual properly so-called. This, of course, observation and comparison by means has been inevitable, because our of transmitted light, the artist himself modern methods of thought in art of indicating the combination of the glass are much nearer to those post- as a chief part of his design. The lead Renaissance times than they are sash, which is now to be our only to those of the Middle Ages. And opaque background, is to be used with it may be stated as a general prop- deliberate purpose to emphasize, to osition that the school of glass- in a outline, to support, to sustain the lin- workers in America are trying, to com- ear composition. The forms chosen great measure, unconsciously, shall be simple and severe, the human bine the large way of figure drawing from the figures at rest or in slow and easy mo- which they have received modern tion, the parts few, the draperies not sixteenth century through sub- much subdivided, the backgrounds of France, with those methods of which alone are landscape, or architecture largely sug- ordinate decoration modern workman. gestive,^ without much attempt at de- possible to the tail. If this is a correct statement of The objection which Mr. Holiday of not stated in is main- that which is, course, makes to this way of working words, but is in execution in our the that daily ly founded upon assumption cities, then, it will be seen that the prin- the American artists are using acci- which such mo- This ciples govern stately dent to replace deliberate design. saics as those of S. Apollinare within means, of course, that as all the tints the walls at Ravenna are the right ones used in a window are those of the for considered as a decorative artist will inevitably glass glass itself, the of our art, aiding in the beautifying take up the chord of color suggested interiors. The in the trans- which he is superiority by the pieces of glass lucent of such of color composition simplicity handling and not the chord of design, as alone is compatible with which his artistic instinct bids him such opaque compositions, as in wall confer on the piece of work before mosaic is, we think, evident. A win- him. But this is to confuse uncon- ot dow with few figures, and those in re- trolled and extraneous interference pose, with heavy folds of drapery and accident with that accident which may little the ac- subdivision of parts, with in a sense be thought not so very background a mere suggestion of cidental. As the painter mingles color and and the accessories new color landscape sky on the edge of his palette, of tree or treated with had not flowering plant thoughts arise in him which severe is so conventionalism, superior come to him until the colors struck as a decorative to the composition his vision. No man, however great his windows crowded with swarm- flying, of abstract thought in art may restless in vio- power ing, squirming, figures a color be, is of thinking out lent action, and with lilies and roses capable scheme as he will produce it as near the real thing as the artist exactly the canvas or wall. The glass knows how to paint them, that no upon of a win- comparison as to their relative merit in his rack is to the composer is possible to one who studies them dow what the tube color squeezed is the on both. upon his palette to painter THE ARCHITECTURAL RECORD. canvas. It is his palette, it is his group for the pieces of glass as they are t& of possibilities; it is that out of which be fitted together; like what the chil- his design is to be made. A piece of dren used to call ''dissected maps;" green drapery is in his mind, but the and then let him wait a few weeks and exact tints which that piece of study the superb result in its glow of drapery is to receive are not more translucent color, and his belief in the clear to the glass worker than they power of accident as a principal feat- are to the worker in paint; not more ure in the production of these win- clear, but equally clear; in the one dows will disappear. case, and in the other, the actual hand- Space does not allow of a complete ling of the color vehicle modifies old comparison of the methods of the best ideas and creates new ones as the work American workers in glass with those of art grows. Let any one see a com- of the best Englishmen. Mr. La poser in glass feeling for the exact Farge's name occurs frequently in tint or series of tints which he re- the pages of Mr. Holiday's book, and quires, trying a hundred pieces of his methods, as the chief exponent in vain glass and then trying two of a somewhat new style of work in pieces^ superposed, and then three, the glass, are criticised unfavorably, intention being, of course, to combine while the man's ability as an ar- these pieces permanently as doubling tist is fully recognized. The con- or lining one another, by the process troversy between the English school known as plating; let any one see the and the American school is one artist at work in this patient way, and of importance; it is founded on really he will change his mind as to the different principles and not on a mere of power accident in glass designing superficial lack of resemblance. But according to this realistic method. to explain it fully, and still more, to Let any one see the cartoon of an im- argue the case from the point of view portant American window, and then of either side, or of both sides, would see at a later time that cartoon over- be to write a small volume and not the laid with the paper patterns cut out review we have now in hand. Russell Sturgis. " *** "f ^U \\ '&;kw*yr&

THE WORKS OF CADY, BERG & SEE.

J. Cleveland Cady was born in Prov- the Revolution. He first entered the idence, R. L, and educated at Trinity office of the late Emlen T. Littell, and College, Hartford (receiving the de- about 1871, that of Mr. Cady. : gree of M. A.). He received his tech- A sensitive and enthusiastic nical training from the professor of American architect, beginning his architecture of a German university, practice thirty years ago, unless he who, exiled for political reasons, was was diverted from his normal course spending some time in this country. by some foreign influence, almost Later he entered a New York office, inevitably began with Victorian remaining until he commenced busi- Gothic. That is a phrase of rather ness for himself in 1868. In these baleful import now, so many restless earlier and "waiting" years he pursued disjointed and crudely colored edifices the study of water colors with Alfred have been committed in its name, Fredericks. His first building of im- so many more than of the exam- portance was that of the Brooklyn Art ples of peace and quietness which Association. This was soon followed also illustrate it. But at that time by the North Sheffield Hall and the it was a phrase to conjure with Peabody Museum of Yale University. and indeed it was "a marvellous good In word before it was ill-sorted." No 1881, the firm of J. C. Cady & Co. was formed, by the association of Mr. doubt Ruskin's eloquence had much Berg and Mr. See, who had been for to do with its vogue, but there several years his assistants and inti- were practitioners who took it up on mate friends. In 1893, the firm title the technical even more than on the lit- was changed to Cady, Berg & See. erary side, who undertook not merely Louis DeCoppet Berg, born in New to reproduce but to revive Gothic, and in it true artistic, York City, 1856, is the son of Albert who did things and funda- W. Berg, the organist and composer. and not to be forgotten. The He studied architecture at the Royal mental principle that construction its forms can never Polytechnicum, in Stuttgart, and en- should give own If the has tered the office in 1873. Is the author become obsolete. "style" it is the of "Safe Building," and a member of been discredited, because prac- the one hand confined the the Am. Society of Civil Engineers. titioners on the Milton See, born in Rochester, N. application of the principle to per- it without doubt most Y., 1853, is the son of Coles C. See, iod in which was but in which the whose ancestors were among the first brilliantly illustrated, settlers of Westch ester Co., several forms were the expressions of a con- current or vernac- having served creditably in the war of struction no longer THE BROOKLYN ACADEMY OF DESIGN. J. C. Cady and Henry M. Corydon, Architects. THE WORKS OF CADY, BERG & SEE.

on the other because the tilar; reckless- the Italian which Mr. Ruskin's elo- ness of half-education is the more dis- quence had imposed upon some of in its results the more tressing freedom them, which was one of the marks of the is allowed his designer by style. It Mr. Burges's work is shown be equally may questionable whether we have here. But the main motive of the com- had other any buildings better than the position the relation between the nar- best that the Gothic revival gave us; rower and taller front crowned by the but it cannot be questioned that we steep gable and the broader and lower have had no other as bad as the worst. with its crested roof crowned by the the revival was at its Thirty years ago, crested roof relieved by the gabled dor- The leaders of the height. profession mer was quite the young designer's in had in England great part outgrown own. It was carried out with unfailing the notion that purity depended upon pains and skill and to a most fortunate the actual of old reproduction details, result. The detail is all thoroughly and had learned to in their compose studied in itself and very successfully style with freedom and without pedan- adjusted in scale. This success in scale try. Moreover, they had extended it is one of the points that make the work from ecclesiastical to civic and to do- so remarkable as a first essay. But in- mestic architecture with an encourag- deed the front has throughout an air measure of success. ing The compe- of ease and ripeness as far as possible tition for the Law Courts was just then from the crudity which disfigured so in progress. Although the final out- many of the works of the revival, and come of this was so disappointing as perhaps more than any external influ- probably to give the final stroke to the ence accounted for its abandonment. If revival, the designs were of singular the revival had produced many works interest; more interesting probably as good as this it might have retained than those submitted in any English its hold upon architects and obtained competition before or since. What a hold upon the public. This is as re- most architects would probably pro- strained and sober in color as in de- nounce to be the finest achievement sign. The violent contrasts in which of the revival, Mr. Burges's design for many of the revivalists loved to indulge this structure, though unsuccessful, themselves are carefully avoided, and had made a great impression upon the although seven or eight different tints architects of England and America, of natural stone are introduced, the in- and in both countries reminiscences of troduction is so discreet, and the re- It may be found in actual buildings. sult so harmonious that the vivacity The first important work of Mr. imparted by the variety is attained Cady's, so important, indeed, that for without any loss of the sobriety and re- the execution of his design he associ- pose of monochrome. One would be ated with himself a more experienced at a loss to name any later work in its practitioner, was the Brooklyn Acad- kind which is more effective. It gained emy of Design. This was not only a greatly when it was built, by being a distinctly Gothic work, but it seems to member of an extremely interesting have been in a considerable degree in- group. It adjoined the long and solid spired by the design of which I have and somewhat sombre fagade of the just spoken. It is not an imitation, Academy of Music, itself one of the however, in any sense that at all dimin- marked successes of the Gothic revi- ishes the credit of the later author. The val, and it confronted another product Li- proportion of the stories, the placing of that revival in the Mercantile and proportioning of the arcade, and brary, a picturesque and effective the suggestion of the dormer, may very front. The buildings are all there to- well have been derived from Mr. Bur- day; but the effect of ensemble which ges's work. The preference for French they made a quarter of a century ago detail over the English which imposed has been utterly destroyed by unneigh- itself upon most of the revivalists and borly neighbors which have since ar- 520 ThE ARCHITECTURAL RECORD.

RESIDENCE. St. Nicholas Ave., New York City. rived. These are of varying degrees ing covered with the mansard of the of demerit in themselves, but the only period, while the other was carried up thing they show in common is a mani- to two complete stories and crowned festation of disrespect, not only for with a roof of very steep pitch against each other but for their predecessors. which at the side were relieved a dor- But if one wishes to see what the prom- mer and a tall chimney, and which at ise was that was broken by the aban- the end was hipped into a hood over donment of the revival, there is no the gable which was pierced with the place in this country where he can see pointed window that formed, after the it to better advantage. roof itself, the chief feature of the While the Brooklyn Art Building is house, and chiefly designated its the most elaborate and costly of its au- style. That was the day of small thor's secular works in Gothic, there things, evidently, with the architect are others that exhibit, on a smaller as well as with the client. But scale, the same qualities of design. One the evidence that this unpreten- of these is a house in St. Nicholas ave- tious dwelling afforded that intelligent nue, which was suburban at the time of and artistic pains had been ungrudg- its erection, but has long since been ingly bestowed upon every detail of the erased or transmogrified beyond rec- design made it a particularly welcome ognition by the march of improve- object, especially in what was then and ment. It was a cottage of a story and still elsewhere is the distressing ugli- a half in red brick banded with buff, of ness of suburban New York. The very moderate dimensions and simple owner who should now desire to have treatment, which nevertheless derived a so much thought devoted to the expen- picturesque and agreeable aspect from diture of so little money would have far the disposition of its parts, half of it be- to seek. THE WORKS OF CADY, BERG & SEE.

Another early work of Mr. Cady's expected of so vague a problem. The that was erected under equally rigid lower two stories become by the con- limitations and even more discourag- tinuity of the openings and the with- ing conditions may still be seen in that drawal from their plane of the tran- part of New York of which the new somes that mark the floor-lines a sin- Criminal Court is the latest and the gle and predominant feature, and the most full-blown architectural orna- arcade above them with its machico- ment. This is, or was, an Italian school lated cornice becomes an appendage to in Leonard street, an extremely simple the principal motive. The piers are front, in which there was evidently no visibly ample, although the principal money available for decoration. A stage rather suffer from the misfortune brick superstructure, of which the red by which the terminal piers are nar- is relieved with buff, with no visible rower than the intermediate. The ar- both roof, surmounts a brownstone base- cade is very well designed indeed, ment, with flat arches. The front is di- in itself and with reference to the sub- vided into three bays and four stories. structure, and the effect of the design It is of no style, being merely the is very much enhanced by the employ- straightforward fulfillment of practical ment of the second color of the brick- un- requirements and expression of the work, which is here applied with the structure. But the disposition of voids usual skill and discretion. Below the wall and solids, the relation of the stories, springing of the main arches, the definition and the relation of the bays have been is a monochrome, but for while the so well studied that the building is a of the bases of the piers, it is used to mark the im- very agreeable object, and that is lighter color the construction of especially instructive to compare its post and to express it is much modesty with the pretentious vulgarity the arch. In the upper arcade in bands as of the courthouse around the corner. more freely introduced, the The first of the long series of build- well as in bases and arches, and and the build- ings which Mr. Cady and his firm have cornice is faced with it, for the designed for Yale was prepared under ing thus effectively finished, 'a addi- equally stringent limitations of cost. attic is, I believe, subsequent This was what is now known as North tion. of no Sheffield Hall, and so careful, indeed, This work, like the last, is style Gothic was the committee which had it in or at least is designated as only is charge lest the appropriation should be by the fact that the architecture the structure. exceeded that they directed the prepar- merely the exposition of to the ation of a design without informing Its author's next contribution the architect where, or for what insti- architecture of Yale is quite conscious- Gothic. This was the tution it was to be built. The precau- ly and avowedly in of course, tion may have been justified, but ob- Peabody Museum which, to what viously it did not conduce to the exact the designer was aware neigh- The Art build- appropriateness of the building to its bors he had to conform. and the dormitories site and its surroundings. The practi- ing, and the chapel intended to the cal requirements and the practical lim- that were supplement^ the "ar- itations issued is a flat-roofed brick brick barracks, comprised all then erected box of three stories, with no other chitecturesque" buildings and indicated features than a porch on one side and or projected for Yale, was to an apsidal extension on another. The that Victorian Gothic prevail was in fact latter feature is more effective than the upon the campus. What former, which is neither very taking in built of the Peabody Museum cannot, without ref- itself nor very congruous with the of course, be fairly judged intention. It is in fact but. a building to which it is attached. The erence to its one architecture, however, is really in the fragment, a wing, comprising pav- of a treatment of the walls and is as satis- illion and one connecting curtain a factory a solution as could have been project that comprised correspond- 522 THE ARCUJTECTURAL RECORD.

PEABODY MUSEUM. Yale College. New Haven, Conn.

ing wing and a loftier and more ornate much more effectual at the base. It is centre, crowned with a central gable questionable, in view of the inexorable and flanked by polygonal towers. The requirements, whether a better effect fragment is highly promising as a frac- would not have been gained by span- tion of the general scheme, and is not ning the lower openings with lintels, without interest in itself. It is notewor- and reserving the arcade for the super- thy for its unusual scale among the structure which is in fact rather bald college buildings, which have other- by comparison. Nevertheless the frag- wise become so heterogeneous. This is ment makes an impression of stateli- fixed by the height of the stories, some- ness, much enhanced by the simplicity thing over twenty feet, which in turn is of the steep roof, relieved only by a the result of a requirement for galleries single dormer in each front. The ef- in the principal exhibition rooms. Pro- fect of the combination of material, red vision for the cases and the need of pressed brick and Nova Scotia stone, abundant light determined the size of is very good; the detail of the door- the openings and the intervals between way, the cornice and the crocketed ga- them, and this requirement operated bles scholarly in design and effective unfavorably on the architecture, hudd- in scale, and the fragment, in spite of ling the openings much closer than a its fragmentariness and of its draw- consideration of the best architectural backs, an impressive piece of work. effect would have admitted. The actual The connection of Mr. Cady and his arrangement attenuates the piers, es- firm with the building of Yale has pecially and painfully, on one front, the continued until now. The buildings corner pier, and leaves the architect to just noted are among the latest of his seek at the top of the building for the essays in Victorian Gothic. The series expanses of wall surface that are so of his works there shows more or less THE WORKS OF CADY, BERG 6- SEE. 523 the architectural vicissitudes to which and effectively designed. The relation the campus of every old and growing of the stories is such as to avoid the bear and college witness, none more monotony threatened by the extreme than that of Yale. In if archi- fact, an simplicity of the outline. The detail tect called in to add to the existing strikes in scale, the just mean between buildings of any of the old colleges extravagance and ineffectual minute- made it his first care to conform to ness, and the polygonal annex is well what he found he would be at a loss, so to adjusted the main structure. Finally, irrelevant are the existing buildings to the contrast of color between the red each other. If he undertook to make of the wrought work and the gray his work conform to what be field of might wall gives vivacity without dis- even for a decade to erected thereafter, turbing the repose of the work. This come, his difficulties would be greatly is one of the most successful of the for in American architec- increased, university buildings, and it exhibits a ture we know not what even a lustre desire to conform to the rest, so far as forth. The reversion to may bring conformity is possible to a designer followed the who Romanesque immediately finds it also necessary to be "in it a Gothic revival, or followed after the movement" and to show that he brief interregnum of Queen Anne, of knows the current mode. nec- which at Yale it is fortunately not In the latest of the contributions of the firm essary to take account. Dwight Hall, to the architecture of Yale, the which is the Y. M. C. A. of the Uni- ruling motive seems to be to make the Memorial are sure of versity, and Library, conforming not only to of our architect is the two contributions what but to what may be. I have al- the Richardsonian of Yale indicated to phase ready the difficulty of carry- architecture. Neither of them is by ing out this laudable intention. In or- any means an extreme example. Per- der to obtain even an approximate Richardsonian of the success in it haps the more it, is necessary to avoid as is as two is the former, which very simple, much possible the labelling one's and which very massive, very rugged, own work with the badges of any par- the aims to make its effect merely by ticular style. Accordingly the two dor- force of its masses crowned with mitories, the Sheffield Chemical labor- In large expanses of unbroken roof. atory and the Law School Building, this it is fairly successful. By avoiding are all plain and simple structures, and the exaggerations whereby Richard- as little as may be "examples" of any son so loudly called attention to his historical mode of building. The two intention and effectually forbade dormitories, White Hall and Berkeley apathy on the part of the most care- Hall, are two mansions which have less or preoccupied spectator, much of nothing in particular of collegiate, but the peculiar effectiveness of his work seek their architectural effect by the must be lost. The voussoires are not distribution and grouping of their sim- so deep, the columns not so stout, the ple openings, by fortifying them with as features not so insistent. Decorum, so large masses of wall as possible in the to say, is gained at some expense of ef- right places and by the refinement and fectiveness. The same may in part be careful execution of such ornamental said of the Memorial Library. The detail as is very sparingly introduced. piers of the porch seem affectedly rude The enclosure by a decorative railing and simple, and would gain by a more of the court between them secures and elaborate modelling into the sheaves denotes privacy and gives occasion of columns that form one of the most also for a striking feature. For the attractive features of Provencal archi- rest, they have not, at a glance, the air tecture, and the ruggedness of the wall of college dormitories in particular, but seems somewhat excessive consider- of eligible mansions which might be ing the general treatment. But the habitations in any city, and their aspect is not so in of the openings are effectively distributed much cloistral, spite 524 THE ARCHITECTURAL RECORD.

LAW SCHOOL. YALE UNIVERSITY. (1897.) New Haven, Conn.

exclusion of the railing and the lodge, of a century earlier, though it is far as that of "a comfortable bourgeoisie." from being Victorian Gothic, and, in- This mode of designing has the advan- deed, is not designated as of any his- tage of securing what we have assumed torical style, though the cornice shows to be its object. That is to say, these a reminiscence of mediaevalism. Its plain and solid buildings, besides be- effect comes from the solidity and so- ing inoffensive and even satisfactory in briety of its treatment. The cornerpiers themselves, cannot very well become are kept as broad and as plain as pos- incongruous with anything that may sible and even reinforced by a slight be executed in their neighborhood. projection, and thus strongly framing One may find them a little dull, but the front. The object of grouping the they neither are nor can become ridicu- lower two stories by continuing the lous or offensive. They will be effec- openings through them is evidently to tive foils to whatever may ensue of make them together the predominant richer and more monumental, just as feature of the front and the two upper the Jacobean and Georgian dwellings stories, if there be, indeed, two are uni- in the English cathedral-closes are ted in themselves and separated from effective foils to the minster. In the what is below, so as to form a single one case as in the other, the spectator and subordinate feature. But the re- ought to be grateful to the designer sult of this disposition is to give to the for forbearing to obtrude his own openings a spindling aspect which work to the detriment of its actual or rather contradicts than enhances the its possible neighbors. effect gained by the breadth and sim- Something of the same kind may be plicity of the general composition. said of the Sheffield Chemical Labora- The front designed for the Law tory. This oes well enough with School building, owes its effect to the North Sheffield Hall, erected a quarter same qualities of solidity and sobriety, THE YALE INFIRMARY. New Haven, Conn.

,

DWIGHT HALL AND BERKELEY HALL. New Haven, Conn. THE YALE LIBRARY. New Haven, Conn.

FARNHAM MEMORIAL GATEWAY. Yale College. WINCHESTER HALL, SHEFFIELD SCIENTIFIC SCHOOL. (1891.) New Haven, Conn.

BRIDGE IN CENTRAL PARK (1883). New York City.

Vol. VI.-4 .8. MORGAN HALLr (1888). Williams College. (Gift of late Governor Morgan.)

COLLEGE. JAR VIS HALL OF SCI KNOW (1888). Trinity College, Hartford, Conn.

GYMNASIUM WESLEYAN UNIVERSITY. Middletown, Conn. GYMNASIUM. New Rochelle, N. Y.

VILLAGE LIBRARY. Huntington, L. I. THE WORKS OF CADY, BERG 6- SEE. but it is much more elaborately and ar- institutional appearance. There has tistically carried out, and is a far been provided for there an old-fash- more successful composition. This is ioned mansion, of which the air is ex- in a composed style, denoted mainly clusively and attractively domestic, the by coupled columns of the princi- and of which only the rather unusual as in pal story general ''classic," al- extent would indicate that it was any- the arches though doubled under a thing but a home. Even in extent it large relieving arch, with the head has been outdone if not by many of its with pierced a rudiment of tracery are prototypes, by a great many of the a survival of mediaeval work. There modern reproductions and imitations is, however, no incongruity in the form of them, but I know of none which from except a strictly scholastic point more completely reduces the charm of of view, and the general result is that the old county-house without a too of those earliest arches of the Italian literal reproduction of their details. Renaissance, in which classic detail is Such an attainment was, of course, introduced without the reduction of quite out of the question in a city hos- the composition to Vitruvian formula. pital of the first-class, such as the The building is by no means an "ex- Presbyterian Hospital, which Mr. ample," and will go with anything in Cady was employed to reconstruct af- reason that may be brought into its ter its partial demolition by a fire, neighborhood, while the effect of it by which left of the original institution, as itself is excellent. The designer was designed by Mr. Hunt early in "the fortunate in finding that his require- seventies," only the Administration ments admitted of a base so nearly un- building still available. Here there was broken, although it seems they com- no question of conformity. Even if pelled him to place the largest open- Mr. Hunt himself had been called in to ing in it too near to one end for the do over a^ain his own work, it is best effect, but still not so as grievous- highly unlikely that he would have re- ly to disturb the repose that comes curred to the phase of his professional from the massiveness and simplicity of development which these buildings in- the treatment, and that is accentuated dicated, and through which he had rather than weakened by the other long passed. Indeed, the administra- openings. The composition both lat- tion building, which was spared by the erally and vertically, is very successful. fire was that part of his design which The relation of the three stories to each was best worth saving. While the talent other is a rhymthical relation, and the it shows is undeniable, the vivacity solidity of the sides gives value to the imparted to it in the first place by its more open triple feature of the centre, design, and in the second by the start- to which, indeed, the rest of the front ling contrast of color, was so excessive is but an effective setting. There is as to render it ineligible as a model for nothing especially collegiate, it is true, the group of new buildings that was to in the aspect of the building nor is its adjoin and surround it. This was evi- expression very highly specialized. It dently the feeling of his successor in might be a public building for any one the work, whose additions were in a of many purposes. But it is a digni- monochrome of red brick and red terra fied and imposing front, an ornament cotta, relieved with only so much in- to Yale and to New Haven. troduction of brown sandstone as not The last that -we shall consider of the to disturb the general sense of mono- Yale buildings is much more specific chrome. They were also in a sober and in intention, and seems to be very moderate version of Romanesque happy in carrying out its intention. It which has nothing in common with the is the Yale infirmary, and it was evi- liveliness of the modern Parisian ver- dently the architect's aim to provide a sion of French Gothic. As a hospital refuge for sick students that should according to the experts, the Presby- not repel them or their visitors by its terian hospital is a model in its kind, I f I ff

Madison Avenue, PRESBYTERIAN HOSPITAL. New York City. HUDSON STREET HOSPITAL (1894). New York City. 534 THE ARCHITECTURAL RECORD.

Another and even more and the dispositions of the architect conspicuous have left nothing to be desired in the example of institutional architecture is and com- the of Natural on way of light and ventilation Museum History, munication. Our concern, however, the west side of Central Park. This is with the architecture only and we occupies an extensive and conspicuous have to own that neither the relation site, and occupies it very worthily, al- of the stories nor the fenestration, which though the composition is evidently have been dictated by purely utilitarian incomplete in the present state of its considerations, has proved to be fav- execution. The long range of building orable to architectural effect. The needs to be still further prolonged by wards cannot aspire to any higher the addition of the terminal pavilions it to praise than that of inoffensiveness. which will extend from avenue The only architectural opportunities avenue, and will supply counterpart- occurred in the design of the dependen- ing and completing features to the cen- of cies, the operating-room at one end tral mass. The facade will then have the south front and the dispensary at the five fold division for which the de- the other, with the square tower at- sign evidently calls, whereas what is tached to it which looks purely monu- already built is but the central pavilion,, mental, but in fact serves the highly with the two curtains that are meant to practical purpose of supplying venti- count only as intervals in the com- lation for the whole group of buildings. pleted front, and are not meant to be The operating-room is a modest edi- looked at for their own sake. But the fice of two stories, square in plan, designer has been much more fortu- with a peaked roof that is a very agree- nate here than in the somewhat similar able object in spite of its limited di- case of the Peabody Museum in New mensions and in spite or because of its Haven; in the first place, that he has simplicity of treatment, the openings been allowed to build, first the domi- being well placed, carefully detailed nant central mass from which the re- and serving to punctuate and enhance mainder can with some safety be in- the simple expanses of wall space. ferred, instead of the flanking pavilion The counter-parting feature deserves a which leaves the uninformed specta- higher praise, and indeed seems to tor entirely at the mercy of conjecture; me one of the firm's most distin- in the second place, because he has as- guished successes. The requirements surance of the execution of the entire of the dispensary worked out natur- design. The Romanesque which he ally into a church-like structure of has chosen for his style is by no means which the nave was the waiting room, the aggressive and importunate phase and the bays of the aisles, devoted of that style. It is carried out with so in the Roman use to chapels and much decorum and moderation, in- confessionals became private consult- deed, that the style of the building is ing rooms, while the nave was contin- scarcely designated except by the un- ued to an apsidal termination. It is mistakable badges of the large, round this apse that combines so happily piers that subdivide both the pavil- with the tower, of which the stark ion and the curtains. It is question- shaft so increases the value, both of the able whether even these have not been openings of the main building and of designed too exclusively to designate its own upper stages, one variegated the style. Though their finials are ef- merely by application and recesses in fectively relieved against the roofs, and its brickwork, and the other developed, give point and variety to the composi- above an emphatic band idiomatically tion, it seems that this purpose might treated in baked clay, into the likeness have been equally well served by the though not the use of a belfry stage. application of buttresses modelled less There are few more welcome examples with reference to an historical style in our street architecture of thoroughly and -more to their function of re-inforce- studied and artistic design. ment, with the stages and offsets which

THE WORKS OF CADY. BERG 6- SEE. 537

that function implies, and that were the reconstruction it underwent after in recognized design only after the Ro- a fire, has been, perhaps it would be manesque had ceased to be. However harsh to say vulgarized, but at any that may be, it will not be disputed that rate deprived of whatever individuality the faqade is successful and impressive. it originally had and reduced to the It is worthy of its conspicuous place common level of theatrical architect- and of its very unusual dimensions. It ure. But even in its original state, the will be, when it is completed, probably conditions were very hampering to a the longest front on Manhattan Island, designer whose work, when it was done, and an important requisite of the de- would inevitably be compared with the sign was to get the full benefit of this achievements of architects who were lateral extension. Such an extent is unhampered. With such a public so valuable in itself that it behooves a monument as the opera house of Paris designer to be especially careful, lest or of Vienna it would be very unjust in variegating and decorating it to to compare our opera house, in the avoid monotony he dissipate some construction of which the necessity part of its inherent effect. This has been prevailed of reducing to a minimum successfully looked out for in the de- both "fixed charges" and "operating sign of the Museum of Natural His- expenses." We ought to be too grate- tory. The central building is, as should ful for what has been done by the pub- be, a predominant feature, and it is dif- lic-spirited men who have provided ferentiated from the flanking walls not and maintained the opera house at only by a greater height, emphasized their own expense to carp at them for by the steep and simple roof, and by "a not going to an expense even more difference of fenestration, but by a con- lavish. Such an expense would have siderable projection of its flanking been required to add to the practical towers. These devices give sufficient fulfilment of the purpose of the place detachment and relief to the centre, a monumental expression of that pur- but the principal lines of the flanking pose. In the interior the economy of walls are so emphatically continued space entails painful results, not, in- but in across it, and so closely connect it that deed, in the auditorium itself, the disposition rather enhances than the entrance hall, which might have interrupts the effect of the lateral ex- been an imposing feature like that of tent. Moreover, the centre is notably the Paris Opera or of the Congressional well designed in itself. The flanking Library, but which is reduced by towers are well designed and well ad- want of space and money to a mere is vis- justed to their places. The archway, stairway, of which onlv one flight which at once carries the approach to ible at a time, the next being cut off over of the the main floor and gives access to the from view by the flooring exterior the basement, is a striking feature, and the well at each stage. In the arcaded loggia again emphasizes the mutilation is even more lamentable. that principal dimension and is in itself For on the main front all appears well proportioned and well detailed. of the opera house is the central third, Add that the architect has been very and this is flanked by buildings taller connec- fortunate in his material, having ob- than itself, of which the only contribute to tained a red granite as strong in color tion with it is that they as brownstone, and equally effective its revenues. The problem presented not solu- rough-hewn or polished, and you have by this collocation is really the sources of the architectural success ble. Mr. Cady perhaps took the most of one of the most successful of our judicious course in treating his monu- in the same ma- public buildings. ment and its adjuncts richness of The Metropolitan Opera House is a terial but distinguishing by the front of the house work which no longer supplies the ma- treatment opera the fronts of the terial for a just judgment of its au- above apartment were above thors. The interior, in the course of houses which distinguished 53* THE ARCHITECTURAL RECORD.

METROPOLITAN OPERA HOUSE (Rear View). New York City.

it by greater height. The result of this solution of the architectural problem. course, however, inevitably is that cas- The entrance pavilion thus detached ual inspection regards the whole front and isolated would have done to its as of one piece, and estimates it in the own design the justice which it is de- lump. This necessarily does injustice prived of doing by being flanked by to the design of the centre, which huge utilitarian erections. masks the staircase hall. If the cor- All this is a misfortune, but one is ners had been reserved from building bound also to recognize that the archi- instead of being filled out to the limits tecture is not so effective as it might of the plot, so that this central pavilion be in the matters in which the architect stood by itself, it would be recognized was left unhampered. Its defects are as a scholarly, rich and harmonious defects only and not blemishes, and composition, whereas, being flanked criticism of them must be negative. by structures which have the annoy- The whole, along with an undeniable air of ing belonging to it, though they gracefulness, lacks vigor. The general really do not, it makes scarcely any ef- treatment is as expressive as it could be fect at all. Possibly it might have been considering the annoying interpola- signalized to its advantage by the use tions at the angles. The three great of a different material, but that would elements, entrance-hall, auditorium have been awkward also, seeing that and stage, are distinctly indicated on only the corners are devoted to baser the outside, and the last is notably well uses, and that into one even of these a carried out. The most forcible piece dependency of the opera is extended. of. design in the building is the rear To omit the flanking buildings alto- wall, the center of which is mainly gether would have been the onlv real blank, with only such openings as em- THE WORKS OF CAD\, BERG 6- SEE. 539

phasize its expanse and its massive- frontage to that of a city lot, or even ness. Its massiveness is still further less, that it would not be fair to judge and very effectively emphasized by the them by work executed under such re- projection of two great buttresses. quirements. But although the Galla- These are a structural necessity, since tin Bank reaches the respectable alti- a stage wall must carry itself without tude of nine stories, and is perhaps interior staying, and they have con- twice and a half as high as it is wide, tributed a needful architectural feat- it is not a sky-scraper for the reason ure, of a vigor for which one looks in that it is a structure of real walls of vain over the more architecturesque masonry, and not a cage of metal pan- fronts. The drawings, indeed, promist elled in masonry. Of its nine stories, a more effective building than the ac- two are given to the basement and one tual structure. The large relieving each to two attics, the intermediate five arches of the sides, for example, lose being grouped as the principal divi- in execution the importance they pos- sion of the building and strongly sep- sess in the drawings. Perhaps this is arated by entablatures from the base- in part due to the failure of the de- ment on the one hand and the attic on signer to make due allowance for his the other. This is a rational distri- material. The material is very good bution, although in fact, from the most in itself, a light buff brick that wears usual points of view, the attics count very well and that, after fourteen years, for little in the general effect, by rea- gives no sign of shabbiness, but it is a son of their distance from the eye and material in which a slight projection of the projection of the entablature un- or recess is of little avail. It is used in derneath. The lateral division is triple conjunction with terra cotta of the and is maintained in the attic by a pro- same tint, which would now afford op- jection at the centre, while this central portunities for a much more emphatic part is decorated in the principal divi- treatment. But, in 1883, both de- sion with three pairs of columns in signers and manufacturers were much each of the five stories. This decora- more timid in the handling of terra tion is the most conspicuous feature in cotta than they have since become, and the building, and may almost be called this work seems to illustrate that tim- its leading motive. It is rather a gran- is diose feature in idity. At any rate, the detail unduly itself, but it cannot be minute in scale. Excepting the fortu- said to constitute an effective front. The outer nate vigor of the stage wall, the only piers are left plain but for the impressive piece of design is the en- prolongation across them of the of trance pavilion, and this has been projecting mouldings the entabla- robbed of its legitimate expression as tures, and the lateral bays are also sim- aforesaid. Upon the whole one may ply treated. The ornament is concen- trated in the columns at say of the opera house that it is a good the centre. the horizontal story marred in the telling, a design Although lines are the deprived of its due effect in part by the strong superposition of five orders conditions of the problem, and in part makes the columns in effect continu- and the central feature by the architect's fear of loudness and ous, has thus a that is disturb- exaggeration. spindling aspect very the the front would have Of the commercial buildings of the ing to repose in virtue of the of the firm, the Gallatin Bank in Wall street had, power piers and and the of is perhaps the most costly and conspic- transoms, arrangement the if the orders had been uous. It is not a "sky-scraper" in the openings, The effect of them in the at- newest sense. Although the firm have omitted. also contributed to the tower-like build- tics, however, is very good, though that weakened since here ings of New York, their work in by repetition, across the kind has been so hampered by the con- they are extended front, a between the ditions of them, the most hampering forming gallery piers, and since are condition being the limitation of the they very emphatically THE GALLATIN BANK (1885). New York City. DESIGN FOR PUBLIC BATHS (18'J7). New York City.

PHOENIX MUTUAL LIFE INSURANCE CO.'S BUILDING (1897). Hartford, Conn. RECORD. y 42 THE ARCHITECTURAL

framed by the projecting cornices. If lem that what may be called the the lower attic had been plainly treated sacerdotal churches of the past as a foil to the richness of the upper, styles do not meet. Everybody and if the order had been left off from ought to recognize the importance of the main division altogether, the front the problem, for the country church in would have been extremely satisfac- the United States at least ought to be what called the tory. As it is, the detail throughout is Coleridge Anglican carefully studied and successful in parish-church, the centre of civilization scale. The classic employed is so very in its sphere of influence. It is first an free and eclectic that in the basement auditorium, a place in which to hear it ceases to be classic and takes on a preaching, and, secondly, it is a place distinctly Byzantine air. This base- of social assembly. The convenience ment, to my mind, is by far the best of hearing and seeing is the primary re- thing in the front. It is one of the best quirement, and many are the devices to schemes that our street architecture which it has been resorted to attain it. has to show for the treatment of the It long ago became evident that it entrance of a commercial building. The could not be attained by the reproduc- difficulty in this is to signalize the en- tion of "the long-drawn aisle and fret- trance and give it importance without ted vault," of mediaeval architecture, making it unduly large and without and that the modern theatre supplied misstating the facts of the case. This a more eligible type than the ancient is admirably managed in the Gallatin minister. Some architects have frank- Bank. The entrance is signalized by ly built what one of them called "a the two massive columns above it on theatre with ecclesiastical details," but the principal story, and by the buttress- it is impossible to adjust to this inte- es that flank it. But it is at the same rior an ecclesiastical exterior, and the time made clear that the two columns complete abandonment of the ecclesi- are not really part of the entrance, but astical exterior has, in many cases, only appropriate crowning members been attended with a vulgarizing of for its massive piers. The detail of all the edifice. To build what is wanted, this is capital, the buttresses have and, at the same time, to give it dig- power and vigor, and the Byzantine nity and churchliness, has been the leafage of the basement-cornice is de- aim of many architects, and of none signed and carved with great spirit. more than of the firm now under con- The whole basement is a very exem- sideration. The earliest essay, the Meth- plary specimen of commercial archi- odist church at Bridgeport, shows an tecture, and, indeed, is of a richness unreserved acceptance of the audito- that would be appropriate to public rium idea and abandonment of the architecture. ecclesiastical type, the plan is octag- I am compelled, for want of space, to onal, and the posts and piers support pass by much of the work of the firm a lantern, or cimborio, from which the which invites comment, but which, interior receives a great part of its however interesting, is episodical, so as light. At that time, however, Victo- to be able to consider a series of build- rian Gothic prevailed, and all the de- ings which are essays towards the solu- tails were in the prevailing mode, tion essentially of the same problem. whereas it is plain that it is not in that The is that problem of the modern style, if in any recognized style, that Protestant church, and the series ex- such a scheme can be worked out to tends over twenty years, for the first of the best advantage. But the church the series, for our purpose, is the was none the less an interesting expe- church erected at Bridgeport quite so riment which attained an encouraging long ago. Everybody recognizes measure of success. that the Protestant church, what The South Church of Morristown, in England would be called a "dis- the next in point of time of the series, senting chapel," presents a prob- is an attempt to fulfil the practical re- THE WORKS OF CAD\, BERG & SEE. 543 r

THE SOUTH PRESBYTERIAN CHURCH. Morristown, N. J v quirements without too wide a depart- cathedral arrangement. Four stout ure from the traditional forms of posts enclose a square of about 45 feet church architecture. The exterior is a and support a quadrangular lantern, rectangle of brown stone, with a ga- of which two sides are pierced with bled front, flanked on one side by a rows of low windows, the third and carriage-porch and on the other by the fourth sides, or the front and rear, con- unbroken shaft of a massive campan- tinuing the fenestration as decoration. ile with a steep slated hood. The bel- One bay is formed on each side of the fry-stage shows two tall canopied square and one at each corner. The openings, of which the steep luffer- ceiling of the lantern is flat, but the boards are hung with red tiles. The ceilings of the outlying dependencies only intimations that are given on the are open-timbered and decorations of outside of any peculiarity in the ar- the actual roof construction: The de- rangement of the church are that the tail is of the Victorian Gothic of the gable window is rather unusually period. That of the roof construction broad and low,' and that the wall is apt and expressive, and all of it is which frames a like opening on the interesting, though it suffers pretty side, instead of being gabled, is cov- uniformly from excess in scale. Upon ered by a hip roof, above which is seen the whole, the interior is impressive a row of low ore lings in the main roof, and churchly, and the exterior digni- which additional to the inte- fied, and harmonious. v give light quiet -ior. The interior is virtually reduced This plan, of a central square car- what would be the crossing in the ried above the rest of the building and Vol VT. 4.-9. HAMPTON MEMORIAL CHURCH, HAMPTON INSTITUTE. Hampton, Va.

INTERIOR OF CHURCH, HAMPTON INSTITUTE. Hampton, Va./ NEW YORK AVENUE CHURCH (1892). Brooklyn, N. Y. 546 THE ARCHITECTURAL RECORD.

of the instead of treated with the mas- lighted from without, is also that being Park Avenue Methodist church, in siveness and simplicity that are so at- New York. The exterior, however, tractive in the tower of the Presbyte- is not a satisfactory or intelligible ex- rian hospital, and certainly the stages, position of the arrangement, the light, especially the upper two, containing upon the visible side, being introduced the belfry and the clock-face, respec- through a clerestory arranged in a tively, are too nearly equal. But the tiled and gabled superstructure in the treatment of the body of the building plane of the aisle-wall, and the central the emergence and predominance of compartment indicated only by a four- the central lantern, and the converg- hipped roof, which is by no means a ence upon it of all the subordinate predominant feature. As an expres- parts of the composition is admirably sion of the plan the arrangement can- managed. The interior is equally ex- the not be called successful, although pressive and equally impressive. Here, exterior has interesting features, a very also, the superiority of the principal good west front, flanked by a plain feature is emphasized, and the rest duly campanile and the wall of the Sunday subordinated. The plainness of the in- the flat school room, crowned above terior is in itself very effective, and to roof with a triplet of arches open gives value to the ornament which has the sky, while at the centre is a pictur- been so sparingly introduced. It is a of two round esque projecting porch very typical and a very successful mod- arches, enlivened at the angles by gar- ern Protestant church. goyles. The side shows a range of In a more conventional manner of in the wall of large lintelled openings church architecture, although it also is rough-faced brown stone, effectively distinctly an auditorium, in the interior framed between the tower at one end of the Church of the Redeemer at Pat- less and the rectory at the other, and erson, and also, as the material allows effectively crowned bv the gabled clere- and the illustration shows, of a much mentioned. The inte- story already more elaborate development. In fact, is and nota- rior, however, impressive, it gives the impression of richness al- in its ex- bly successful in the union most as strongly as the church at flf and homeli- pression churchliness Hampton gives the impression of sim- the ness, at which designer evidently plicity, and it is equally successful in aimed. its very different way. We have to al- The designer recurred to the es- low the designer his timber arches at sentials of this scheme many years the crossing, liable as they are to the later than the first essay, in the church charge of "constructed decoration," of the Hampton Institute. Here, how- and obvious as it is that their forms are ever, the scheme is so developed that not determined by their structural the exterior is not in the least a com- functions, in view of the grace and har- promise between the traditional mony of the result. church-form and the practical require- A series of suburban churches erect- ments, nor in any degree a mask, but a ed after the .designs of our firm within complete expression of the plan. More- the past decade are noteworthy in the over the architects were enabled to car- architectural provision they have made ry out the project in a more durable for the social needs of a suburban or material, the interior as well as .the rural parish. The need is commonly exterior, excepting the ceilings, be- answered, so far as it is answered at all, ing of solid masonry, and the building by a mechanical makeshift, often in the gets the benefit of this fact, as well as basement, if in a city, or otherwise in of the artistic advance that they had a dependency that is merely adjoined made in the interval. It is an extreme- to the church and not architecturally ly satisfactory piece of work. One incorporated with it. To make the as- may regret that the Siiaft of the cam- sembly-room an integral part of the panile has been divided into stages, church is the effort that is evident in THE WORKS OF CADY, BhKG 6- ShF. 547

CHURCH OF THE REDEEMER Paterson, N. J.

a series of interesting works of which the other by an umbrageous carriage the earliest is the Presbyterian church porch, may be accepted as very nearly at Greenwich, and the latest the First a model of an American Protestant Church of Morristown. In these an country church. Its effectiveness does apsidal projection at the front answers not depend upon ornament, for of elab- the purpose of an assembly-room. It is orate ornament there is none at all. separated from the church only by a It comes simply from the careful study light screen which is not a barrier, and of the requirements and the successful is, on occasions, an addition of so much pains that have been taken in the pro- to its available space, while the illus- portioning of the various members of trations show its value as a feature of the composition and their adjustment the exterior. The church at Green- in relation to each other. There is not wich, with its central gable and apse, and even enough of detail to designate the its robust and simple tower flanked on "style," though certainly it has style, one side by the lower transept and on and much of its charm comes from the CHURCH IN THE ADIROXDACKS Racquette Lake, N. Y.

''', ., v'.'

CHURCH IN THE ADIRONDACK^. Racquette Lake, N. Y.

CHURCH IN THE ADIRONDACKS. Racquette Lake, N. Y. THE WORKS OF CADY, BERG 6 SEE. 549

PRESBYTERIAN CHURCH Greenwich, Conn.

home-bred and vernacular air which is makes a distinct impression of rich- incompatible with a more schorastic ness and elaboration, and is more am- design. ple in arrangement as well as in scale. The Webb Memorial, in Madison, The apsidal assembly room is more much resembles its predecessor, the as- developed than in the preceding ex- sembly-room being an equally con- amples, and, instead of adjoining the spicuous feature, and the treatment of tower, is detached from it by the length the tower similar. The modelling of of an arcaded cloistral passage which the doorway, however, is carried far enhances the effect of both features, enough to designate it as an example while it has its own effective counter- of Romanesque, though evidently part in the arcaded porch on. the other nothing was further from the design- side of the apse. A rather rich arch- er's intention than to present an ex- frieze supports the cornice of the apse, ample of any style. The interior ex- while the tower, above its solid shaft, hibits, in a general way, the arrange- shows a tall and elaborated belfry ment with which we have already been stage, a great mullioned and traceried familiarized. The central square is here window in a recessed panel covering doubled and the arrangement is not each face. The material is a light lime- carried out in a clerestory, the interior stone, in which the wrought work depending for its light upon the open- shows to advantage, and which con- ings in the outer walls. Executed as trasts effectively with the varnished tile it is in a monochrome of rough brown of the roof. sandstone, the building has a gracious The interior also may almost be and comfortable aspect that is ex- called splendid in contrast with the tremely taking. austerity of some of the earlier The latest of the series, the First churches we have been considering. Church at Morristown, is considerably The nave is covered with a barrel- the most ornate, and in expression vault, decorated with cassettes, considerably the most urban of the through which are cut the lunettes that series. Compared with the others it serve as clerestory lights, and of which 550 THE ARCHITECTURAL RECORD.

WEBB MEMORIAL CHURCH. Madison, N. J.

the protecting domes are effective ex- which, architecturally, is an integral terior features. It is of three bays, part of it. The details arid fittings carried upon columns and terminal have all evidently been thoroughly piers of polished red granite, with studied with reference to the ensemble carved capitals. It is a very effective to which they effectively contribute. interior, and a chief factor in its effect- The font, a plain polygonal pyramid iveness is the open assembly room of sumptuous Egyptian marble, is

INTERIOR WEBB MEMORIAL CHAPEL. Madison. N. J. GRAVES OF TWO LITTLE SISTERS. Newburgh, N. Y.

CHURCH AND SUNDAY SCHOOL. Fairfield, Conn. 55* THE ARCHITECTURAL RECORD.

NOS. 8 TO 14 PIEKREPONT STREET (1896). Brooklyn, N. Y.

the interior details bears more or to its noteworthy among ; witness, less, but, indeed, all of then; have an at- truth. But a series of buildings like tractiveness which in the present con- these churches, aiming seriously at the dition of architectural practice is much satisfaction of a real though not a less frequent than it ought to be. It is merely physical requirement and at the attractiveness which comes from a worthy expression of their purpose, the sense that an architect has lived constitutes a worthy and exemplary with his building and watched it grow work. When we contrast these digni- under his hand and enjoyed his labor. fied and civilizing edifices with the aw- This series of churches appears to ful "meeting houses" of a generation me, upon the whole, the most serious and two generations ago, around and successful of the work of our firm. which the young affections of the Certainly no one who considers them American villager were invited to can consider that architecture, in all its twine, we must own that in some de- phases, is a matter of mere fashion and partments of architecture there has aimless fluctuation. No doubt that is been progress, and that the progress is true of a good many of the phases, and of high public importance. the work of almost architect any busy Montgomery Schuyler. PROTESTANT HALF ORPHAN ASYLUM (1893). Manhattan Ave., New York City.

HOME FOR OLD MEN AND AGED COUPLES (1897). Morningside Heights, New York City. LE PETIT PALAIS DES BEAUX ART (Main Facade).

M. Girault, Architect. Design for the Paris Exhibition.

1 '. -- r r .r ; r r r r f. ij i #rf: r .

LE PETIT PALAIS DES BEAUX ART (Rear View). M. Girault, Architect. Design for the Paris Exhibition. FRENCH IRONWORK. Designed by M. Ray. &

FRENCH IRONWORK. Designed by M. Laisne. TACADB SOT RUE

NEW QUARTERS FOR LA SOCIETE DBS INGENIEURS CIVILE. M. Delmas, Architect. NEW BOOKS.

SCULPTURED TOMBS OP HELLAS. By upon archaeologists and which is, perhaps, Percy Grrdner, Litt. D., Lincoln and Mer- partly traceable to the natural impatience of ton Professor of Classical Archaeology and a writer who has to say continually "it ap- Art in the University of Oxford. With "it thirty Plates and eighty-seven Engrav- pears," "it is probable," "apparently," ings in the text. London: Macmillan & seems to follow," and the like. Let it be al- Ltd. New York: The Macmillan Co. Co., lowed the critic to say, once for all, that the 1896. Price, $8.00. Inferences drawn by modern students from an Prof. Gardner's theme is wider in its appli- existing work of art, or still more, from a com- cation than it seem at first of the may reading parison of several, are respectable and im- title The tomb be page. sculptured may pri- portant and are our main helps along the road an for its marily object interesting sculpture, of art study; but that reconstruction, based on the one the term in- but, hand, general upon the words of ancient writers, are of a cludes whose architectural many buildings far different and vastly inferior value. The character is of universal and in- permanent descriptions by even the most careful, classi- on the other the terest, and, hand, significance cal writers of the works of art which they had of the sculptures is connected with the deepest seen, even these for there are many more de- and best teachings of the Greek masters of scriptions of works of art which they had only and with the instinctive beliefs of thought heard of are descriptions written by men who the Greek On the one hand, we populations. knew nothing of the processes or of the pur- have to do with such monuments as the lofty poses of the artist, and who avowedly describe structures of Hellenic on the other Asia; hand, the scenes represented rather than the artistic the as to the belief of the Greeks in question purpose of the designer. We have not from a future as to ancestor and as life, worship, antiquity the writings of any man who seems to the fear of comes and incidentally ghosts, up to have understood fine art as artists under- demands an examination and a comparison of stand it. These accounts have come down to theories. of this latter To speak very briefly us in MSS. of disputed authenticity, where and most difficult let it be said that subject, words, and sometimes whole passages, are Chapters I., II. and III. deal with the Burial asserted to be interpolated, changed, or of the and the Customs, the Worship Dead, dropped: and yet our whole idea of what the Greeks. Belief as to Future Life among Polygnotus's art was like, is based upon these These chapters are illustrated by a number of unsatisfactory, untrustworthy passages taken photographic and other prints taken from vase in comparison with the Greek sculptures paintings, mural paintings in tombs, and terra which are thought to be of that period and cotta reliefs. A curious analysis of a recorded which still remain to us. It is well to do what painting by Polygnotus in the Lesche of Del- Prof. Robert has done and to do again what phi, which analysis is expressly stated to be Prof. Gardner has done in rendering the Ger- founded upon the work of a German archae- man text by English paraphrase, but the all be re- ologist, Karl Robert, occupies a part of Chap- words of positive assertion should with a ter III., and is a curious instance of that tone placed by careful and guarded phrases of absolute certainty in the conjectural res- strong tone of "perhaps" and "probably" run- toration of a lost work of art which grows ning through them. Think what is under- STELE OF PRE-PHIDIAN TIME.

Given by Mr. Gardner in Plate IX. It was STELE IN THE NATIONAL MUSEUM AT found in Velanideza, in Attica, called the "Soldier NAPLES. of Marathon," and kept for many years in the Theseion at Athens. Now in the Central Museum Closely resembling one given by Mr. Gardner in there. Covered with painting, which has now Plate IX. mainly vanished. NEW BOOKS. 5.59 stood by the ordinary well-informed reader the most Important part of his book. We reach without special archaeological training when these first in Chapter VII., which deals with he reads such a sentence as this: "The cen- the Heroizing Reliefs, a class of tablets of tral of the ... is the part picture occupied by which there are many examples in the Mu- grove of Persephone, represented in the spar- seum of the Acropolis and in the Central Mu- fashion of Greek a ing painting by single tree, seum at Athens and which are here treated in under which sits his lyre in his Orpheus, a systematic way, although, again, too briefly.

. . . is the central of hands. Orpheus figure It is not before Chapter VIII., Athenian Periods the whole. To Polygnotus he is not merely a and Forms of Monuments, that we reach what departed hero, but priest and hierophant." Or is the nucleus of Prof. Gardner's treatise. again, on another page: "The general tone of More than 200 pages are devoted to the su- the painting of Polygnotus bears a close re- perb tomb-slabs which have been discovered to that of the reliefs semblance sepulchral in the famous burying-ground at the Dipylon which we shall describe in this book." Is not Gate at Athens and those in other places this the language of the man who has seen which are immediately connected with them; the in Can the reader be painting question? and a number of successful photographic il- him the fact that no expected to keep before lustrations are supplied us. It is these slabs and no fragment of any picture by Polygnotus, which, in the Central Museum at Athens, are reproduction or copy of one has been seen the great surprise which arrests the art lov- by modern eyes? The archaeological student ing traveler. The unenthusiastic person who is not deceived by this sort of phraseology or, hears the student at Athens, or after he has at least, if he allows himself to be deceived returned thence, express his delight in the for a moment, he will soon be brought back collections of that city, says, wonderingly: to reason by the protests of those who do not "Why, Athens has no statues; the Romans agree with these particular interpretations of carried them all away." It is true that there the words of Pausanias. The comparatively are but few statues in Athens, not more than uninstructed reader, that is to say the lover of a dozen of first rate importance, but statues art, the student of art, the architect who cares are not the only kind of sculpture known for the different ramifications of his art in the to the Greek artists, and such a Museum past, the sculptor who wishes to know how of sculpture in relief as exists in the different other sculptors have worked, and the painter public storehouses there is in itself sufficient who is glad to learn what history has to tell to set Athens among those cities of Europe him of paintings of antiquity, are all of them most rich in monuments of art. Of these su- likely to be deceived as to the amount of perb reliefs, the greater part, perhaps, are the knowledge that we possess concerning ancient tomb-slabs. Even this careful discussion of works of art. Indeed, it is a notorious fact them is very far from being complete. Prof. that such deceptions exist everywhere in the Gardner would be the first to say that it was reading world, and that even scholarly people not complete. A large and really splendid are taken by surprise when the true facts un- book has been devoted to the illustration of derlying some of our modern theories as to an- them, published, of course, in Germany, and cient monuments are laid nakedly before the text of that work is to be found in the them. This stated, it must be added also that comments of a hundred authors in a score of the general conclusions drawn in these three archaeological journals. But what is here is Chapters are safe; that the analysis seems as valuable as it is timely. The few burial thorough, and the results reached at once ac- slabs of some importance which are con- curate and useful to the student of art. tained in other museums, one in London, one built into the wall of The Chapter on the Pre-historic Age of >t in Berlin, another the * Greece which follows, and that on Early Asia Villa Albani, near Rome, are alluded to when Minor, have to do with buildings of archi- their time conies, but Athens is the centre tectural character. There is a great deal of and capital of the sepulchral relief as "we interest in the analysis of the tombs at My- know it. As regards these chapters, of which cenae and Orchomenos, and the carved stelae of the writer can only speak with enthusiastic the Mycenaean age should be compared, for approval so far as their general treatment their sculpture, at once with the larger build- goes, there is one thing which is to be se- ings of the same epoch and region and with riously regretted and which causes through the rock-cut tombs of Asia Minor. These the whole book a certain air of being made Chapters are only too brief; one could wish "popular" in a rather unfavorable sense; that a much fuller treatment of the interesting is the translation of the passages of Greek buildings mentioned while yet sympathizing poetry into English rhyming verse. Prof. with the author in his haste to reach the splen- Gardner in his Preface states that he has did Athenian grave slabs which naturally form translated the Greek elegiacs into rhymed Vol. VI- 4-10 STELE IN THE CENTRAL MUSEUM, ATHENS. Given by Mr. Gardner, Plate XV. Finest work of about 370 B. C. STELE OF DAMASISTRATE IN THE CENTRAL MUSEUM, ATHENS. Given by Mr. Gardner, Plate XIII. STELE IN THE CENTRAL MUSEUM, ATHENS. Given by Mr. Gardner, Plate XXIV.

THE ARCHITECTURAL RECORD.

relief monuments, have special books devoted heroic verse and the Greek hexameters into to them, but these books are large, &.nd of English ballad metre. Why is the student no- great comparative cost, and the summing up of art supposed to need Prof. Gardner's furnished Prof. Gardner is of the very tions of how English rhyme can approximate- by highest utility. In fact, what is to be said ly render Greek verse? What the English of this as a is student of art wants to know is the full sig- book, general criticism, this, that it contains all that the nificance of the Greek passages, of what the nearly ordinary student needs to know two or three Greek writer meant to say. It is not alone concerning important phases of the great art of the in the Chapters which we are now considering very Greeks. The wealth of the volume in that Prof. Gardner drives accuracy out of his photo- graphic illustration is and renderings in order that they may rhyme. In very considerable, it indeed, a small museum of archi- Chapter III. we have this translation of the affords, tectural and decorative sculpture of a first- Odyssey IV., 560, viz: rate quality. "In Argos' horse-abounding plain To die is no.t thy fate, O Menelaus, there for thee No mortal chances wait. JEAN FRANCOIS MILLET; His Life and Thee shall the immortals far away Letters. By Julia Cartwright (Mrs. To earth's remotest end, Henry Ady), with nine Photogravures by dwells Where fair-haired Rhadamanthys the Swan Electric Engraving Co., and In Plains Elysian send. Messrs. Braun, Clement & Cie., of Paris. There life flows on in easy course, There never snow nor rain London: Swan, Sonnenschein & Co., Limd. Nor winter tempests vex the land; New York: The Macmillan Company. But Ocean sends amain 189(3. $5.00. Fresh Zephyr breezes breathing shrill To cool the untroubled life. The photogravures which illustrate this since thou are kin to There dwell, Zeus, book are fairly successful. They are taken in And Helen is thy wife." an excellent way and probably nothing but It is not to confess one's self indifferent their smal scale and the peculiar character of to poetry to say that this would be more ac- the works of art themselves prevents their be- curately and even more agreeably rendered ing altogether satisfactory. It is necessary, in the words of the Butcher and Lang trans- however, to protest against the translation into lation, as follows: English of some of the French titles, although "But thou, Menalaus, son of Zeus, art not or- one recognizes the occasional difficulty of do- dained to die and meet thy fate in the Argos, pas- ng this translation aright. ture-land of horses, but the deathless gods will convey thee to the Elisian plain and the world's The book is, as the Preface states in modest where is Rhadamanthus of the fair end, hair, and becoming terms, a collecting into one where life is easiest for men. No snow is there, nor yet great storm, nor any rain; but always volume and a putting into English of books ocean sendeth forth the the breeze of shrill West about the painter Millet, which books are to blow cool on men: yea, for thou hast Helen to wife, and thereby they deem thee son of generally in French. It is not, however, the Zeus." work of a mere compiler. Mrs. Henry Ady A good prose translation of a Greek poetical is a practised writer on subjects connected original has a better chance of being in itself with painting, and is known as the maker of poetical than a verse translation has, as is books of excellent character; books which are sufficiently shown by comparison of the above a real addition to the constantly growing extracts. Prof. Gardner's verse is a remark- literature of painting. Millet's greatness is ably literal rendering, for verse, but all po- strongly felt and its nature well explained etical expression has been expelled from the in these pages, and if its comparative im- passage by the effort to secure as well as fidel- portance in the vast world of graphic art is ity rhyme and meter. The purpose of this a little forced in the expression, it is an error criticism is to set forth the supreme import- that one may forgive. The same tendency ance of giving the prose meaning of the Greek is visible everywhere among persons who BO far as modern scholarship is able to effect care for Millet; there is no artist who inspires it, and not to hinder that by the interposition greater enthusiasm or a more unmeasured of rhyming verse which necessarily distorts admiration even as his pictures are compared everything. with the greatest paintings of the past. The final chapters, XIII., XIV. and XV. The simple existence as of a French peas- deal with the architectural monuments of ant without pretensions beyond the peasant Asia, which, as the author truly says, are life which Millet led for years is, also, very of a much more elaborate and sumpcuous well explained. A great number of the art- character than anything in Greece, and with ist's letters are printed and these help at the recently discovered Greek sarcophagi once to a better understanding than would found at Sidon and now in the Museum at otherwise be possible, of his humble, country Constantinople. These works, like the Greek life and of his feelings and his ambition as a NK\V BOOKS. 5*5

painter. The translations of these letters implies the pity embodied by this unrecog- seem to be very accurate. Those which the nized but admitted quasi-seat. writer has compared with the originals in The bosses on the under side of these adjust- Sensier's book leave nothing to be desired in able seats, which bosses are misericords, the way of fidelity to the originals. properly so called, received a great deal ot In short, this book contains in excellent form rich and fantastic carving even in churches all that one needs to possess for the proper where the rest of the stall was not so elabo- understanding of Millet's life; or all, at least, rately adorned. Miss Phipson points out how except his work itself, as much as may be effective a row of these carved bosses must obtainable. have been when, the stalls being empty, and the seats raised, the carvings showed in long rows all of the same size and general dispo- CHOIR STALLS AND THEIR CARVINGS. sition, but all differing in their fantastic Examples of Misericords from English leafage and Her book what Cathedrals and Churches, sketched by iconography. gives Emma Phipson, author of "Animal Lore of Shakespeare's Time." With an In- troduction and Descriptive Notes. Lon- don: B. T. Batsford, 94 High Holborn. 1896.

The choir of a church is that part which is given over to the clergy and the choristers, that is to say, to those who conduct the ser- vices, much of which in a large establishment will be choral. Choirstalls are those fixed seats with corresponding divisions, backs, and canopies which are arranged on either side of such choir. There are not necessarily more than three or four on a side; and, indeed, in late churches, small and unimportant seats, three or four in number, are put anywhere in the choir. But in a great Cathedral they are, of course, very numerous; perhaps, sixty on either side and arranged in two rows, those in front, or facing one another across the width of the open floor of the choir being raised one step above the floor, the others raised two steps higher still. Our illustration, taken from Viollet-le-Duc's "Dictionaire," Vol. VIII., p. 469, shows in section the arrangement of the unequalled stalls of the Cathedral of Amiens, which were begun and completed between 1508 and 1522. Now, in this figure, Cathedral of Amiens. the division between each pair of stalls is Section through the choir stalls, from Viollet-le- finished at top with an elbow rest, shown on Duc. a large scale at "D," the projecting front of which is called the cluseau, and is itself the appear to be complete lists of the miseri- recipient of delicate sculpture in cases where cords in one church after another; Loncoln the stalls are rich. The misericord, which we Cathedral, Ely Cathedral, Soham Church, call also miserere, and sometimes, as our au- Beverley Minster, All Souls' College at Ox- thoress reminds us, sellette, is the hinged ford, and many others. To each list is ap- seat, which in our figure is shown as low- pended a certain number of illustrations. ered in the upper stall and raised in the Thus, in the case of Exeter Cathedral, of lower one. Now, when this miserere v as which the stalls are stated to be the earliest lowered, the chorister sat upon it as upon a remaining (in England, presumably), the list chair; but, during the very numerous occa- Is of twenty-eight stalls on the north side sions for singing or chanting a part of the ser- and twenty-one on the south, and fifteen vice, the miserere could be raised, and then, drawings are given on five plates. The plates resting upon the back of the stall, offered its generally give three figures each, and these, projecting boss as a sort of half prop, half seat, we are told, are all rendered on the same from which the chorister could get some sup- scale. They represent all epochs, from the port while his elbows rested upon the divis- early XIII. -century examples of Exeter to the ion above. The name misericord, of course, elaborate ones in King's College, Cambridge, 566 THE ARCHITECTURAL RECORD.

more than two hundred years later, and which obtained the King's license to convert the have a look as of Italian sculpture of the XV Parish Church of St. Mary into a collegiate century. church, and that he gave it its new name of The wholly unique figure sculpture of the All Saints in 1395. Gothic period, abounding in characterization The question now arises about the value and extreme vigor of action and movement, of the drawings, and a word has to be said often at the expense of plastic beauty, is, of here to remind those practised draughtsmen course, better studied in the stone sculpture who still, in these photographic days, are of the great porches and their concomitants accustomed to make architectural drawings when one can be sure that it has not been re- for their own use and benefit, that i-f it had stored into meaningless monotony. There are been necessary for them to express the full finer things at Chartres in the porches than significance of a piece of delicate sculpture, any woodwork can offer; that much is cer- so that all who looked at the drawing would tain. But in England especially the stone understand it, as they might understand a carvings have been cruelly misused, not mere- photograph, a different touch would become ly by being scraped and shaped and "sur- necessary from that which they use for their faced," but in the setting up of modern fig- free memorandum. The present writer has ures made in the closest possible imitation drawn hundreds of capitals and bosses in of the ancient ones, so that time and investi- his time, and is practically convinced that

gation are needed to convince one of the there is but one way of doing it, and that is authenticity of the partly denaturalized an- to take the point of a pencil, or, under more cient pieces that remain. The wooden carv- favorable circumstances, the small brush, and ings of the stalls are free from this criti- work with what the free and vigorous artist o cism. Just as the study of Greek coins is the studio would call a "niggling" touch, work- recommended to all students of sculpture be- ing up each little nook and corner of graduated cause they, at least, are the genuine and un- shade as it is spread before him, until, little altered design of the Greek artists, while the by little, a semblance of the original appears museum statue is generally a third-hand Ro- upon the paper. In some such way Miss Phip- man copy, so mediaeval spirit remains in the son has done her work. In no one of the cases .minute and often roughly-finished oak carv- before us has it been practicable to compare ings where stone sculpture has lost its virtue. the drawing with the photograph of the orig- Let us print here Miss Phipson's description inal. Indeed, it may be said that photographs of one of the misericords of New College, in detail of English architecture and archi- Oxford. "Three men. The one in the centre tectural fittings and appurtenances do not ex- is unarmed, in both senses, and wears his ist; at least, they cannot be bought in the hair long; he is clad in a tight-fitting tunic market; nor does any work exist, perhaps, in and pointed shoes, as are the others, with very which they are given with any freedom. It droll effect. The man on his right (A) has in can only be said that these drawings have the his uplifted right arm a dagger; the man on appearance of such verity as would be possible his left (B) grasps the hilt of a sword merely, to painstaking work done in the right way the broken blade lies on the ground; with his by not very skilful draughtsmen. Prob- left hand he makes a gesture of despair. D, ably Jules Jacquemart might have sur- a man with two-handed sword advancing passed these in accuracy, as many a against (A), S, a man, nude, but for a short practised draughtsman could have sur- cloak and a peaked cap, his back turned to passed them in other qualities. He above the spectator, throws back a Roman-looking other men had the faculty of rendering the sword to strike (B)." A representation of that exact amount of imperfecticn or archaism in a brilliant composition is given in Plate 60, piece of sculpture. There is always in the Fig. 2. Of course, there are few of these case of a very able artist the danger that he little ornamental masses which contain so will insensibly deviate from the barbaric free- many separate figures engaged in so elaborate dom of the original, and, as he corrects the action; the subject is more apt to be .a mer- anatomy, will destroy the design; Jacquemart maid in the middle with two dogs or lions is named here because he, almost alone among for the side pieces, or two birds for the middle very able artists, knew how to give the exact with leafage for the side supports. In one amount of Chinese character to a jade carv- extraordinary case, the central mass is a ing, and of medieval character to an ivory shield-shaped escutcheon, carrying the im- statuette. The great Viollet-le-Duc, of course, paled arms of Courtenay and of the See of could not be trusted for a moment; he knew Canterbury, as Miss Phipson explains. This the secret of making explanatory drawings, Is from the Church of All Saints, Maidstone, drawings that would tell the reader of his and the text informs us that De Courtenay book exactly what it was that he had to insist NEW BOOKS. 567 upon, but accuracy was not in him. Accuracy work of Sansovino as noted by the author. In Is in all probability what Miss Phipson has the same Chapter the analyses of the palaces aimed at and has attained, so far as it is at Verona, by Peruzzi, and of the Venetian attainable by a not very skilful hand. palaces by Sansovino, are capable of teaching We have to regret a certain use of words in much of the secret of the later Renaissance to the title in rather too universal a sense. This students who will follow these passages of the book does not deal with "Choir Stalls and text carefully, with good photographs before Their Carvings," but with misericords alone, them. It may be that the later Renaissance and it is limited to England. All of this ap- has received a more careful and more extended pears, of course, in the subordinate or sec- treatment than the early epoch, but this may ond title, but it is the primary title by which seem so rather because of the disproportion- the book will generally be known. The vol- ate attention given to the early Florentine ume closes with three indices; first, an al- work by other writers. It is, moreover, to phabetical list of subjects, and second, an al- be observed that in so brief a treatise, one of phabetical list arranged under the towns two alternatives must be chosen; either the which themselves are in alphabetical order; description of all the buildings must be very and third, a chronological list in which the brief and cursory, or the description of a few stalls are arranged in the order of their dates, and the comparison between them may be as far as these can be ascertained. The book carried out with care and at considerable is a convenient and tasteful quarto, in which length to the exclusion of other parts of the are one hundred plates bound, with a text of subject. That the author is at perfect liberty 120 pages. to choose between the two alternatives, no one has a right to deny. Moreover, it is certain THE ARCHITECTURE OF THE RENAIS- that the choice which the author has made, SANCE IN ITALY. A General View for of treating more fully that which he con- the use of Students and Others. Will- By siders more important and letting the rest iam J. Anderson, Architect, Associate of with brief tends to make by far the Royal Institute of British Architects, go notice, Director of Architecture and Lecturer at the more readable and, on the whole, more the Glasgow School of Art. With Fifty- instructive book. Synopsis or essay: between four and other Plates and Sev- Collotype the two no one would hesitate as to which his enty-four smaller illustrations in the text. the of London: B. T. Batsford, 94 High Holborn. choice would be, although synopsis, 1896. course, has its place in the curriculum of the This book announces itself as being the sub- school. insisted on stance of five lectures which were delivered at It is to be noted, though not to be that the author's use of the Glasgow. It is a brief treatise made into a too strongly, Eng- is free from fault. "Pe- volume by the insertion of many illustrations lish language not

ruzzi's . . . indicate a superior and analytical heads of Chapters. The point mouldings of view is that of the admirer of the Renais- knowledge of the antique than is evinced by 108): sance architecture and the admirer, also, with- the work of his contemporaries," (p. Strozzi or Gri- in limits and with drawbacks, of the architec- "Such buildings as the Palazzi are and have no relation of an ture of the Decadence; or, at least, of the first mani unique in classical times." years of the Decadence as far as the begin- imitative kind to anything the that need be ning of that barocco style which the author These are only examples rather common seems to condemn altogether. The critical given of a careless wording is but a trifle spirit is strong throughout the work and is in these pages. This, however, the value of evidently an enlightened one. The author's and does not in any way injure That which is to be study of the buildings which he discusses the work to the student. is the of the il- has been minute and extensive, as is shown greatly regretted inferiority as the writer by those pages in which a lengthy comparison lustrations; the more so, says in his that he leans upon is maintained between buildings which may expressly preface, and that had be supposed to have exerted an influence and his illustrations greatly pains the buildings which seem to have received the in- been taken to illustrate subject thoroughly. are indistinct; the fluence in question. The remarks made in the The half tone prints very and ones alike certainly very way of general historical description are ju- small ones large worst which number of this dicious and show independence of thought. inferior to the any The of One of the best instances of that comparative magazine contains. collotype plates, there are fifty, are proportion- analysis which has been commented upon which nearly not comparing for a moment above is the account given of Baldassare Pe- ally inadequate, with the work which similar books published ruzzi, Sanmicheli and Sansovino, in Chapter in Paris during the last ten years contain in V. It is, for instance, a thing worth noting, On the other it is a the influence exercised by Peruzzi over the great abundance. hand, THE ARCHITECTURAL RECORD.

pleasure to find a number of measured drw- being taken from Hittorff and Zanth and from ings by the author carefully and well reproduced, Serradifalco and those on Plate XI. are from and the plates made by copying these draw- Professor Newton, Blouet and Cockerell, re- ings are alone worth the cost of the book to spectively, and those on Plate XII. are from any serious student. As an instance of what Penrose and Pennethorne. In like manner the is meant, Plate XI., opposite page 32, is de- Doric columns which are given in figured ele- voted to the Church San Salvatore del Monte, vation in the Plates from XV. to XXII. are near Florence. Plates XXIX., XXX., XXXI ascribed to the different authors named above, and XXXIII., all at page 86, are devoted to respectively, and to such other authorities as the entrance vestibule of the Palazzo Mas- Wilkins, Texier and Pullan (a doubtful au- simi, at Rome, and text illustrations on page thority), Dellagardette, Durm, Stuart and Re- 87 and page 88, complete what is really a vett, and Adler. A list of the works from which valuable monograph, which monograph is the figures in these plates are selected is given further elucidated by the collotypes in Plate at the close of the German pages of the text. XXXII. In like manner Plates XXXVIII., There are some odd errors in it, due, probably, XXXIX. and XL., between pages 106 and 109, to careless proof-reading, but they are not contain measured drawings of the Palazzo Al- likely to lead one far astray. bergati, at Bologna; one of its general eleva- We have, then, a work which pretends to no tion and two of details. These drawings of originality except in matters of treatment, and the author's are evidently altogether trust- even in the matter of treatment the work is worthy and it is hard to imagine anything less thoroughly done than, perhaps, we have a more useful to the student. Their value is right to expect. Thus, in the unlucky ref- enhanced by the photographic illustrations, erence of the Temple at Assos to Texier and unsatisfactory as are these last, and by the Pullan, above mentioned, it would have been explanatory text. easy for the compiler to have referred to that publication of the American Archaeological In- DIE ARCHITEKTURPORMEN des Klass- stitute which treats the Temple at Assos with ischen Alterthums mit besonderer be- close reference to what it really was, and ruecksichtigung der Saeulenordnung und Gesimsbildung herausgegeben mit unter- without the fantastic inaccuracies of Texier's stuetzung des Herzogl. Braunschweigisch- book. Why, moreover, is the English publica- Lueneburgischen Staats-Ministeriums von tion referred to instead of Texier's original Constantin Uhde, Professor an der Her- French on Asia Minor? That book zogl. Technischen Hochschule zu Braun- work was, schweig. Berlin und New York: Bruno indeed, as full of errors as it was possible for Hessling. a large and costly book to be, but these errors (The Architectural Forms of Classical An- were carefully reproduced in the English re- tiquity, with special reference to the columns production which Mr. Pullan had to do with, and entablatures of the orders, published with and it is the French book, and not the English the encouragement of the Ducal Government one, which is generally cited in all archaeo- of Brunswick-Luneburg. By Constantin Uhde, logical writings. Professor at the Ducal Technical School of We have seen alread> In the few sentences Brunswick.) Folio; pp. 8; 70 engraved plates. given above what are the probable merits and This useful book furnishes the student with the probable defects of a work of this class. A great number of comparative measured draw- Everything depends upon the accuracy of the ings of Greek and Roman orders, many plates plates selected for reproduction. Nearly all the of sections through bases and cornices and writers named above are to be trusted, ex- the like, and many examples of decorated ception being made for those slips into which mouldings and details of capitals, key-stones even an accurate student and draughtsman and carved friezes. It is not the first of its may fall when he is making up the order of a class by many. The advantage that it has is ruined temple by the measurements of its that it is the latest of its class, and as such, fallen parts. Still, if a real reconstruction of in all probability, the best. The standard an ancient buiding is what interests the stu- set up for such books of selections is con- dent, he must, of course, beware of plates like stantly raised, and if any one now borrows these, and must, of course, ascertain whether from his predecessors, he must do so with a the original authority is to be trusted im- thoroughness and accuracy, and with an evi- plicitly. Thus, when there is question of dec- dent utility of purpose, which will seem to orative building and the painted representa- warrant his dressing himself in their feathers. tion of decorative building at Pompeii and the The greater part of the figures given- in these authorities given are Niccolini, Zahn, Mazois plates are ascribed directly to the works from and Chabat, it becomes the student to ascertain which they are taken. Thus, the sections of the relative value of these authorities. In Doric capitals on Plate X. are set down as like manner, when one of the earlier Italian NEW BOOKS.

buildings, the Temple at Cori, is taken from antiquity which it will be hard for him to get as and the of at Lampue, Temple Fortuna Virilis, easily elsewhere. Plate LXIV. is, for instance, Rome, is in part, at least, referred to Canina, of really extraordinary value, and the inaccur- one has to remember that Lampue is very acies that may exist in it will be found to be trustworthy from the point of view of a stu- of no consequence whatever. It gives thirty- dent of the Paris school occupied in making nine different figures of the systems of as careful drawings which are to form part of many different Greek and Roman buildings, the permanent archives of the school, while from the Temple at Assos to the Temple of Canina is as untrustworthy as it is possible Mars Ultor. All these are drawn to the same for a so-called archaeologist to be. And this scale and the peculiarity of the columnar brings up another and a curious question. architecture of the ancients, namely, that the When the author tells us that the authorities proportions were generally maintained the for this plate for the Temple of Fortuna Vir- same in the smallest as in the largest build- ilis are Canina, Castro, Taylor and Cresy, and ings, is laid before the student with striking photographs, what are we to assume? It force when he sees the diminutive order of the would not be hard, indeed, to compare the Athenian Temple of Nike Apteros (Fig. 19) plates given by the three authors named compared with the gigantic Temple of Zeus at with such photographs as can be bought any- Girgenti, or with the Temple of Mars Ultor, where of that well-known little building, but whose altitude is even greater than that of the really it is not important that one should do more ancient structure. So the figures of the so. What one desires to know is the way in arcuated buildings given on Plate LXV., on the which Professor Uhde has made up his plate. same scale, three triumphal arches and three Has he taken Canina's pretty figure and al- theatres or amphitheatres, are equally im- tered it to conform to Castro, or has a skillful portant to the student. It cannot be too much draughtsman altered it to correspond to the insisted upon that one should study buildings photograph? It is as certain as anything can with relation to their scale. Even the "un- be that all these four authorities do not agree doubted truth that classical architects pro- exactly. A similar puzzle arises on the same posed to themselves the same proportion of page with regard to the Temple of Aphrodite their order in large and small buildings alike, at Aphrodisias, in Asia Minor. This plate is cannot do away with the importance of this ascribed to Texier and Pullan and to the work question of size. In Plate LXIV., the student on Ionian antiquities of the English Dilet- will see that the wide span of the intercolumni- tanti Society, and it would be good practice ation in the Temple at Girgenti exists only be- for a student who feels himself curious in cause it is an assumed intercolumination, be- the matter, to compare at the Avery Library cause the columns are only make believe col- the plate of that building given in each of the umns, having been built with the wall; and in two books cited. On Plate XXXVI., the Temple the huge Roman temple, which vies with the of Vesta at Tivoli is represented by a specimen Sicilian one 'in size, and which was really of its order, and this is fathered upon no less columnar in construction, he will see that the than five different authors, besides the photo- intercolumination never exceeds the narrow- graphs. The reader, perhaps, sees now why est proportion usual in such cases. The im- the present writer has not undertaken to mensely wide proportional stretch of the lin- verify all these figures. In that collection of tels in Fig. 31, the colonnade of the Forum at six different sources from which truth con- Pompeii, could never be carried proportionally cerning the Temple of Vesta may be drawn, into the large scale of the Roman monuments there is a first rate, a second rate and several given in the last line of figures, and any at- third rate authorities, and if it should be tempt to do this, as in the Paris Madeleine, found that this plate is made up from one is shown by this example to be an error which niceties of with touches of another, it would become a has no classical authority. These very interesting piece of mental gymnastics, classical building and the apparent sense of not best to indeed, well worthy the attention of the what was feasible and what it was wish youthful archaeologist. attempt, should be studied by those who So much by way of allusion to the errors, to take their revived classical architecture perhaps natural shortcomings, of such a work. from other than merely academic sources. are not and It is made up critically, as one would expect The pages of Vignola everything, exact of one to find it; but while the student who takes neither are the proportions any his measurements without inquiry from these monument everything. A novel interest might so much in pages may be led into some errors, he will be given the columnar style, now build in that certainly be led to the gaining of much useful fashion, if those who decide to knowledge and will find himself enriched with style would study it a little more in detail as it. certain extent a kind of familiarity with the monuments of its originators used To a 570 THE ARCHITECTURAL RECORD.

the orders were plastic in the hands of the of men in the bloom of youth. It is much Grecian and Roman builders: and some thought to know that these are not always Apollos given now to the limits within which these and that those which are not images of Apollo builders allowed themselves to play with their are not necessarily images of Hermes. It is style would certainly be an inspiration worth much to know that some of them at least were going for to the original sources, or in default tomb-statues or idealized representations of of that, to such reproductions as those con- men, and that there is a very great difficulty tained in this book. in separating the human form from the di- There is one plate devoted to the architect- vine images. It must be repeated that out ure of Egypt taken from the well-known author seems a little too ready to accept the book published by the French Government, Apollo-attribution and the Zeus-attribution and that almost equally well known, by Lep- in the cases of well-known works of ancient sius. There is also one plate of Assyrian arch- art, but if a thorough study is given to these itecture and ornament taken from the works types, the encouraging and stimulating tone of Layard and Place. There is also one of of his book will have the effect of aiding ancient Persian architecture and one of Egypt- students whose reading is mainly in English ian ornament compared with Grecian painted books, toward that fuller sense of the mean- mouldings, apparently with the view of show- ing of Greek sculpture which the future has ing the probable derivation of the European in store for us. from the earlier style. This being done with, To illustrate this point by the most difficult the rest of the work is devoted to the Greek case of all, the representation of Zeus by and Roman orders, as explained already. the Greeks of the Great Time, it will be well There is a text of brief mention and descrip- to take the treatment on page 126 ff., in tion of the different monuments, and this is which the figure on the Parthenon frieze, the furnished both in German and in English. The first southward from the central group of book is one for every architectural student to priestess, priest, and attendants, is assumed own, if possible; but, also, one which he should to be that of Zeus. This attribution is, un- consult with precaution, and allowing always doubtedly, the common one. The figure has for possible errors. been called, also, Hephaistos, and Hades, but there is a general concensus of opinion that the THE CULTS OF THE GREEK STATES. By first in apparent place of honor of one of the Lewis Richard Farnell, M. A., Fellow and great groups of divinities, is Zeus, and that Tutor of Exeter College, Oxford. In three his next neighbor is Hera. The photographic volumes, with illustrations. Oxford: Clar- endon Press. New York: Macmillan & picture of this supposed Zeus (b., plate III.) Co. Vol. I., 1896, pp. XX., 423; Vol. II., is accompanied by another (a., plate III.) taken 1896, 425 to 761. pp. from an outline lithographic print in the This is a book which requires notice here Archaeologische Zeitung, which representation, merely in its capacity as a treatise on Greek in no way convincing as to its probable accu- sculpture. Nearly half of it is devoted to racy, is taken from a bas-relief at Bologna "Monuments of the Cult of" and "Ideal Types which itself is of doubtful antiquity. Im- of" this divinity and that. The great import- mediately following these two representations ance of this subject in all our future studies comes a reproduction of another print taken in classical sculpture is evident, because the from the well-known series of engravings of world of archaeology is at the threshhold of a the Theseion frieze; but these drawings are very great advance in all of its methods of not archaeologically accurate, and the sculp- study as applied to Greek and Greco-Roman tures have been seriously injured since they iconography. It may be that Mr. Farnell does were made, besides having been greatly de- not quite see how very important is a patient faced at an earlier time, so that the infer- and sagacious agnosticism in the matter of ence drawn from the seated figure shown in attribution; it may be that he accepts some- Plate IV., which, as the author says, "appears what too readily the generally admitted types to be moving in his seat through the lively of the greater divinities of the Grecian myth- emotion which the combat caused in him," is and ology; yet his book will aid very greatly a little doubtful as a starting point for any the progress of more accurate knowledge. Un- elaborate chain of reasoning. Now, everything til we realize that we are not certain that every depends upon what the author is trying to of a figure mature and bearded man is a Zeus show. So far as he wishes to show that it or a Poseidon, we shall not be in quite the po- became, during the Pheidian epoch the cus- sition which we should assume in studying tom to represent Zeus with the body and arms the expressional side of Greek sculpture. Al- nude, or with the drapery thrown over one much has ready been gained in the knowledge shoulder and one arm only, while the drapery that has been acquired concerning the statues concealed the person u^ to the hips, or even to NEW BOOKS. the waist, and that, moreover, the custom representations the enthronement of Zeus and was general to represent the god as seated, the general character of his attitude as seated he is probably on safe ground, especially when upon the throne, the holding of the sceptre we consider the documentary evidence we in the left hand, the placing of the right hand have concerning the enthroned statues of Zeus upon the right thigh, the representation in which have perished. Our author, however, profile with the side of the figure toward the draws some conclusions, also, from the feat- spectator, or the torso slightly turned so as ures and expression of the Zeus in the slight to show the breast to the spectator, all these lithographic drawing of the Bologna bas-re- are points worthy of note, and they are un- lief, and it is worthy of notice that this is the deniable. Moreover, it would be easy to bring only head which he finds, possibly, of the many such works of art into court as evi- Pheidian epoch, from which he can draw any dence for the gradual change of the attitude conclusions at all: for the fairly well preserved and the characteristics of the head itself, as figure on the Parthenon frieze is more defaced more or less bearded and more or less adorned about the head than elsewhere, and the figure with curling and flowing hair. The text, with on the Theseion frieze has lost its head alto- the foot-notes, as containing an Interesting an- gether. In Plate IV. there is given a photo- alysis of the cult monuments of Zeus (Chap graph of the well-known bust called the Zeus ter V.), and the ideal type of Zeus (Chapter of Otricoli. In Plate V. there is a very singu- VI.), is extremely well worthy of study, but lar head known as the Zeus of the Hermitage, the reader has to remember that there are and on pages 134 and 138 the facial expres- some conclusions which are safe, and others sion of these heads is considered, and some which are of a most doubtful character. attempt is made to compare the intellectual The examination of the ideal types of character of these two heads with the earlier Hera and their treatment in Chapter IX. types. All this is extremely dangerous ground give us further instances of this truth. Plate for the archaeologist to tread upon. He has VIII. offers a large photographic picture of to assume, first, that the heads in question all the "Farnese Juno," and Plate XII. a simi- stood for Zeus in the sculptor's mind and in lar view, but in profile, of the "Ludovisi the minds of those who admired his work; Juno." Of both these heads it is only to be then, he has to fix the dates in an arbitrary said that they represent dignified and stately way, no doubt with considerable probability, women, one of them having the stephane- but still he has to fix the dates, which are not fillet. Mr. Farnell reasons in favor of the capable of being absolutely ascertained; then Farnese bust being a Hera, but points out he has to explain by means of an admittedly that Dr. Furtwaengler calls it an Artemis; Roman copy, the intellectual character, first, and it might equally well be any ideal por- of the Greek original, and, secondly, of the trait of a maid or matron, human or divine. type which the Greek original undertook to So of the Ludovisi bust. Mr. Farnell points represent, because there is always room for out that it is part of a colossal statue and dispute in the exact significance of even an not a bust in the ordinary sense; and that expressive countenance in sculpture or in Dr. Furtwaengler thinks it "a Roman lady painting, and the attempts of historians to of the Claudian period idealized as a goddess." add to our knowledge of sovereigns and states- In neither of these two heads is there any men by means of a physiognomical study of .single attribute, or mark of any kind, which even their admittedly authentic portraits are can in the slightest degree certify the inten- quite bewildering, and many would think tion of the sculptor to make a Hera out of his wholly without value. Reference is made on bust. On the other hand, the Metope from page 117 to the bas-relief found in the Peir- Selinus (Plate IX. a) and the vase painting aeus and now in the National Museum at (IX. b) have for their subjects in all reasonable Athens, which has relief is given in the pho- probability Zeus and Hera, and the most in- shown in Plate in tograph in Plate II.; and here an inscription teresting fragment X., of unquestioned authenticity records the dedi- which a part of the "Judgment of Paris" is cation of the work to Zeus Meilichios (the represented, gives us a womanly figure, which, Gracious or the Protector). Another, and undoubtedly one of the three goddesses, would somewhat similar bas-relief, is described in almost certainly be a figure of Hera. Here, a feeble outline the text. Another votive relief, also at Ath- however, we have only draw- to the and one should ens, bears a dedication to Zeus Philios (the ing represent original; outline with Patron of Friendship). These works of art really compare other drawings realize are small and unimportant, the handiwork of photographs of the original object to far a honest draughts- low-grade stone cutters, but they imitate the how astray presumably at In the figure before us, the gar- original work of great sculptors, or, man may go. the flying veil, the wreath, the neck- least, follow types which have been estab- ments, even the of the hair, lished by artists of great standing. In these lace, and arrangement 572 THE ARCHITECTURAL RECORD. may, perhaps, be assumed to be correct, but book which consists of 300 large plates and it is wholly unsafe to reason about the face only a dozen or two dozen pages of text, the or to state on the authority of Plate X. that text itself stuffed so full of plans and details "the expression of her face is very profound and diagrams that there is little room for and there is a searching gaze in her eyes that letterpress? These are the publications are fixed on Paris." which are making the enthusiastic buyer of What must be insisted on is that it is noth- architectural photographs hesitate, and ask ing whatever to the scholar of the present himself whether he does not get what he re- day that writers have agreed for sixty 01 quires in better form and at less expense by seventy years past that a given statue or re- buying these extensive series. lief represents a given personage. It is the All persons who consult modern books on business of the modern writer to re-examine the fine arts are acquainted with the superb all the testimony and not allow himself to work in heliogravure and similar modern be prejudiced in the slightest degree by the styles of photographic engraving which is done fact that catalogues call one head a divinity in Paris. It is so far unmatched, this French and another a Roman lady. The opinions ad- work of the best sort. Still it is Germany in vanced by competent writers, with their rea* which the largest use has been made of these sons for holding them, are, of course, to be modern labor-saving and most accurate pro- carefully considered, and their value weighed; cesses, in the direction in which we are looking but the mere nomenclature of the custodians, to-day. There have been works in folio illus- accepted at once by the literary world, is not trated by photographic processes in full page whatever. to be considered as of any value plates, so numerous during the last ten years, or The "Venus of Milo" may be an Aphrodite that we will not give the list here, but try to there are a Victory or another personage, and make one, more or less complete, at an early for each arguments enough already in print date; and these have been issued by two or that she is of several attributions. The fact three German publishers, the attention of the Milo" is nei- generally called the "Venus of compilers having been given to somewhat un- in the discussion. ther here nor there usual subjects. Thus, Spain and Portugal, the will be that stud- The final results probably German Renaissance, and what is very unfa- beliefs and of divine ents of religious per- miliar to the Continental student, English resort rather to the vase sonality will paint- architecture, have been the subjects of im- all but a few of the monu- ings, leaving great portant books of this class. In the meantime, the artistic ments of sculpture to purely the architecture of that country of Europe lend themselves without study to which they where architecture is the most rich and the of error. In the every opportunity meantime, most varied, has been generally neglected, and such book as this addressed to an English it is only now that a book begins to appear audience is to be welcomed as intro- reading which has for its object the buildings of to a community which knows too little ducing France. Moreover, German architecture it- of the subject, the thorough, exhaustive, and self has been treated only in certain specified frequently fantastic, studies fruitful, although ways along certain lines laid down in advance. of the Continental scholars. There is one important reason why a relative superiority is to be claimed DIE BAUKUNST FRANKREICHS (The Arch- for the large plates which make up such works Gurlitt. itecture of France), von Cornelius as these; a superiority over the ordinary pho- Dresden: J. Bleyl. 1896. MOTIVE DER MITTELALTERLICHEN BAUKUNST IN tographs of the dealers, and that is the great DEUTSCHLAND (Motives of Mediaeval probability that the subjects selected and the Architecture in Germany), von Hugo Hai- points of view chosen will be determined by tung. purely artistic or scholarly reasons. No one The two works named above, of each of having photographs made to his own order, or which one part has come to hand, are the trying to get together many photographs illus- latest additions to the growing library of truly trating a given subject, or a given territory, modern architectural books. These are they can have failed to note the extremely unintel- which have photographic processes of one kind ligent way in which the great majority of or another for their very life, and without photographers do their work. It is, of course, which they would never have had existence. to be stated at once, and always borne in These are they which Germany, especially, ex- mind, that the photographer who is making cels in, and seems almost to have introduced. pictures, one by one, for sale to he knows not These are the books which are biblia abiblia, whom, is badly handicapped by the necessity or books not books, in a sense very different of finding his market, and that it is almost from that in which the words were used by inconceivable that he should have a clear mind Charles Lamb. For how can you call that a a to what hie purpose is. Such a photog- NEW BOOKS. 573

rapher will be thinking always of the general visitors to Saxon-Switzerland. The student IB public and hoping that this or that picture, Germany will remember the cases where, in although, as he believes, fit to please the stu- out-of-the-way towns, he has found two or will also to the three of of that dent of architecture, appeal photographs monuments town, larger public of tourists. He works under a or, perhaps, of its near neighbor, taken by disadvantage, therefore. Those makers of some photographer long since dead, or at the photographs who think of the traveling public command of a local society of archaeologists only, and whose notion of rendering a great long since dissolved, while no later pictures cathedral in a photograph consists in giving it are to be had, and none whatever of buildings from three of the best known points of view, that are to him equally important. Every have, indeed, no afterthought. The west front such student has had to decide between em- of Notre Dame, the apse of Notre Dame taken ploying some local operator, or taking his own from across the river, and the whole cathedral photographs, or going without, and if he has as it shows above the houses when taken wished to employ the local photographer, he from the top of the Pantheon or from the Tour has probably found it extremely difficult to- St. Jacques, these are subjects that appeal to get the workman in question to leave his work- the general public, and which, there can be no shop for a day, or for two or three afternoons, doubt, will sell. But when the would-be artis- and to undertake any such task as that of tic photographer tries to please more studious making a dozen negatives. Germany always buyers, he is naturaly at a loss what points of seems to be that country of all the nations of view to consult and what details to offer. the continent where satisfactory pictures of Only those patriotic Provincials who live close the national architecture are the hardest to under the shadow of a great building, and who come by. make that building their specialty; or, who, These, then, are the reasons why we should living in a town where there are several im- welcome especially the two works whose titles portant buildings, like to make a collection, as stand at the head of this review. Mr. Gurlitt's it were, of their native place, are to be trusted selection of French buildings; the points of at all in such cases. Thus, Ricci, at Ravenna, view which he selects, and the details has taken, one might say, everything in the which he considers important, are to be little town, and thus, Trompette, at Rheims, preferred, other things being equal, to took advantage of the scaffolding which some the selections of the local photograph- repairs to the Cathedral made necessary, and ers, and as to the vast collection of the traveled over the church with his camera, government commission above named, all that taking these details at the rate of several hun- can be said is that these pictures are in addi- dred in one season. There are thus exceptions tion to what that collection affords, and are 'to the rule, but the rule remains, and every also to be welcomed. Almost the first photo- student of architecture who has tried to pro- graph that offers itself as one opens the port- cure photographs at those European towns folio is the upper part of the south tower of which are the richest in architectural monu- Tours Cathedral, one of the most beautiful ments, knows how slow and difficult it is to Renaissance towers of a charming Gothic gather from the booksellers and stationery Cathedral, which towers are unique in Eu- dealers of the place even a dozen poor, faded, rope and yet are little known. An admira- and unintelligently-made photographs of what ble view of the interior of St. Julien at Tours, he most desires. For France, indeed, the great differs in the parts selected for the picture collection of the Commission des Monuments from other photographs which have long been Historiques makes amends, and the existence familiar. A very remarkable interior view of of such an establishment as Giraudon's, in the extraordinary fortified Cathedral at Albi, Paris, helps to a great extent to bring together and one of the interior of St. Pierre, at An- what photographs are to be had of French gouleme, should be extremely welcome to the monuments. It is hard to supply one's self student, and a most successful photograph of adequately in France, but it is partly feasi- the Roman gateway at Besancon, called the ble. One does not get all that he wishes, but Porte Noire, will be to many the most attract- he gets much. With Germany, however, things ive picture in Part I. For those who are study- are different, and it has been, and probably ing the later revived classic, that of the eigh-

still is, almost impossible to procure more than teenth century, there is to be recommended' a few photographs of the monuments of any the view of the Hotel de Ville, at Dijon. There piece of architecture seen. It is probable that is here only the first part, containing twenty- these few, in any given case, are trivial; that five photographs and no text at all; and the they are pictures taken on a very small scale, photographs are probably chosen so as to give and from a considerable distance, and intended the possible purchaser a fair idea of what the merely to sell to the Rhine tourists, or the whole work will contain. It will be seen that 574 THE ARCHITECTURAL RECORD.

from the second cen- it ranges over all epochs, manesque in existence. It has been elaborate- tury to the eighteenth century. ly restored within, and the interior has been above we consider Har- For reasons given painted with some remarkably appropriate de- more of an than tung's Germany acquisition tails, but the parts not so refcovated will en- have been describing. It is un- the book we gage the student's interest the most, and to the number of big books that one speakable, such students is to be recommended especially over to find engraved v.-ould have to turn Plate XLI., with the irresistible cloister of or even wood-cuts of one- plates inadequate two rows of vaulting and a middle range of here; while these half of the monuments given columns. The flank of the Cathedral of Hal- are excellent photographs of the "Lichtdruck" berstadt is extremely valuable, offering as it This first part contains what may variety. does a complete flying-buttress system of per- be considered a monograph on Magdeburg fectly understood and completely organized Cathedral; seven plates devoted to the more type, but obviously very early. The apse of the out of the the less familiar parts of that way, Conventual Church at Goslar, shown within most interesting structure, which would like and without in Plates XLV. and XLVL, is as be Gothic if it had only been able to find to complete a piece of the earliest Romanesque a of Gothic without being French. way being design as one will find this side of Syria. It This, in the thirteenth century, it was practi- is, indeed, curious to see how closely the ex- to about, and a wealth cably impossible bring terior resembles the exteriors of some of those naive clumsiness was the result; so that of wonderful apses of the Hauran, which the those who like Gothic architecture pure and Conte de Vogue has made familiar to the stu- concentrated and in full vigor, will get simple, dents of Europe. Some plates are given up more comfort out of the extremely interesting to details, doorways and piers with carved cap- view of the upper gallery which runs around itals. Indeed, we are reminded by this that the choir and is one of the most fascinating the title of the work is not German building or of transition vaulting in Europe, Or pieces German architecture, but the motives of Ger- from the surprising and original chapel of the man architecture, and that that is a very dif- than from the main nave or choir. Baptistery ferent thing. Buildings far less familiar than Magdeburg Cathedral, which all books tell about, are At a later time, when there are more plates given here, and given with some fullness. It within reach, and a at of the will- part, least, text, is, indeed, especially to be remarked, the it will be a pleasure to speak of these two ingness of our compiler to go far afield and se- works more in detail. lect seldom-visited buildings in small towns Koe- which the guide-books scarcely recognize. NOTE. nigslutter, near Brunswick, in what is now, thanks to conquest, a province of Prussia, is Mr. B. T. Batsford, the well-known London a diminutive place, which few travelers hear publisher of architectural works, is about to of, and the splendid monastery-church which issue a book by Messrs. John Belcher and M. is nearly all that remains of the ancient Bene- E. Macartney on Later Renaissance Archi- dictine Abbey, is one of the most fascinating tecture in England a work that will be a pieces of developed and perfected German Ro- sequel to Mr. Gotch's volumes.

Russell Sturgis.