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llllllllllllllllllllllllllll ^;&&L^^^ THE ARCHITECVRAL D

^CONTENTS

Vol. XLVI. No. 5 NOVEMBER, 1919 Serial No. 254

Editor: MICHAEL A. MIKKELSEN Contributing Editor: HERBERT CROLY Business Manager: J. A. OAKLEY

PAGE COVER THE CLOISTER OF TARRAGONA CATHEDRAL. Water Color By Arthur Byne SOME PRINCIPLES OF SMALL HOUSE DESIGN. Part I. Design of the Plot of Land By John Taylor Boyd, Jr 403 THE COMMERCIAL NATIONAL BANK BUILDING, Washington, D. C.: T W addy B. Wood, Architect 419 By Leon V. Solon

THE LAKE AVENUE BAPTIST CHURCH, Rochester, N. Y. : Foote, Headley & Carpenter, Architects 429 By I. T. Frary THE HOLY GRAIL WINDOW IN PROCTER HALL, GRADUATE COLLEGE, PRINCETON UNIVERSITY: Designed and Executed by Charles J. Connick By Charles Over Cornelius THE A. E. F. ART TRAINING CENTER AT BELLEVUE, France By Philip L. Small THE RURAL LIBRARY BUILDING By John Adam* Lowe .... 451 THE PLAN OF CHICAGO By Robert H. Moulton 457 PORTFOLIO OF CURRENT ARCHITECTURE .... 471 THE ARCHITECT'S LIBRARY 485 NOTES AND COMMENTS 490

Yearly Subscription United Statee $3.00 Foreign $4.00 Stnpfe copies 35 cents. Entered May 22, 1902, as Second Class Matter, at New York, N. Y. Member Audit Bureau of Circulation. PUBLISHED MONTHLY BY THE ARCHITECTURAL RECORD COMPANY 115-119 WEST FORTIETH STPxEET. NEW YORK

F. T. MILLER, Pres. W. D. HADSELL, Vice-Pres. J. W. FRANK, Sec'y-Treaa. E. S. DODGE, Vice-Pret DETAIL OF GARDEN OF ANDREW MORRISON. ESQ., MONTCLAIR, N. J. WILLIAM EDGAR MORAN, ARCHITECT. AKCHITECTVRAL KECOKD

VOLVME XLVI NVMBER V

NOVEMBER, 1919 SOME PRINCIPLES OF SMALL HOUSE DESIGN 1

r PX John Ta/lor Boyd,J

~ I of the Plot Part Design of^JLarul

is the most important fea- essential in very small as in great estates. WHATture in the design of houses? In large places there is plenty of land Without any question, it is the at the designer's disposal, offering some- arrangement of the lot on which the times opportunity for several schemes, house stands. It is unfortunate indeed more than one equally good ; building site that this feature is the one most often be available mistakes cov- may ; may be neglected. Too many architects do not ered up. But in small places, space is give it much attention, possibly because cramped, every square foot counts, usu- they feel that the really intricate and ally only one part of the lot is far more highly technical details of the house suitable for the house and garage than itself are all that they may be expected any other, and thus more skillful de- to be responsible for; and most owners sign is required to obtain a satisfac- still believe that thorough design of road- tory result. In fact, if the house be ways and paths, terraces and gardens, placed only a few feet out of its correct belongs properly to the great estates of location, this apparently slight error may the very wealthy. forever block the creation of a charming Careful planning of lots is at least as terrace or garden enclosure that would

Copyrighted. 1919. by The Architectural Record Company. All rights reserved. THE ARCHITECTURAL RECORD be one of the finest assets of the design. a few hundred dollars might reclaim it If one will select some of the plot plans for useful and delightful purposes. Be- in these pages as, for instance, Mr. sides and this point should not be over- Colby's house at Hartsdale, N. Y. cut looked since much of the value of good out a small piece of paper the size of the garden design depends on but a few house, and move it over the plan only growing things and a little masonry and a few feet from its present location, a few years time, an outdoor room is one will be astonished to find the damage cheap indeed compared to the cost of an that it has done to much beauty; one indoor room with its furnishings, at pres- will have ruined the whole plan. ent prices of building materials. Na- As one knows more of the possibilities ture's drapery of shrubs and flowers may of design of a small house lot, the more be cheaper than window hangings, grass one will wonder why our American love costs less than fine rugs and a twenty- of outdoors has not made a cult of per- five foot tree may be had for less than a haps the sanest of all arts. "Garden- handsome oak table. In fact one may ing," quoth Sir Robert Bacon, "is the conclude that it is sometimes cheaper to purest of the pleasures." It may be that build outdoors than indoors. It should there is a common impression that land- be evident that the chief effort made in scape design is too expensive for the the designs in these pages is not in the average householder. Admitting the ex- direction of money, but of brains brains pense, the several hundreds or thousands highly trained and provident of new invested yield a rich return to the owner. ideas. One may notice that there is He derives therefrom many benefits. more variety of interest in the designs of His place gains a distinction among his the land than of the houses themselves, neighbors, and his friends are always for each lot is apt to bring its own prob- glad to visit him in his cheerful and com- lems of shape and of peculiar topography fortable surroundings. In fine weather that demand a new solution, one that his one or two terraces and bits of lawn cannot be found in the books. This is double the ground floor of his house plan, another way of saying that such design particularly that part devoted to recrea- requires more creative than adaptive tion. He has possibilities of entertain- skill, and therefore it is not surprising ment and recreation that the cramped that the work shown here is the product quarters of his house would alone never of some of the highest professional skill permit. in the country. One of the landscape Nevertheless, like anything else in architects whose designs appear is an modern life, a strictly financial viewpoint authority on city planning, and on park is desirable before is under- and while of any expense playground design ; two the taken. In this connection the experience architects have had a hand in solving of owners who own places like these some of the biggest architectural prob- shown herewith is of value. In several lems in the country, in public and private cases, the place sold for a higher price structures. The other designs are the than the cost of the investment. In three work of unusual designers among the cases the sale was a fine business trans- younger men of both professions. action. In another, an expenditure of It is not my purpose to go too far into $1,800 made the owner confident that he detail in describing individual designs. had added $5,000 to the real estate value The plot plans afford the best evidence of his property. Land is expensive, be- of their excellence that can be had. Good sides being difficult to get in the right photographs are usually difficult to get, neighborhood at the precise moment that for the spaces are small and the planting one wants it, and why not therefore util- interferes with the camera's eye. Beside ize it to the full. Compared with the a few points of individual merit in each, designs here shown one may see that these designs, taken together, despite all most of the average house owner's land their extraordinary variety, have certain plot is wasted, serves only the purpose qualities in common. of drying his laundry one day in the They emphasize three technical fea- week. This seems uneconomical when tures of design that is, relief, massing

404 THE ARCHITECTURAL RECORD and light and shade, and, most import- riched aspect, really dramatic, some- ant, space relations. Without an artist's times with a quiet splendor, softly glow- sense of space relations, good plot design ing in lovely color and light and shade, will fail, though it looks simple enough at stimulating, yet hospitable and soothing. first experience. Space relations mean Obviously a fourth quality must appear not only careful economy and ability to in such design I mean good taste. After use every foot of space, but also perfect all, one must live day by day in these harmony and perfect co-ordination be- designs; they are people's homes. They tween units; by skillful use of contrast, are no places for acrobatics of art. All to make the smaller and more secluded these plans would be horrible failures in spaces seem the more cozy and intimate execution, theatrical and tawdry, had and charming, because near them are not the designer had something of the ser- broader spaces, freer and more simply pent's wisdom; did he not know how to treated with tiny detail; which, in turn, get his effects simply and quietly; seem grander than they actually are, when to temper his boldness with sub- because they are made to stand out by tlety. One of the most striking illustra- the small spaces; in a word, organiza- tions of how good taste must execute a tion. Technically spaces should be care- plan to avoid all stagey effect is the gar- fully marked off from each other by den in Rochester, N. Y., designed by Mr. pavement and wall and planting, other- Sibley C. Smith. Mr. Smith did not wise the design is loose and weak. It hesitate to set down a bold semi-circular lacks character. In the language of motive, geometrical, with octagonal and esthetics, failure to .define spaces is the diagonal variants of the type one looks reason for the painful effect of the tradi- for in the great gardens of palaces and tional American backyard. manors, right into an American back- The result of accurate, carefully co- yard. He succeeded, because he knew ordinated spacing is a wonderfully en- how to give in relief just those simple,

RESIDENCE OF FRANK A. COLBY, ESQ.. HARTSDALE, N. Y Architect and Owner.

405 Another truth is brought out by a study of lot planning; that is, that the character of the lot determines the char- acter of the house itself. As regards the house plan, the gardens, terraces, en- trance ways and service arrangements, fixed as they are by the shape and con- figuration of the land, in their turn set- tle the arrangement of the rooms in- doors, whether living portions, stairs, or the service with its intimate relation of kitchen to dining room. The plan of the house almost evolves from the design of the lot. This of course has a bearing on the style of architecture of the house. Since its lines must run in harmony with masses of planting, of walls and terraces, certain lots will call for low proportioned houses of quiet broad wall spaces, while others will demand taller buildings. This is why so many houses, though good in themselves and looking well in drawings, somehow fail to impress one when built. They do not look to be built for the lot, but have the air of having been moved RESIDENCE OF FRANK A. COLBY, ESQ., there from somewhere else. HARTSDALE, N. Y. It will be seen that the house designed homely touches of wood fences and lat- tice and wood benches; homely, yet in exquisite taste that make the design seem exactly fitted to the atmosphere of an old American city. Small wonder that he was awarded a prize for this art work at a joint professional exhibit of archi- tects and landscape architects in Boston. Besides their high development of the technical quality of space relationships, the practical features of these designs are noteworthy. All the functions of the household are carefully provided for and kept separate: entrance road, service to kitchen by tradesmen, and, on most of the plans, an enclosed space lettered "Drying Yard" occurs, where the out- door domestic activities take place, with- out being pried upon, and without of- fense to the neighborhood. These service functions are taken care of, yet the best portions of the lot are left for artistic development. Here we are close to the real secret of the designs, their xmion of the practical with the artistic. In some of the lots there are great topo- on graphical difficulties, humps the RESIDENCE OF FRANK A. COLBY ESQ. ground or hollows or steep slopes. HARTSDALE, N. Y.

406 ^ fr-y i$ n

fe= L_^j| i.-^;<\ Nfff ^ i r^y^t r

)* RESIDENCE OF J. P. CHAMBERLAIN, ESQ., MIDDLEBURY, CONN. Charles Downing Lay, Landscape Architect; Theodate Pope, Architect.

by Mr. Frank A. Colby for himself is hospitable and cheerful, by contrast em- a classic example of these principles of phasizes the expanse of the lawn. On small house design. In the first place, the garden side, another terrace an out- the lot has no peculiar characteristics. door living room acts likewise to make It is just an ordinary flat town lot, 175 the long flower garden seem extensive. feet by 100 feet on the south side of an In itself it is made more interesting by east and west street the same problem little vistas towards garage and towards that thousands of Americans tackle an oil jar, where one comes upon a turn every year all over the country. Perhaps and is surprised by a little odd-shaped the nearest things to a "feature" were a sumrnerhouse. The terrace is delight- few trees near the street. Yet what a fully shaded by a line of small baytrees. singular work of art has the architect In fact, until one had seen it, one could wrought. The house is an integral part hardly believe that so much variety and of the lot in unit in interest could be in so small plan ; fact, every it, encompassed from bush to bathtub, has a particular a space. It affords spaciousness and place in the scheme, in which things are variety such as one would only expect so interrelated that nothing could be to find in great estates. The taste in moved or changed without damage to which the design is carried out is fault- the design of the whole. It is apparent less. There is no excessive use of that the factor of space relationships garden architecture, such as ungainly is cultivated to an unusual degree es- pergolas, nor overelaborated flowerbeds. pecially in the front lawn, which is made One will recognize certain elements as to appear greater by two devices. No of European ancestry, like the baytree paths or roads break it up; instead lines shaded terrace outside the living room, of large flat stones lead to garage and to but mostly it is just fine old-fashioned kitchen. And the small paved terrace American. It is a design that wears at the front door, bordered with a tiny well. hedge and making the entrance seem Another scheme for a flat lot, con- 408 o O|| li o o o o o oN ' ai^

H2PH - - - - RESIDENCE OF WALTER M. BENNETT, ESQ., GREENWICH. CONN. Theodore E. Blake, Architect.

RESIDENCE OF WALTER M. BENNETT, ESQ., GREENWICH, CONN. Theodore E. Blake, Architect. 410 -o a / < w tatja p^ g ffl Ed

w RESIDENCE OF WILLIAM DEWEY, ESQ., GREENWICH CONN.

RESIDENCE OF WILLIAM DEWEY. ESQ., GREENWICH, CONN. 412 RESIDENCE OF E. R. WILLARD, ESQ., ROCHESTER, N. Y. Sibley C. Smith, Architect. ceived in a different mood, is Mr. Charles trees with masonry walls and rock paths. Downing Lay's plan for the lot of Mr. The photograph shows it early in its de- J. P. Chamberlain at Middlebury, velopment, before the planting had Conn. It is admirable for its con- grown enough to complete the design. trast of broad greensward and massed The broad wall spaces of the house and

413 RESIDENCE OF ANDREW MORRISON, ESQ., MONTCLAIR, N. J. William Edgar Moran, Architect

the light colored walls afford splendid the terraces of the house, and paths lead backgrounds for the play of light and from it and from the house down to the shade of foliage. They are strikingly pond and a summer house. adapted to the strong sunshine of the Mr. Sibley C. Smith's bold design for American climate, and beside them dun- the Rochester garden has been mention- colored brick walls and slate seem crude ed above. It is placed right beside the and lifeless and out of the key of color kitchen yard, but is carefully sheltered of the landscape. Incidentally, the from it. The practical shipshape ar- Chamberlain garden is interesting in the rangement of this kitchen yard is to be expert's recognition that an apple tree is commended. one of the most decorative trees we have Peculiarly interesting is the little home to design with. The one weak point in of Mr. George Dewey, at Greenwich the design is the garden house. Conn. It is the one among all these Mr. Theodore E. Blake's design for schemes that is not the work of a pro- Mr. W. M. Bennett's grounds at Green- fessional designer. Mr. Dewey did it wich, Conn., is noteworthy for its treat- himself, largely with his own hands. Nor ment of an eccentric lot, a couple of acres is there any reason why this should not in extent, long and narrow, with a steep be so. Noted doctors are summoned to bank sloping away from a hogback in the give one health that one should obtain center, and a minor hump at one end. for one's self; and so are the ablest archi- The house stands on the larger of the tects called upon to provide household two hogbacks and the garage on the art which myriads of laymen have known other. The house overlooks at the rear how to obtain for themselves since hu- a pond formed by damming up a little man time began. Indeed, if Americans brook which winds through two lines had but preserved the art of their native of shrubbery. A little rose garden nes- carpenters and gardeners, and had them- tles in the curve of the hogback, below selves maintained somewhat as the 414 RESIDENCE OF ANDREW MORRISON, ESQ., MONT- CLAIR, N. J. WILLIAM EDGAR MORAN, ARCHITECT RESIDENCE OP MRS. KIDDER RANDOLPH BREESE, DOWNINGTOWN, PA. Wilson Eyre & Mcllvaine, Architects; Robert Wheelwright, Landscape Architect, Associate.

5KETCHPLA.N Or THtE3TATT OK MR3. MARTHA C. BI1EL3C - PCVMNCrTOWN ~PA

Robert Wbelwfiobt-iaodKp Ah*t- b /VTiyaine -"Architects. Wilifnlyre

RESIDENCE OF MRS. KIDDER RANDOLPH BREESE, DOWNINGTOWN, PA. Wilson Eyre & Mcllvaine, Architects; Robert Wheelwright, Landscape Architect, Associate. 416 GAUDE.N FOB, ML35 MAE.Y

RESIDENCE OF MISS MARY STEWART. SOUTH SALEM, N. Y. CHARLES DOWN- ING LAY. LANDSCAPE ARCHITECT. THE ARCHITECTURAL RECORD people of Philadelphia have done the that is the high point and because it exquisitely sensitive taste of their Ameri- leaves the greater part of the lot for can great-grandfathers to direct the landscape design. The rather steep craftsmen in their humble art, they slope is the reason for the winding en- would not need to call upon the Colbys trance road. The house has been placed and Blakes and Lays and Sibley Smiths end toward the street so that its porches to show them how to make their homes. have fine vistas, and also to allow the It was Mr. Blake who called my atten- design of the splendid long terrace, tion to Mr. Dewey's achievement. The which overlooks gardens and lawns. more one studies it, the more one will be- Another excellent house and garden come convinced that here is a little mas- is that of Mr. Andrew Morrison at Mont- terpiece. The ground is a difficult one, clair, N. J., designed by Mr. William for it slopes down into a hollow, where Edgar Moran. Here, too, the designer the garden and vegetable garden are. encountered an eccentric lot with a steep A charming little enclosed terrace, a sort slope up towards the garage. A little of outdoor room, is found behind the earth was moved from the land just house, with a vista down the long path. back of the house to form a terrace wall A row of poplars along this path screens for the garden, which has thus the effect the ugly house of a neighbor. It is in- of a sunken garden. The photographs teresting to note how the strong level show the splendidly quiet striking ap- lines of the hedges and garden wall fur- pearance of the house from the street, nish a firm base for the house, which with its fine bold horizontal emphasis of might otherwise seem to poke up unduly. street and terrace walls, with which the The variety of good design of this long low proportions of the house har- character is endless; but with the house monize so well. The designer's skill is of Mr. Mcllvaine, of the firm of Wftson evident in the perspective of the terrace Eyre & Mcllvaine, designers of some of which does not cut off the house from the the greatest estates in America, we have street. Excellent are the outdoor char- an entirely different treatment. The acter and details of the house, its sleeping landscape treatment is the work of Mr. porches and old-fashioned arched way Robert Wheelwright. The house has been leading to the garage, and also the fine placed on one corner of the lot, because details of the garden.

RESIDENCE OF MISS MARY STEWART, SOUTH SALEM. N. Y. Charles Downing Lay, Landscape Architect. 418 COMMERCIAL NATIONAL BANK BUILDING WASHINGTON, D C WADDY B WOOD, ARCHITECT

BY LEON V SOLON

4 LTHOUGH excellence in design is dignity and security. In the realization /\ an abstract condition, varying of that pyschic B. "^ property, Waddy according to the diverse standards Wood has been singularly successful in of individual appraisal, it is capable his design for the Commercial National of inducing results of high economic Bank, in Washington, D. C. We are value. It is a simple matter to compute impressed at once that the convenience the relation that exists between the value of the building for operating the routine of a site and the approximate rental pro- of banking has not been sacrificed to curable, which relation is a determining attain superfluous niceties of stylistic factor for the floor area to be provided treatment, or slighted for the contriv- and the expenditure to be apportioned for ance of picturesque features. This shell and equipment. But beyond that confronts us with a modern phase of comparatively simple calculation lies a architectural evolution which is without personal and indeterminate element, equivalent in former times, an outcome which concerns the fashion in which the of the modern method of reducing problem set shall be construed by the progressive stages of industrial and individual in control the architect. financial activities to forms of system- Upon this depends whether the building atized procedure. Serial stages of opera- will represent in appearance the net tion, mutual relation of departments, expenditure, a greater value, or a lesser. convenience in location of equipment The full measure of serviceableness in are the basic premises which constitute a business building of the highest order the architect's hypothesis. These may is complete only when its architectural not be ignored in the least measure, treatment has invested it with the whatever artistic advantage may accrue power to stimulate a specific reaction thereby. On a suitable provision for in the minds of passers-by, which in- these imperative requirements, the elim- directly enhances the status of the ination of waste energy and time depends; occupants in public estimation. This convenience in operation is the gauge rare quality in design is obviously of the of efficiency in the bank-architect's greatest value to a banking institution, work, which, by a judiciously established an appreciation of its worth being relation between contributory activities, realized by bankers all over the United bridges gaps that may occur between States at the present moment a fact departments at their points of contact. proved by the great number of bank The importance now attached to projects now in hand and the importance accessory or subsidiary parts is thrown attached to the selection of an architect. into high relief when we examine the In the strenuous competition for extent to which it figured in the past in business waged between banks in every buildings constructed with the highest township and city, there is no form of degree of artistry and the most lavish advertising superior to the well designed expenditure. Previous to the develop- building conveying in its appearance an ment of the modern point of view, which impression that it reflects the character decrees certain accessory parts of every of the institution by its air of stability, structure as essential, the builders of 419 THE ARCHITECTURAL RECORD former times were content to concentrate than that which most frequently serves their energies on the decorative accen- as a model. The simplicity of the chos?n tuation of the main idea or purpose of period has been carefully maintained. the building, at the expense of service Decorative elaboration is focussed in the or convenience. This absence of ex- cornice, according to precedent. The cursive thought on the part of the old pilaster and frieze treatment of the time architect when devising his struc- first floor is purely decorative in its tures was as universal as it is incredible to architectonic function, making no false us today. The vaults of the former pretense at supporting the superstruc- U. S. Treasury Building in Washington ture. In this respect the architect has stand out as an example without equal; displayed excellent judgment, thereby the risks from protective measures or circumventing the pitfall into which so appliances that might have been incurred many of his confreres have fallen by burglars breaking in amounted only through lack of appreciation of the to a fraction of those attending the difficulty of endowing a number of robbery of any well equipped modern detached columns with a sense of store. statical strength that is proportionate In accordance with the professional to the huge weight of superstructure predilection for the classic styles for bank involved in a skyscraper. Paterae of buildings, Waddy B. Wood has chosen varied design decorate the frieze with the Doric treatment for the Commercial good effect, stimulating interest without National Bank, but has been influenced departing from the general plan of by a rather earlier phase of the order simplicity. The guilloche border in the

F I R, S T FLOOR PLAN

COMMERCIAL NATIONAL BANK BUILDING. WASHINGTON, D. C. Waddy B. Wood, Architect. 420 TYPICAL FLOOR, PLAN COMMERCIAL NATIONAL BANK BUILDING. WASHINGTON. D. C. Waddy B. Wood, Architect.

BASEMENT PLAN COMMERCIAL NATIONAL BANK BUILDING. WASHINGTON, D. C. Waddy B. Wood, Architect.

421 V1? A A I,' _ - ' -^ ~

Q

CORNICE COMMERCIAL NATIONAL BANK BUILDING, WASHINGTON, D. C. Waddy B. Wood, Architect. lintels serves as a link between the ornate echoed, with harmonious result. In pilaster caps, which, without this feature, the treatment of the windows themselves would have appeared isolated in their there is the inevitable feeling associated elaboration. with such items in buildings of the The extreme simplicity of the window commercial character that utilitarianism grille is well calculated. The assertion eclipses architectural simplicity; how- of vertical lines in the design augments ever, to differentiate between these the sense of loftiness. The circular motif qualities in such manner as to make framing the monogram of the institution economy appear an accident in the relieves by contrast in line the upright attainment of the desirable is a problem bars of a possible lack of interest. The not easily solved. In the grouping of conventional Doric grille introduces windows a valuable sense of massiveness sufficient contrast to emphasize the and strength is imparted to the struc- prevailing austerity in treatment, giving ture by confining their total width to decorative value to the bars by the that of the architectural motif orna- comparative delicacy of its detail. The menting the banking floor. use of this same type of detail in the The cornice is in every way satis- grille over the doorway is open to factory in its relation to the main scheme, criticism, as an impression is imparted both in design and in treatment of by its modification there of an infiltra- detail. The lion gargoyles are endowed tion of pattern from the panel frames; with that impressiveness which the this detracts both from the architectonic Greeks imparted to the mythological entity of the doorway and from the guardians of their watercourses. The ornamental value of the window-grille metal grille design adorning the metopes frame. is evidently evolved from a graceful Hel- In the proportions of the window lenic vase ornamentation of the fourth openings the relation of height to century B. C., transposed into metal breadth of the fa (jade is in a measure without loss of character or grace. 422 COMMERCIAL NATIONAL BANK BUILDING. WASHINGTON. D. C. WADDY B. WOOD. ARCHITECT. ' CC IRC I A L' x ?KAL e AIK

D L N a

FRANC TO OFFICES

ENTRANCE TO OFFICES COMMERCIAL NATIONAL BANK BUILDING, WASHING- TON, D. C. WADDY B. WOOD, ARCHITECT. PRINCIPAL BANK ENTRANCE COMMER- CIAL NATIONAL BANK BUILDING. WASH- INGTON, D C. WADDYB. WOOD. ARCHITECT. THE ARCHITECTURAL RECORD

The interior is treated with a severity The general conception of the main which would have probably astonished hall is excellent, and the two detached the originators of the Doric order. Doric columns satisfactorily fulfill their American architects forego much in effect important decorative function. The by their elimination of color from classic design of the counter screen is well- schemes. In the disposition of his conceived; the small supporting pilasters, carving and in the type of design adopted, grouped in pairs, space its length Waddy B. Wood had a golden opportu- effectively. The ceiling, of traditional nity to accentuate grace by chromatic type, is beyond criticism. The^"sub-

BANKING ROOM COMMERCIAL NATIONAL BANK BUILDING, WASHINGTON, D. C. Waddy B. Wood, Architect.

enrichment after the Hellenic manner. division of the pilasters around the bank Greater entity would have been im- walls is agreeably contrived and pro- parted to his pilasters, which, excellent portioned. as they are in treatment and proportion, The spaces are well thought out, both would have been enhanced by an in plan and elevation, and the manner alternating effect of panels, produced by in which the mezzanine difficulty has a judicious use of color in the ornamental been overcome is exemplary; only too frieze below the mezzanine. With the frequently the provision for this econ- present indeterminate data on poly- omic necessity leads to the depreciation chrome, one cannot blame an architect of clever schemes. for hesitating to experiment on such a The lighting fixtures are successful scale; nevertheless, one may venture adaptations of a Greek candelabrum of to prophesy that, were color systems the Doric period; they are elegant in formulated for use with assured good their proportions and modelled with true result, an architect possessing Waddy appreciation of early Greek ornamenta- B. Wood's sympathy with Greek tradi- tion. tion would find the attraction of such a An economic experiment was success- decorative resource irresistible. fully tested in this structure, adding 426

THE ARCHITECTURAL RECORD another link to the chain of evidence courses, terra-cotta inserts, and the like proving that architecture is capable a point well worth noting for architects of reflecting in its methods the social whose plans need adjusting to an appro- that is conditions of a period. The influence priation not quite adequate to reflected in this structure is one which the design made. Examination of this now ranks foremost in all phases of our building yields the that the existence the price of labor. To meet satisfactory impression architect has successfully used economy this predominant difficulty, Mr. Wood as a spur to achieve simple elegance in devised the plan of using Indiana stylistic expression. This is one of the limestone blocks of uniform size. The most reassuring signs of progress, not units are of which large dimensions, only in American architecture but also in saved labor in and reduced setting discrimination on the part of its patrons; the of units considerably multiplication a craving for magnificent sham has been of in process construction. The blocks superseded by a desire for quality in were set at less cost than would have treatment, which constitutes an actual been incurred had brick been employed, value in architecture, irrespective of with the usual accessories of stone, belt cqst of material.

LOOKING TOWARD OFFICERS' QUARTERS COMMERCIAL NATIONAL BANK BUILDING, WASHINGTON. D. C. WADDY B. WOOD, ARCHITECT. 428 ^L LAKE AVENUE BAPTIST CHURCH ROCHESTER, NY

& drchifecfs Joote, Tfead/ey Carpenter,

BY I. T. FRARY.

is no phase of architectural in a graded Sunday school requiring the numerous THEREpractice that presents more dif- individual rooms for ficulties than the remodelling of departments into which it is divided. old buildings. The limitations imposed The old building was of a type com- by the existing structure call for the mon in the Victorian era; the plan was utmost ingenuity in order to obtain the bad, the general design was bad, and stone tower desired results; the study necessary to all the detail was bad. A accomplish these results is generally with a meaningless turret clinging to out of all proportion to that involved in each corner dominated the exterior. The tucked off new work. auditorium had the pulpit It would be hard to imagine a less in one of the corners, while the balcony promising undertaking of this kind than twined itself uncomfortably around the was offered to Mr. Carpenter, of Foote, opposite sides. Back of the auditorium Headley and Carpenter, when he was was a large barn-like Sunday school asked to evolve from the old Lake department. material to Avenue Baptist Church, in Rochester, With this unpromising the N. Y., a modern structure to contain an start with, the architect, retaining has auditorium seating 1200 persons and to greater part of the old walls, pro- have accommodations for 1500 pupils duced a good exterior and an interesting 429 THE ARCHITECTURAL RECORD auditorium, while the Sunday school The auditorium ceiling has an inter- department has been pronounced by esting treatment of richly ornamented national Sunday school workers to be beams, which at the cornice line are one of the most complete and best supported by figure corbels. The wood- equipped in the country. work is of oak, stained a soft gray-brown As the Sunday school is an important and finished flat. factor in this church organization, its The organ front is of open tracery and quarters were given prominence by fretwork, behind which are hung blue placing the main entrance foyer across and gold curtains, thus effectually

FIRST FLOOR PLAN REMODELING AND ADDITIONS TO THE LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. FOOTE, HEADLEY & CARPENTER, ARCHITECTS

the middle of the building, opening into concealing the pipes without inter- the auditorium on one side and into the fering with the volume of the organ. Sunday school department on the other, The organ console is at the right and in thus making the two departments of front of the pulpit platform; at the church activity equally accessible. opposite side the baptistery is placed in The entrance vestibules are located a curtained alcove, which is framed in at either end of the foyer, and from them with wood tracery. From the back of rise the stairways leading to the audi- the baptistery a stairway communicates- torium balcony and the second floor of with dressing rooms in the basement. A the Sunday school. stairway from the opposite side of the In the design the Tudor Gothic is the chancel leads to the basement choir dominating influence, and throughout room. The traceried archway of the the auditorium, as well as in other baptistery is balanced by a correspond- portions of the building, heraldic shields ing false arch on the other side, beneath and Tudor rosettes are important ele- which is a doorway for the organist's, ments in the decorative scheme. use.

430 REAR PART Of BALCONV

SECOND FLOOS. PLAN'

SECOND FLOOR PLAN REMODELING AND ADDITIONS TO THE LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. FOOTE, HEADLEY & CARPENTER, ARCHITECTS

The color scheme is simple, the walls soft in tone and restricted to the carving being a warm gray and the ceiling panels and plaster ornament; consequently it blue. The ceiling beams, though of enhances the value of the architecture. plaster, are treated in harmony with the The Sunday school department is so woodwork and enriched with color in arranged that the rooms for the more the ornamental members. The color advanced classes open from or are in made use of throughout the room is close proximity to the entrance foyer;

BASEMENT PLAN. BASEMENT PLAN REMODELING AND ADDITIONS TO THE LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. FOOTE, HEADLEY & CARPENTER, ARCHITECTS

431 MAINiENTRANCE LAKE AVENUE BAPTIST CHURCH, ROCHESTER. N. Y. FOOTE, HEADLEY & CARPENTER, ARCHITECTS. LAKE AVENUE BAPTIST CHURCH, ROCHESTER. N. Y. Foote, Headley & Carpenter, Architects.

LAKE AVENUE BAPTIST CHURCH, ROCHESTER N. Y. Foote. Headley & Carpenter, Architects. PULPIT LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. FOOTE. HEADLEY & CARPENTER, ARCHITECTS. AUDITORIUM, TOWARD PULPIT LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. Foote, Headley & Carpenter, Architects.

AUDITORIUM, FROM PULPIT LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. Foote, Headley & Carpenter, Architects. 435 JNORTH AUDITORIUM WINDOW LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. Foote, Headley & Carpenter, Architects.

'

FIGURE CORBEL UNDER CEILING BEAMS LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. FOOTE. HEADLEY & CARPENTER, ARCHITECTS.

430 f

MANTEL IX PASTOR'S OFFICE LAKE AVENUE BAPTIST CHURCH. ROCHESTER. N. Y. FOOTE. HEADLEY & CARPENTER. ARCHITECTS. PRIMARY DEPARTMENT LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. Foote, Headley & Carpenter, Architects.

JUNIOR DEPARTMENT LAKE AVENUE BAPTIST CHURCH, ROCHESTER, N. Y. Foote, Headley & Carpenter, Architects. 438 THE ARCHITECTURAL RECORD

while the classes of children are placed have the character of a church home in the rear section, which has its own rather than of an ecclesiastical monu- outside entrance, thus effectually iso- ment and it was essential that each form lating the noise and confusion incident of activity should be suitably provided for. to handling large numbers of little folk. The regular church services of course The pastor's offices, the trustees' room demanded an auditorium thoroughly and the ladies' parlor adjoin the foyer churchly in atmosphere; the Sunday on the rear, the latter two rooms being school and evening classes required an used on Sundays as class rooms. efficiency comparable to that of the The rear portion of the basement is public school; while the social life would also divided into class rooms, so there naturally suggest an environment pos- is provided for the Sunday school sessing somewhat of the dignity and department a completely equipped plant artistic charm of a club in order that it three stories in height. Each depart- might prove attractive not only to its ment is isolated, no attempt being made members but to outsiders whom it was to gather the school together for opening desirable to bring within its influence. or closing exercises as is common in small To meet these varied requirements schools. Each department is complete necessitated close study of each in- in itself and a study of the three floor dividual room in relation to its functions; plans will show the sequence of grades, and as a result several of them, notably the youngest children starting in the the ladies' room and trustees' room, beginners' department and progressing have been given a dignified decorative step by step through the various grades, treatment which is of value as an as in day schools. attractive setting for social functions. The policy of making the trustees' The secular world long ago discovered room and the ladies' room serve a two- the value of beautiful surroundings as a fold purpose is carried into practically means of attracting people to its varied every portion of the building, so that forms of entertainment; but the church the place teems with activity all the has been slow to learn that a bare base- week; evening study classes, social ment "social room" is not an effective organizations and working societies make counter attraction to the brilliant ball- practical use of what would in many room and theater and that money spent churches be waste space during the judiciously in making the church build- week. In other words, the church ing attractive and inviting is money well activities are conducted with business invested. like economy of space and everything Without excessive expenditure Lake is done to cut down the overhead Avenue Baptist Church has provided expense of each department. rooms where its people can meet in an The large basement provides space environment that will not only add en- for class and recreation rooms; for joyment to their church life but will kitchen and service equipment; for exert an influence on the home sur- locker rooms, toilet rooms, choir room roundings of many. and storage, as well as for the heating The completed building realizes very and ventilating plant. satisfactorily the ideal of those respon- This church was intended to meet not sible for its erection: to obtain a com- only the spiritual needs of the commun- plete church equipment possessing the ity in which it is placed, but also to be a maximum of churchliness, efficiency, social and educational center. It was convenience and attractiveness in return desired that the establishment should for a minimum of investment.

439 HOLY GRAIL WINDOW IN PROC- TER HALL, GRADUATE COL- LEGE, PRINCETON UNIVERSITY HOLY GRAIL WINDOW IN PROCTER HALL, GRADUATE COLLEGE PRINCETON ^"UNIVERSITY DESIGNED AND EXECUTED BY CHARLES J. CONNICK.

Charks Over Qornelius

NOTABLE contribution to Ameri- and the beginning of the search are can decorative art in stained glass introduced in the lower tier, where are A is presented with the installation depicted acts of both the successful and in Procter Hall at the Graduate College, unsuccessful searchers, scenes significant Princeton University, of the series of of the devoted self-sacrifice and physical lancet windows which fill the large bay prowess of the knights of the Round window on the east side of the hall. The Table. The mystical appearance of the great hall itself, the finest example of Grail to Galahad amongst the knights is secular Gothic architecture in America, perhaps the most noticeable feature, is divided into seven bays by the oaken accompanied as it is by a great sound, a hammer-beams of the roof, marked on white light and a sweet savor the first the exterior by simple buttresses. The symbolized by the associated idea arched and pointed windows in six of of lightning suggesting thunder; the the bays are divided by the mullions into second by a brilliant white ray caught lancets surmounted by tracery. The up by the circle of white doves; and sixth bay from the entrance on either the third by the censers in the hands side is differently treated on the west of the angels who conduct the bearer of occupied by a great fireplace and chim- the Cup. neybreast and on the east by the bay Identification of the nine knights and window which fills the whole space. King Arthur who appear in the window This bay window, forming three sides is preserved by their traditional heraldic of a hexagon, is divided into three tiers of devices and colors. Precedent has been lancets, six lancets in each tier. Simple followed, which places on the left those cusped tracery divides the lower tiers, knights who though courageous and flowering more elaborately toward the sincere did not continue spiritually pure top into various geometrical divisions to the end of the search, and on the dominated by the large quatrefoils right those who came under the im- crowning each of the three sides. The mediate influence of the Holy Grail. sturdy stone mullions are simply molded These knights from left to right in the and at the angles are reinforced by the lowest part of the window, each as- slender shafts which rise to support the sociated with his heraldic device, are rib-vaulted ceiling. Sir Gareth, Sir Uwain, KingBagdemagus, The subject of the storied window is Sir Gawaine, King Arthur, Sir Ector de the Search for the Holy Grail as told Maris (or Sir Hector), Sir Galahad, Sir by Sir Thomas Malory, in the "Morte Launcelot, Sir Percival, and Sir Bors. d'Arthur," published in 1485. The com- The inscription beneath reads: "In position divides into three parts: the the myddes of thys blast thenne ther first appearance of the Grail and the Entred in to The Halle the Holy Graile institution of the search, the renewal of couerd with whyte samyte but ther was the search by Sir Galahad and its final none that myghte see hit nor Who bare consummation in the appearance of the hit." Grail to the successful knights. The In this lower tier are also presented first appearance of the Grail in Camelot the small scenes of adventure in which 441 THE ARCHITECTURAL RECORD the knights were called upon to test the Four Evangelists and inscribed: their physical and moral courage. The "Thys thenne is the Holy aduysyou first, an L-shaped composition on the that syr Percyual sawe." left, which extends into the second lan- The subject occupying four of the cet, tells of the victorious battle of upper base panels of the middle lancets Sir Gareth, Sir Uwain (first lancet), and is the Castle of Strange Custom, where, Sir Gawain (second lancet) with the on the right, Sir Galahad and Sir Bors seven wicked knights, to rescue the seven are shown confronting the black war- maidens at the Castle of the Maidens riors, and on the left Sir Percival with the seven wicked knights personifying his sister hear the plea for the rescue the seven deadly sins and the seven by blood sacrifice of the princess who is maidens the seven goodly virtues. The ill unto death in the great castle. The inscription for this scene runs, "Syr legend beneath this incident runs, "The Gareth and syr Vwayne and syr Ga- good knyghtes and PercyuaFs syster to- waine destroys the seven wycked Bre- fore the castel of the straunge custom." of the The base to the left are theren of the castel Maydens." panels symbolic ; In the second lancet occurs the scene, suggesting the nearness of the Sangreal, above the one just described, which is they tell of the miracles performed summarized in the legend: "And ful by its proximity. In one, "Kynge actually dyd Kynge Bagdemagus yelde Mordrayne receyued his syghte," in the whyte shelde." To the right, in the another, "The maymed Kynge is helyd," fifth and sixth lancets, are four more and in the third the scene bears the scenes of adventure. Sir Launcelot at legend, "Soo that a Cryppl was made the Cross of Stone, where the miracle hole by the Sancgreal," the cripple of the atonement is revealed through being carried by Bors and Percival. At the power of the Grail, is shown in the the base of the right lancets these fifth lancet with the inscription, "Alle scenes are balanced by others symbolic this syr Launcelot sawe and beheld to of the sustaining power of the Divine fore the Stony Crosse"; while below it Spirit in adversity and of the closeness is Sir Launcelot passing the lions at the of the bonds of friendship founded upon perilous gate with its inscription, "Syr spiritual ideals. "The grace of the Launcelot passyng the lyons." In the Sancgreal in pryson" presents the three sixth lancet Sir Bors rescues the maid knights in prison ministered to by the from the black knight after a fierce Holy Grail; while "Syr Galahads laste battle at sunset: "Syr Bors rescowed the adieu" announces his departure upon Mayde"; while in the scene immediately the search. below Sir Percival rescues the lion cub In the upper parts of the central from the evil snake: "Syr Percival lancets the final consummation of the rescowed the lyon." search for the Grail gives the opportunity In the middle tier of lancets the for an introduction of considerable composition takes up the renewal of the symbolic representation of the origin search for the Grail by Sir Galahad when and legendary powers of the Holy Grail. the White Knight calls for him to renew The subject is introduced by the figures the search and Sir Galahad bids farewell of the angel bearing the spear which to his father at the ship in which they pierced the side of the Lord and the have voyaged together. The inscrip- figure of Joseph of Arimathea, the tion for the first scene, "Come sayd the first bishop of Christendom, who re knyghte and starte upon this horse," ceived the Blood into the Cup. The is placed beneath it; while under the knights are grouped to right and left, second stands, "Soo syr Galahad de- Bearing banners whose staffs extend parted from hys fader." These two through into the upper lancets. Here scenes occupy the lower base panels of the figure of Our Lord stands with up- the central lancets. In the upper base lifted arms holding the Grail and is panels of these lancets is shown Sir surrounded by the seven cherubs which Percival's vision of the White Hart and symbolize the seven theological virtues. the Four Lions symbolic of Christ and Below Him are seven flying doves (the 442 LEFT-HAND PAIR OP LANCETS IN TOP TIER. SCENES FROM LEFT-HAND PAIR OF LANCETS IN SECOND TIER. ARMS OF JOSEPH OF ARIMATHEA: BLUE ARMS OF SIR GAWAYN: BLUE FIELD, GOLD FIELD, GOLD LION, RED TONGUE AND HEAD?, SILVER TEETH, RED CLAWS. TONGUES.

ARMS OF SIR GARETH: BLUE FIELD, GOLD ARMS OF KING ARTHUR: RED FIELD AND EAGLE, RED TONGUE AND CLAW-NAILS, PALE GOLD CROWNS. RED DIAGONAL STRIPE.

Heraldic Drawings by Pierre de Chaignon La Rose for the Holy Grail Window.

445 THE ARCHITECTURAL RECORD

and above Him mitted of the seven goodly virtues) , requisite proportion of seven haloed doves (the seven gifts of formality in the scenes and resulted in the Spirit) dart in the rays from the perhaps the most decorative detail Grail. On either side of the main figure which the window possesses, through the are angels of light with candles, and the use of pure and brilliant color in well angels bearing the instruments of the defined leading. passion complete the composition. The color of the window, while con- In the crowning tracery of the window sistent and beautiful in itself, does suffer are seen cherubs and doves, which re- somewhat by contrast with the great echo the symbolism of the virtues and window of the Seven Liberal Studies spiritual gifts surrounding the figure which occupies the end wall. When of Christ; and in the three quatrefoils these windows are seen in conjunction, which form the important centers of the two are found to be differently keyed, this tracery are placed the coats-of-arms and the higher key of the smaller is of Sir Galahad, Sir Bors and Sir Percival, somewhat overpowered by the lower blazoned on shields and supported by and stronger key of the other. angels. The designing and leading of the The composition is a complicated one, individual groups is masterly, and some and its resolution into three parts has of the tiny scenes have a lyric quality served to simplify its reading. The of purest essence; while the whole imposition of certain arbitrary limita- window sets a standard of the highest tions, such for instance as the division caliber for individual war memorials vertically into six lancets in each row, in its employment of one of the has only served to heighten the effect most difficult as well as one of the of a symmetrical balance. The use of most beautiful mediums of artistic ex- much heraldry throughout has per- pression.

ARMS OF KING BAGDEMAGUS.

446 A.E F ART TRAINING CENTER O BELLEVUE, FRANCE

Philip L Small

in February of the present and convalescent camps'under the direc- EARLYyear I was called to Paris to report tion of Captain Aymar Embury and his for duty with the Army Educa- corps of women art instructors. The tional Commission. Up to my arrival in Paris Atelier Section gave some two hun- Paris I had only a vague knowledge dred men the opportunity of a rather (gained partly through a notice in The sketchy glimpse of the methods of art Stars and Stripes, partly through rumors instruction in Paris. But the Art Train- among fellow architects at my station) ing Center at Bellevue, to which were of some sort of an embryonic attempt at called three hundred of the more ad- an educational program for the soldiers vanced men of the A. E. F., was the acme of the A. E. F. of the entire program a model art At the headquarters of the commis- school near Paris. sion, 76 Rue Faubourg St. Honore, mat- It is of Bellevue that I wish particu- ters were still in a rather chaotic state, larly to speak. due to the unexpectedly early signing of The Pavilion de Bellevue, before the the armistice and to the necessary delays war a fashionable hotel, during the war of "military channels." Certain plans a Red Cross hospital, is situated on the decided upon by the director did not har- hillside overlooking the Seine, between monize with army regulations; certain Meudon and Sevres. This building officers promised by the authorities at served to house the entire staff, faculty Chaumont had failed to put in an ap- and student body, and gave ample room pearance. But plans were changed, other for ateliers, studios and class rooms. officers substituted, and a few days in The lecture hall and sculptors' studio that busy suite of offices proved that, were near by. Being only a short walk with such men as George S. Hellman, from Meudon, Sevres and St. Cloud, a Lloyd Warren, Archibald Brown, Gros- half hour from Versailles and within venor Atterbury, Aymar Embury, easy motoring distance from Rambouillet, George H. Gray, Ernest Piexotto, Lor- Dampierre, Vaux-le-Vicomte, Maisons ado Taft, Solon Borglum and others, Lafitte, St. Germain-en-Laye, Mal- failure was impossible. Before the time maison and many other places, and only appointed for the opening of the schools, twenty minutes to Paris by any of three order came out of chaos and the ultimate different lines, it was ideally located for success of the project was assured. How a fine arts school. In less than three this was accomplished it is not my pur- hours by train the week-end sketching pose to relate. * The details may be found parties could reach Maintenon, Char- in the official reports; in a booklet report tres, Orleans and the chateaux of Tou- of Major Geo. H. Gray, commandant of raine, Fontaineblea, Etampes, Reims, the school at Bellevue; in an article by Amiens, Beauvais, Rouen, Chantilly, Mr. Hellman in the New York Times of and Pierrefonds, and on the three-day July 27, 1919, and other sources. trips which were allowed each week The art educational program was ex- toward the close of the term, the advanced tensive and embraced many distinctly class could reach any part of France or different phases. The College of Fine Belgium. and Applied Arts of the American E. A fine arts school as a military organi- F. University at Beaune dealt chiefly zation would seem a rather incongruous with men of little or no pre-war train- combination; but with a commandant, Arts and a ing in art, as did also the work at Le himself a Beaux architect, Mans under Mr. Coxhead, at Coblenz staff composed almost entirely of archi- under Mr. Plowman and in the hospitals tects, the military phase of the adminis- 447 THE ARCHITECTURAL RECORD

tration was so carefully and sympathet- special subjects bookbinding art, cer- ically handled that it turned out to be amics, tapestries and the like. Thus the rather an advantage that we were still student could see unfolding before his under military control. It introduced eyes the entire drama of French civiliza- just the proper amount of systematic reg- tion and art, and bind together each ularity that is so universally lacking in period into a clear and understandable a group of art students. The only mili- chapter. Da Vinci, Primaticcio, Le tary formation was at physical drill each Brun, LeVau, LeNotre, Puget, Dela- morning. Outside of this the only de- fosse, Berain, Watteau, Richelieu, mands were regularity of attendance at Colbert, Mazarin, Moliere, Lulli and a classes and meals, observance of "lights hundred others ceased to be names in out" and "taps" and compliance with print to him and became living actors in regulations in all matters pertaining to a drama, the setting for which was before reports, leaves of absence, etc. Differ- him and about him. Their day, their ence of military rank among the students passions, their pleasures, their problems in the ateliers and class rooms was dis- and the civilization for which they regarded with a fine spirit which in no wrought were revived before his eyes and way detracted from the strictest military he saw what art, to be vital, must mean discipline where that discipline was nec- to an age and a people. essary. These lectures were delivered both by The intention of the Director, Mr. members of our faculty and by many of Warren, has been from the outset to the most eminent of French scholars, ar- make of the three months' course a cul- tists and art critics. tural venture rather than a technical Just what were we to learn from training. The entire program was laid France? Was it some formula, some out with this end in view. The time al- tabulated knowledge that she could in- lotted to atelier work was comparatively tentionally teach us? Or was it not small. The projects were short, gave op- something that must be absorbed slowly portunity for a maximum of study and as the result of an affectionate and inti- a minimum of drawing, frequent criti- mate contact with the finer things of the cism by eminent French architects life and culture of the past, a culture as (among whom was Victor Laloux, dean rich and splendid and well-founded as of French architects) and a presentation life itself? Was it not this intangible in sketch form. The idea was to give something that we inadequately label as the student just enough of the project of inspiration? There is scarcely a build- the Ecole des Beaux Arts, so that he ing of any importance in France that would become familiar with and appre- we have not in detail and photograph in ciate the principles of planning as taught our libraries at home. Is it then that in in the institution. Classes in pencil France we can see the original? There sketching and city planning completed is scarcely a picture or a piece of sculp- the work in the atelier. ture in the galleries that we cannot see The study of the French language and, in reproduction at home. Is it then that by means of it, French customs and man- in France we can see the oils themselves ners, French thought and the trend of or catch the play of light on the surface present-day French affairs, played an im- texture of the marble? Do we have to portant part in the daily routine and con- go to France to learn of LeBrun, LeVau, tributed to a clearer understanding of LeNotre, to see the examples of their other phases of the work more purely ar- work? Do we need to go to Versailles tistic. But perhaps the most important to copy a motif of the facade of the Petit of all were the daily lectures attended by Trianon to employ on that new mansion the entire student body. at Newport? Or to the Place de Vo ges The lectures on French political his- for a market square? We have the tory and on French civilization were par- means in our library in the office. alleled by stereopticon lectures on paint- But where else in the world can we ing, sculpture, architecture and decora- live and breathe and sun our artistic en- tion, and interspersed with lectures on thusiasm amid the modern survivals of 448 THE ARCHITECTURAL RECORD the very atmosphere and civilization in exception of a few of the younger in- which LeVau, LeBrun and LeNotre met structors, was a Paris-trained man, with and solved their problems? What they a wide circle of friends among the French wrought was for another age, another artists and people of prominence. It people than ours; but in their work we was through friends such as these that should see an inspiration to do for our we were enabled to hear in our own ate- day and age and country what they did lier some very delightful musical pro- so well for theirs. grams, rendered by a group of Paris Not only in our lecture hall and ate- artistes. liers, but in the museums, the galleries, Architects, painters, sculptors, decora- the studios and schools of Paris, in the tors, staff and faculty all lived under one homes themselves, the co-operation and roof an American roof in a foreign whole-souled generosity of the French land. They messed together, played to- were most gratifying and encouraging gether, exchanged professional gossip, and did much to make possible the ven- and for the first and perhaps the last ture. For the first time in French life time in their lives really appreciated the the mask was off, the barrier down; the inseparable interdependence of their re- foyer, the most sacred institution of spective metiers. The architect had the French life, was open to these American freedom of the studios and studio-talks sons the foyer, the home, the heart. of the painters, sculptors and decora- Our work was theirs in sympathy, and tors; he attended critiques and lectures there was not a man or woman with and exhibitions and had the opportunity whom we came in contact who did not of going with the painters to the Paris open heart and mind and treasures to studios. The point of view and the us, so that what we were doing, being problems of the painter, the sculptor, the worth while, might be done well. Pri- decorator became clear to him and left vate homes, museums, chateaux, private an impression that will influence all fu- collections and ateliers, closed since 1914 ture relations. Never has a body of art and in many cases never opened to the students been banded together in a closer public and therefore not to Americans, bond of sympathy, unity and common were now opened to us. Practically all purpose. It was a congenial, happy of the artists' studios of Paris were family from the commandant to the buck opened to our painters and sculptors, private. Think of the value, for example that they might be given an insight into to a young man to be able to drop in for the methods, the viewpoint, the person- a chat, to share in a common work to alities of the leaders of French art. a common end, to go through the same Through Capt. Leslie Cauldwell, the unusual experience with the older and Artist-Decorateur-Counseil of Paris and successful men of his profession men head of our department of interior deco- who had seen what he was trying to see, ration, the members of his classes were who had succeeded in doing what he enabled to visit, with note-book and hoped one day to do, but who did not sketch-pad, private galleries, private col- conceal that they even envied him his lections, display rooms of stuffs, brasses, experience of being (still young and im- tapestries, furniture and art objects. pressionable) under such conditions, at To quote from Mr. Hellman, "Not such a time, in such surroundings, in this only in Paris, but throughout France, rich art-land of France. wherever our students traveled in the Consider that these men had led for course of their art studies, they were wel- two years a healthy, rigorous life; were comed by the French; and it may safely in the pink of physical condition, a sure be said that no group in the American promise of an alert and healthful mind. Expeditionary Forces came into happier Consider also that they had been through relationship with France and its citizens an experience that had broadened and than those soldier art students who en- matured them; had given them a keener of life tered so fully into the spirit of that im- appreciation of the value the that memorial land of art." had been spared them, a deeper, more Every member of the faculty, with the serious affection for the finer things of 449 THE ARCHITECTURAL RECORD that life. It is then not hard to imagine intellectual impetus, we can but be the eagerness, the enthusiasm with which optimistic. they made the most of this wonderful When Charlemagne invaded Italy, he opportunity. carried with him a barbarian horde; the There was surprisingly little of the crusaders were a mob of undisciplined spirit of selfish personal ambition; a and unruly religious enthusiasts; the great deal of enthusiastic team-work, armies of Louis XII and Francis I were unity of purpose, to carry back to a handful of professional soldiers, and "God's Country," not a blind affec- yet look to history for the art changes tion, but a sane clear-sighted duty and they wrought in France. ambition to make the great opportun- The American Expeditionary Forces ity count for the most in the art of the in France were composed of picked homeland. young men from all stations and walks Shortly after we entered the war and of life, at the age when the mind and eye our new armies were training in prepara- are most alert and impressionable: two tion for the work to be done in France, million men in a common cause and there were many who expressed great cast together among new scenes and new hopes for the future culture of America, surroundings the heart of the world's due to this crusade of our millions of culture. It was the romance of their young men into France. The hope was, lives. Two million men, not one of whom I think, justifiable and was reflected but will retain some spark of memory of in the desire of every man and woman something fine and desirable that he of culture in this country. The army would one day like to see in his home or educational program had not yet been his garden or his city! Three thousand thought of, unless perhaps as a vague men, the artists of the flock, coming back hope in the minds of such men as did with an undying faith in the mission of finally put it through. But the eleva- art, a knowledge and an affection for tion of this mass of young American the finest and richest culture of the world manhood to a higher level, the education and a sense of duty to the civilization and in the finer things of life, through con- to the homeland that gave them birth, tact with a world-old culture, was a and whose artistic fate they will one day commonly discussed topic. And com- in a large measure control! paring this Twentieth Century crusade What richer harvest could we reap with other great causes of art revival or from the victory in which we shared?

450 1/ie RURAL LIBRARY BUILDING

JOHN ADAMS LOWE

ideal library is that which are not like anything they use anywhere THEstimulates its community to use else than at the library. They are print intelligently and which not happy in making themselves con- teaches a genuine love of books. Library spicuous by climbing up a broad flight service today demands of the librarian of stone steps. If the temperature at an intimate first hand knowledge of what the top of a reading room is 70 degrees is available in print, an understanding when it is only 42 degrees where they sit, of the needs of the community to be they will not readily go to the library to served, and an ability to bring to the read. No, if the building is to share in needs of the one the resources of the the making of booklovers, care must be other. All of us can instance cases in given to details which will make it easy small towns in which a true booklover to bring people and books together. has aroused genuine reading habits in To indicate what has been done in the others with only a few well selected way of library atmosphere in buildings books. The same volume carried its filled with homelike qualities and yet message and inspiration to many read- which function completely in bringing ers, each of whom put upon it his own library service to the people, I might interpretation. We trace character de- suggest the very successful adaptation velopment in many such cases. No of a beautiful old court house building higher ideal can come to any librarian in Lenox, Mass., for a library building, than to foster ideas and build men and or the church remodeled for the library women. at Warwick, or the Colonial cottages The librarian may be seventy-five at Worthington and Leverett. But per cent of the library and the books perhaps the library building at Hyannis, and the building the other twenty-five a village of Barnstable on Cape Cod, per cent, but I believe that the building offers in some respects the best point of may share more of real service than is departure for the study of certain often the case in small country towns. architectural difficulties common to re- One need is to make books available cent town library buildings. and attractive. Convenience has some- Possibly one of the unconscious draw- thing to do with their use. The psy- backs which we feel in many new chology in "lure of books" and "tempta- buildings is the lack of the element of tion to read" needs to be employed by surprise. There is no allurement about the building as well as by the librarian. them. You know from the many others Its very arrangement may contribute cut from the same pattern that you will much by being convenient and under- find the charging desk immediately in standable. People in the country do not front of you as you enter, and that not live in marble buildings, nor are they always with the inviting hospitality accustomed to lofty halls, divisions of which it might possess. If you seek a columns with carved capitals, and current magazine or the daily news- decorated ceilings. They are not used paper, you know exactly where it is to be to furniture of one pattern everywhere, found, and the same is true with a book. except in such institutions as they know, Located on the main street of Hyannis, the meeting house, town hall, and school the old story and a half house with two room. Iron shelving in aisles too narrow ells at the rear makes an appeal which to permit the use of the lower ones and even a stranger feels. You never would too high for the upper ones to be reached mistrust it of being a library if it were 451 THE ARCHITECTURAL RECORD

not for the sign swinging from a bracket bedroom has been transformed for on a tree. Simple in line, "right down reference purposes, and in it one may in the grass," as Pennsylvanians say, study with almost as much privacy as covered all over with shingles unstained, in one's own sanctum. but weathered the wonderful gray of old New buildings seem to require a small wood at the seashore, a dominating lecture hall. Well, here we have one. chimney expressive of the forceful winds In the reception room chairs may be set that incessantly blow around it, two up to accommodate literary societies inviting projecting porches or weather and any groups of people who might vestibules, and smiling white lined naturally assemble here. Before the window casings, it presents an example fireplace talks may be given on local of one of the best types of an old Cape history and current events, and groups Cod house. Moreover, its color charm of girls and boys, members of the library is enhanced by silver willows of great reading clubs, may meet with the libra- age towering gauntly over it, their trunks rian as leader with the same informality a fascinating green and silver, with scant and freedom that they do at the home of leafage of trembling silvery bits. their friends. You find here bulletin And you feel the same sort of an boards and current events records, post- appeal when you push in the green front card displays and picture exhibitions, door and step in. Instinctively you flower and bird contests records. Back pause just for a moment when you first of the library stretches under the trees a sit- visit it, for you find no guardian lawn and garden; and here the librarian ting commandingly in front of you. plans to conduct book entertainments, No, here is a stairway which, mounting receptions and teas. Visitors, new its steep way, invites you to the study and school teachers and lately arrived resi- rest rooms under the gable. You look dents find themselves invited to this through a doorway at your left into a place with the cordiality of new-made reception room. You feel like a late friends. In such a place foreign-speak- arrival, for here are groups of people in ing citizens come unafraid and find an comfortable chairs, chatting, examining equality of citizenship which they ap- attractive books scattered about the preciate. The machinery of a modern tables. One women with many bundles library system is all working here, but sits by the window, her shopping done, it never intrudes itself upon the patrons. watching for the stage to take her back Whenever I visit this building I home. That girl minding the baby sug- remind myself how well have been over- gests that mother is selecting books. come some of the difficulties of securing You step through a door at your right the essential principles of library archi- and here you are in the old sitting room, tecture. The librarian's desk completely very much as it has always been, save supervises the reading-rooms. This was that the reading table in the center is a made possible by widening two door- bit larger than one would expect, and ways and by giving it a central position. that book shelves cover the walls of Moreover, the library is arranged for the room. It is quieter here than across economical administration, and the few- the hall. You drop down for a minute est possible attendants are needed. in one of the rocking chairs by the open Good natural light abounds in all parts fireplace. And here for the first time of the building, and the system of venti- you discover in another room the libra- lation is so simple and well known that rian, the real genius of the place, at her it can be operated by any one who can desk. Crowded about it are children open a window. The shelves are placed and men and women, talking earnestly so that a person of medium height can about the book each has chosen for him- reach any of them. And the building self. The children have their own room will provide for a number of years of in an ell just back of the librarian's growth. desk, to her left. To her right, in an- In so many new structures the heating other ell, is a special collection room, and problem becomes a serious one. Lofty beyond that is the workroom. A tiny ceilings and complicated heating appa- 452

THE LIBRARIAN IS THE GENIUS OF THE PLACE, AND AT HER DESK THE FAIRY-LOVING CHILD AND THE LEARNED SAGE DISCUSS THE CHOICE OF BOOKS FROM THE SHELVES.

BOOKS MAKE THE BEST WALL DECORATION FOR LIBRARY INTERIORS. LOWER SHELVING WOULD CREATE ADDED HOMELIKE ATMOSPHERE IN THE READING ROOM. 454 LOOKING FROM THE FRONT ACROSS THE RECEPTION AND DELIVERY ROOMS INTO THE DOANE SPECIAL COLLECTION ROOM AND THE REFERENCE ROOM.

f/r/mtrte PLAN OF THE LIBRARY. 455 THE ARCHITECTURAL RECORD

ratus designed for buildings in city admit comfortably a desk and a table blocks make impossible in winter many a and chairs, a closet for outside wraps, building upon which great amounts of facilities for washing one's hands, and money have been expended. Low ceil- sufficient wall shelving to take care of ings and stoves are familiar to the people several hundred books, those being un- who live in the country, and with them packed, mended or catalogued. The light they are skilfully successful. Fireplaces should be arranged so that the librarian in towns where fuel wood is abundant may sit down and write, paste labels, will disperse the chill of a late spring or mend books, and do a thousand and one early autumn day, as well as give further things that have to be done in keeping a attractiveness to the room. library going. If there is no other ar- For the fault committed so repeat- rangement made for the storage of edly of not providing shelf room suffi- brushes, mops, and other tools used in cient for the books in new buildings I and outside of the building, they should have no mercy. Plans frequently state be provided for here. The town library a total capacity all too evidently care- does not need a "Trustees' Room," lessly estimated. The shelving actually which figures on so many plans, but it built is filled with the books already at does need a workroom for the real hand. No future growth has been executive. planned for. This comes about fre- Unlimited funds are not always neces- quently, because valuable space is used sary to good library service. For years for decorative panelling. Sometimes the Hyannis library association had when a stack is installed, the second slender funds, no town appropriation, story is not built; and it is discovered but it begged its books from friends. later that the first deck is not strong Several years ago a loyal and fore- enough to carry a second tier, that no sighted trustee bought this old house and space has been allowed for stairways. held it as a home for the library. At first The result is that at great expense the the rent of one half of it helped support whole thing has to be pulled down and the library in the other half. When a built over. bequest recently came to the association, Another lack in many buildings is with great wisdom they used part of it sufficient work room for the librarian. in remodeling the entire house for the At Hyannis the room is fifteen feet library. It serves the fundamental square, a baronial hall compared with purpose of a library. But in addition to many I have seen. Even in a small town this it is doing as much as a building can library, for such purposes there should to perform its part of making readers be provided a room large enough to and lovers of books in its community.

456 - -1 a j-i i j *= ' - j MBr^jft *= ^ *^ Hi n ' The PLAN OF CHICAGO

Rpberl H. Moulton

the work of putting city. The plan was then taken to the into effect the Plan of ALTHOUGH Chicago City Hall and bestowed as a gift of the was started only six years ago, the Commercial Club to the citizenship of progress made, considering the delays Chicago. occasioned by the entrance of the United The city officials accepted it and cre- States into the war, is noteworthy. ated the Chicago Plan Commission, of Twenty-two important features of the 328 members, with the duty of studying plan are now in the workshops of the and promoting it. Under Charles H. city, county, state or nation. By the Wacker, its permanent chairman, and time the work is completed it is esti- Walter D. Moody, its managing di- mated that $250,000,000 will have been rector, that commission has been work- spent, only a part of which will come ing for eight years. As a result, the city by direct taxation, at least out of the has adopted the Plan of Chicago in public pocket. While the various im- principle, has entered upon three basic provements are under way for the next improvements and is at the threshold of ten or twelve years, they will fill the city various projects of minor importance. with workmen. They will create new What might be called the heart of the real estate values, new business, and entire Plan is that providing for the residence districts. Quite irrespective of development of the lake front. Experts general business conditions, they are a in city building have long argued that guarantee that for a long period the Chicago's front gate can be made the people of Chicago will enjoy increasing most wonderful in the world and with- activity and prosperity. out cost to the taxpayers. Michigan The Plan of Chicago was inspired in Avenue in the last decade has developed the minds of a small number of men, into one of the magnificent thorough- leaders in the business life of the city and fares of the world. But the lake has not members of two of Chicago's most kept pace. Chicago has a great fagade, prominent social organizations, the Com- but an unkempt front lawn. mercial Club and the Merchants' Club. The lake front project calls for a com- This was in the period immediately fol- plete remodeling of the shoreland from lowing the World's Columbian exposi- Jackson Park, on the south, to Wilmette, tion in 1893. on the north, a distance of twenty-one While the Commercial Club commit- miles. In the development of the water tee was working, an independent move- front park scheme there will be, begin- ment to the same end was started by the ning at Jackson Park, a yacht harbor Merchants' Club. The plans thus ad- three miles along shore and two miles vanced were entirely formulated by across, with wooded islands. Then 1906, when the Merchants' Club for- northward will sweep one large island mally undertook the work. In 1907 the park, or perhaps two islands, reaching two clubs united under the name of the the main harbor at Twelfth Street, Commercial Club, which, in 1908, gave nearly five miles in length and half a the world the completed Plan of Chicago. mile wide. Between it and the mainland In producing the Plan of Chicago, the will run a lagoon, fourteen hundred feet Commercial Club spared neither time, wide. Both margins of this lagoon will money nor effort in preparing all the be planted with trees and shrubs, so of charts, maps and drawings by famous arranged as to leave openings various architects necessary to carrying out the sizes, thus providing vistas of the water remodeling and development of the and the life upon it, to be enjoyed by the 457 THE ARCHITECTURAL RECORD

people along the driveways or living in Park the Field Museum of Natural the homes that line the park stretches. History, which was made possible by On the lagoon, houseboats, launches, gifts aggregating nine million dollars by canoes, rowboats and small sailboats, the late Marshall Field and which is now as well as craft for public use, such as are practically completed, was the first step usual on the Thames, the Seine, t*nd the in the development of this space as an canals of Venice, can ply unrestricted. educational center. The building stands The development of this water front upon made land at the foot of Twelfth park scheme does not end here, however. Street, facing Grant Park. It covers an It is proposed to build a new strip of land area of 700 by 350 feet, or approximately immediately east of that occupied by the two city blocks, with a floor space of Illinois Central Railroad tracks and ex- 670,000 square feet. In Grant Park, tending out into the water for a distance near the Field Museum, are to be of about three hundred feet, running the grouped the new Crerar Library, an entire length from Jackson Park to con- institution with an endowment of four nect with Grant Park at Twelfth million dollars and intended for the Street, paralleling the lagoon and outer student of social, physical, natural and parkway strip. This will give Chicago applied science, and the new structures the most magnificent water front of any of the Art Institute. The plans for the city in the world, and will afford the latter show a gallery of fine arts, to- pleasures that only water sports and gether with a school of art, comprising waterway parks can provide. lecture halls, exhibition rooms, ateliers All the park authorities of Chicago and general administration quarters. have worked steadily toward the ideas One of the most spectacular features of the lake front plans in the Plan of of the lake front improvement provides Chicago. During 1915, for instance, for the construction of a great central more than two hundred acres were harbor faced by Grant Park, which is added to Lincoln Park on the north. It adjacent to the lake and extends along was made by filling in the lake. This the entire business front of the city. improvement embraces a yacht harbor, This great basin will lie in the hollow of twenty-six hundred feet long and a curving parkland shores extending into thousand feet wide, a lagoon, picnic the lake three-quarters of a mile and grounds, extensive playgrounds, bathing more than a mile in length. Two long beaches and a golf course. This work sea walls, curving outward, with open- cost $1,875,000, but the land thus made ings at the center and at either end, will is estimated to be worth $15,000,000. permit easy passage of vessels and assure The improvement of Chicago's water calm water always within the harbor. front is the most practical and feasible This scheme further provides for great part of the Plan of Chicago, and can be piers and stations at the extremity of accomplished at practically no extra the northern coast of the harbor, for the cost to the taxpayers by building at the use of passenger carrying vessels of the rate of 125 acres of land a year, utilizing lakes, and buildings for park purposes Chicago's waste material and filling to a at the extremity of the southern coast of maximum depth of thirty feet with the the harbor. The work of harbor im- mean average depth of twelve to fifteen provement has already made wonderful feet. At this rate 1,200 acres of park progress, $5,000,000 having been ex- land can be obtained in ten years, and pended upon a municipal pier of the value of this land, according to unequaled character and dignity. experts of the Chicago Real Estate The lake front improvement involves, Board, would be $46,000,000. Grant among other things, the electrification Park, on the water front, is an illustra- of the Illinois Central Railroad's right of tion of what can be accomplished. This way from a cindery smudge into a trol- park contains over three hundred acres leyized carrier and the erection of a and was built up entirely of the city's $50,000,000 terminal at Twelfth Street, waste in a few years. facing north, by this road. Architec- At the southern extremity of Grant turally the new terminal will conform to 458 Copyright by Commercial Club, Chicago. GENERAL DIAGRAM OF EXTERIOR HIGHWAYS ENCIRCLING AND RADIATING FROM CHICAGO. GENERAL MAP OF THE PLAN OF CHICAGO.

THE ARCHITECTURAL RECORD

the Field Museum, just to the east of many of the problems of congested it. The widened Twelfth Street im- traffic downtown, which for years has provement, which has already trans- been one of Chicago's most serious formed for two miles the old 66-foot questions. street into a magnificent 108-foot wide At the north end of Grant Park traffic-way reaching into the heart of begins the great Michigan Avenue is Chicago's great West Side, to be Boulevard link across the river, which is carried from Michigan Avenue to the new now partly constructed and which will Field Museum ^t a connect the South and heightened level; the North sides with a passenger tracks in wide two-level street station will the new at the river crossing, be at this level. the upper to be used The new station will as a boulevard and have twenty-six the lower as a traffic Twelfth tracks at the street. The necessity Street level, which is for the two-level plan a larger capacity than is seen in the enor- that of the new Union mous congestion due Station, under con- to cross traffic, the seg- struction. Further- regation of which is more, to take care of the greatest im- of future needs, it portance. There is will be so built that sixteen per cent more its capacity can be traffic crossing the doubled by putting Rush Street Bridge in twenty-six other than passes over Lon- tracks at a future don Bridge, long lower level whenever known as the world's transportation re- most congested ve- quires it, all without hicle bridge. There disturbing traffic. is thirty-eight per The projected sta- cent more congestion tion is to be large on the eight connect- enough to handle the ing streets crossing passenger traffic of CHART SHOWING HOW 1.280 ACRES Michigan Avenue be- all eastern roads not OF LAKE FRONT PARKS CAN BE tween Randolph and into the MADE BY UTILIZING WASTE Ohio Streets than on running MATERIAL Union Station. Be- the eight principal fore the war halted points of entry into the project, negotiations were under the city of London. Fifty-eight thousand way to sign up the roads now running vehicles of all descriptions cross or into the smaller stations to use it. The traverse Michigan Avenue between city terminal plan now looks to three Randolph and Ohio Streets every twelve passenger terminals in Chicago, instead hours of a working day. of the several scattered stations. This Another important reason for the pro- will mean three great railway stations jection of Michigan Avenue on the plan for Chicago the Northwestern, the outlined is that this great natural high- Union and the Twelfth Street, and pas- way extending, as it does, forty miles sengers will be able to pass from one to the from Jackson Park to Lake Forest, skirt- other by way of the Twelfth Street im- ing a great inland sea, where, in rough provement and widened Canal Street weather, the spray dashes over the curb, without passing into the Loop. The presents possibilities for attractiveness carrying out of this plan will not only and beauty such as do not exist in any simplify the care of passenger traffic but other city. The world's great cities are also the freight question and work out all inland. 462 i- O -j H 03 - 55 S a -S K

J il< 0, O >* TYPE OF BRIDGE TO BE USED OVER THE LAGOON OF THE PARK ALONG THE SHORE OF LAKE MICHIGAN.

VIEW LOOKING SOUTH OVER THE LAGOON OF THE PARK TO BE BUILT ALONG THE SHORE OF LAKE MICHIGAN.

464 THE ARCHITECTURAL RECORD The property taken for the widening blocked, is another improvement of of Michigan Avenue from Randolph magnitude, and one which is necessary Street to Chicago Avenue covers nearly to complete Chicago's great central one mile, and embraced many expensive district. As it stands today, South buildings. These have all been wrecked Water Street is a wasteful, dishearten- and removed for the widening of the ing, riotous, unnecessary survival from the street, total amount of awards for the town's careless, untutored youth. the property taken being $5,428,671. It is a public highway entirely absorbed Work has been completed from Ohio by private business; and, worse than Street to Chicago Avenue and the street that, the private business runs over into is paved and opened to traffic. The con- five of the most important north and tracts for the balance of the improve- south streets in the Loop. As a produce ment, including the new bridge across market, South Water Street is doomed. the Chicago River, have been let, and New locations, with improved sanitary the work is being pushed to completion. and scientific handling and interchange The total amount of the contracts for all facilities, must be found. of the work is $7,686,887, which added When this street is reconstructed and to the amount of awards and damages rehabilitated according to the Chicago makes the total cost of the whole im- Plan, it will be another Michigan provement $13,115,558. However, this Avenue for half a mile. It will have improvement undoubtedly will pay for what even Michigan Avenue lacks itself in a few years, because all property namely, a broad strip of subway and of from Randolph Street to Chicago Ave- quays inclining to the water's edge and nue, adjacent to the improvement, in- permitting inexpensive distribution of disputably will increase in value. As a goods from warerooms and of heavy result, the city's revenue from taxation freight from warehouses direct into rail will be largely increased. and water terminals; permitting, also, In connection with the Michigan noble architectural treatment and the Avenue improvement a new suburban introduction of that most engaging station is to be built by the Illinois feature of many a European city, the Central Railroad at Randolph Street. open air flower market of the quays. Suburban traffic is to enter a tunnel near The plans for the reconstruction of Sixteenth Street and will shoot under the South Water Street call for the clearing new Twelfth Street station, coming up away of the buildings on the north side to breathe again just south of Van of the street from State to Market Street, Buren Street. As an important part of a distance of about half a mile, and for the plan there is to be a concourse at double decking it, thus providing road- Randolph Street, under Michigan Ave- ways for light traffic and heavy freight- nue, which will take passengers out of ing. Under this plan it will not only the way of automobile traffic. Entrance have all that it now lacks air, light, to this concourse beneath this busy spot view, cleanliness, spaciousness, and a will be in front of the Public Library, definite place in a harmonized scheme of which is set far enough back to give downtown development; but will be- plenty of room. There will also be built come second only to Michigan Avenue at Randolph Street a new eighty-foot as a traffic distributor by taking 15,714 viaduct, to cost $1,500,000, which will vehicle trips a day out of the Loop. replace the narrow twenty-foot structure By development since 1911, the future that now gives ingress to the north end of Canal Street as a place of monu- of Grant Park. It will be another great mental architecture is assured. First connection between Michigan Avenue there came the fine $20,000,000 North- and the driveway to be built at the lake western Railway Terminal. Then, more edge. recently, the splendid Union Station, The reclamation of South Water forming a part of the $50,000,000 de- the Street, the city's great produce and com- velopment plans of Pennsylvania mission market, on which congestion is so and associated lines, work on which, held dense that through traffic is absolutely up by the war, will now proceed as 465 PHOTOGRAPH OF EXISTING CENTRAL DISTRICT OF CHICAGO, WITH PROPOSED SOUTH WATER STREET DOUBLE-DECK IMPROVEMENTS SKETCHED IN.

SHOWING ARRANGEMENT OF STREETS AND WAYS FOR TEAMING AND RECEPTION OF FREIGHT BY BOAT, AT DIFFERENT LEVELS, ON THE CHICAGO RIVER AT LAKE MICHIGAN.

466 rapidly as labor and material can be tapping all important east and west and obtained. Between these two imposing north and south streets in the area it will terminals will be located the new West diagonalize. It will result, further, in Side Post Office, which will be commen- an appreciable easing of traffic in the surate with Chicago's position as the Loop; will facilitate heavy transporta- central clearing point for the mail of the tion into and out of the Northwest Side, entire country. and will provide a quick, easy way to Perhaps no other feature of the Plan Lincoln Park from crowded districts of of Chicago will save so much money and the West Side far removed from Lake bring so quick a return in convenience Michigan. It will shorten, for instance, and traffic facilitation as the extension the distance from Union Park to Lincoln of Ogden Avenue from Union Park to Park by one mile. More than this, it Lincoln Park at North Avenue. The will provide a cross town thoroughfare whole area, which the improved street connecting important north shore sub- will penetrate, open up and animate, is urbs with other suburbs on the south- now more or less at a point of stagna- west. tion. It fits in with no ordered scheme of Other salient features of the Plan of community activity. The reason is that Chicago include the widening of Western the district is isolated, pocketed. From Avenue to one hundred feet its entire the northeast to the southwest it has no length; the improvement of Ashland great diagonal artery only right angle Avenue and Robey Street, making them streets. through thoroughfares; the construction The extension of Ogden Avenue in the of an outer drive connecting Grant and manner proposed will result in the crea- Lincoln Parks via the lake front, thus tion of a big commercial artery, two and relieving downtown congestion, and a half miles long and 108 feet wide, making a direct connection between

PLAN OF EXISTING SOUTH WATER STREET AND OF CHICAGO RIVER. 467 ILLINOIS CENTRAL STATION AS IT WILL APPEAR ON NEW EAST TWELFTH STREET, WITH NEW FIELD MUSEUM ON THE LAKE FRONT.

1 ' "' .> - '. i' -?

NEW UNION STATION UNDER CONSTRUCTION, ON LEFT; NEW WEST SIDE POST OFFICE IN CENTER: AND NEW NORTH WESTERN STATION (COMPLETED) ON RIGHT.

^KMflwmrMW-tMi! .tm**mujw

NEW PENNSYLVANIA FREIGHT TERMINAL UNDER CONSTRUCTION BETWEEN POLK AND TAYLOR STREETS. CANAL STREET AND THE SOUTH BRANCH OF THE CHICAGO RIVER. OGDEN AVENUE EXTENSION. THE ARCHITECTURAL RECORD

Jackson Park, the new lake front park, of the city playgrounds of vast worth to Grant Park, the Municipal Pier, and their health and happiness. Lincoln Park; the construction of boule- Since this article was written the of on November vards along the drainage canal to con- people Chicago,- 4, by an vote the nect with the park system; the straight- overwhelming approved issue of bonds to the amount of $28.600,- ening of the Chicago River in a number 000 for the extension of Ogden Avenue of places and the building of new bridges from Union Park to Lincoln Park, the across it; the opening of the Indian widening of Western Avenue to one Road from the Desplaines Boundary hundred feet for twenty-five miles, the River near Belmont Avenue to Crawford widening and double decking of South and Peterson Avenues and via Peterson Water Street, the straightening and Avenue to the lake, thus producing a widening to one hundred feet of Ash- great outer diagonal thoroughfare, cross- land Avenue, and the straightening of ing prominent section and half-section Robey Street, with subways beneath line streets, and passing many public numerous railroad tracks. This is institutions; and the acquisition of addi- really going to be a $57,200,000 job, tional forest areas already selected for however, because for every dollar that purchase, to be added to the more than is received from the bond issues another six thousand acres so far secured in the dollar is given by the property owners great plan to give the people on all sides whose holdings are benefitted.

SCHEME ADOPTED FOR WIDENING AND EXTENDING MICHIGAN AVENUE NORTHWARD FROM RANDOLPH STREET. LOOKING NORTH FROM WASHINGTON STREET.

470 GARDEN TERRACE RESIDENCE OF J. WATSON WEBB, ESQ., WOODBURY. L. I. CROSS & CROSS. ARCHITECTS. EVERGREEN GARDEN RESIDENCE OF FREDERICK FRELINGHUYSEN. ESQ.. ELBERON, N. J. Marian C. Coffin, Landscape Architect.

"WHITE GARDEN RESIDENCE OF FREDERICK FRELINGHUYSEN, ESQ., ELBERON, N. J. Marian C. Coffin, Landscape Architect. 472 VIEW FROM TERRACE RESIDENCE OF G. S. GAYLORD, ESQ., NEENAH, WIS. ChJlds & Smith, Architects.

ENTRANCE GATE RESIDENCE OF G. S. GAYLORD. ESQ.. NEENAH. WIS. Childs & Smith. Architects. 473 RESIDENCE OF E. E. RAKER, ESQ., KEWANEE, ILL. Frederick \\ Parkins, Architect.

GARDEN RESIDENCE OF WILLIAM MARSHALL BULLITT, ESQ.. OXMOOR, KENTUCKY. Marian C. Coffin, Landscape Architect. 474 GARDEN RESIDENCE OF ROBERT APPLETON, ESQ., EAST HAMPTON, L. I. Frank Eaton Newman, Architect.

GARAGE RESIDENCE OF WALTER B. WALKER, ESQ.. ARDSLEY. N. Y. Frank J. Forster, Architect.

475 RESIDENCE OF GRENVILLE T. EMMET, ESQ., NEW YORK. MOTT B. SCHMIDT, ARCHITECT. RESIDENCE OF GRENVILLE T. EMMET. ESQ., NEW YORK. MOTT B. SCHMIDT. ARCHITECT. RESIDENCE OF GRENVILLE T. EMMET. ESQ.. NEW YORK. MOTT B. SCHMIDT, ARCHITECT. RESIDENCE OF ORENVILLK T. EMMET. ESQ., NEW YORK. MOTT B. SCHMIDT. ARCHITECT. RESIDENCE OF GBENVILLE T. EMMET, ESQ., NEW YORK. MOTT B. SCHMIDT, ARCHITECT. Bg SPS

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7? H H RESIDENCE OF GRENVILLE T. EMMET, ESQ.. NEW YORK. MOTT B. SCHMIDT. ARCHITECT. RESIDENCE OF GRENVILLE T. EMMET. ESQ.. NEW YORK. MOTT B. SCHMIDT. ARCHITECT.

ART AND ARCHITECTURE AFTER THE WAR: A LIST OF REFERENCES

By FRANK WE1TENKAMPF

has been much writing and and action rather than on discussion of THEREspeaking about the possible influ- final causes. ence of war on art art in the The summaries of the titles which fol- broadest meaning of the word. A review low are not a matter of editorial selec- of what has been printed may at least tion, but of compilation. The opinions help to clear the air. The following list are presented without comment for the includes American, English, French and reader's choice. German titles. Thus, the national point of view is shown, sometimes expressed ART IN GENERAL to the of But the differ- point rhapsody. Bell Clive. Art and war. (International ence in personal standpoint, irrespective Journal of Ethics, vol. 26, Oct., 1915, p. of also one nationality, appears. Where 1-10.) writer sees a far-reaching influence, a "Cultivated people agree that this is no time for art . . . Art's lies in its veritable renaissance of finds supreme importance glory art; another to share with truth and religion the power of appeal- to that of us which is unconditional time that wars have no decisive significance at ing part by or place or public or personal interests . . . There

all . . for art. is no such thing as patriotic art . Rejoice that there are some who, rising above tumultuous circum- What is is perhaps more significant stances, continue to create and speculate. ... A that not a little of all this writing turns nation that would defend the cause of civilization must remain civilized. . . . There have been wars on the art industries the great field of as great as this; there may be greater. . . . Art survives." the applied and decorative arts and on L. L'Art francais et la architecture. There we have to do, ap- Berard, guerre. et 55e annee, parently, not so much with a direct spir- (Revue politique litteraire, itual influence of the war as with eco- May 26, 1917, p. 321-325.) "Former wars, especially those of the Empire, nomic and social conditions furthered by have been followed by an extremely brilliant period of artistic Doubtless a renewal of the war. vital of these activity. spirit- The importance ual life and artistic production will similarly fol- art industries to trade is being realized low the rough time through which we are passing. . . . The artists, after the war as before it, will abroad, and we in America should heed follow divers ways." Author speaks also of the German invasion of the domain of art industry in the preaching of those agitators in the France. cause. good Binyon, Laurence. Art and the war. (New In architecture, one some may expect Statesman, vol. 9, May 12, 1917, p. 135- individual from the profit, indirectly, 136.) war through the opportunity which it "If the senseless destruction . . . were really such madness. have architects to all, art could have little traffic with may given some young But never before in history has a war provoked see fine among people in general ... a desire for art to buildings abroad. But above and _ express for them the great realities of the struggle." beyond that there is the possibility that The author, being concerned with the represen- tation of war in reviews the war of war activities here at least art, drawings building may Bone, Nevinson, Kennington, and Bandley-Read. have some the lesson of the ad- taught Colton, W. R. Effects of war on art. [From of better between visability co-operation a lecture at Carpenters' Hall.] (Archi- builder and en- architect, (contractor) tect and Contract Reporter, London, gineer. That's one of the held in things vol. 95, March 17, 1916, p. 199-201.) view by the Post-War Committee of the "I take for the text of my discourse a quotation from Rustdn's Crown of Wild Olives: 'All the pure and Institute of Architects in its American noble arts of peace are founded on war." War idea and of questionnaire. teaches us self-sacrince for the good of an the community. As far as art is concerned, it was The essential emphasis in these appli- high time that war should come with its purifying flrt. So-called art had in like unto a cations of the "what after the grown Europe question, puffed-out and unhealthy fungus of enormous size. had . . . war?" to practical needs of the day and A wave of diseased degeneracy submerged art. ... In architecture we have perhaps kept the future, lies therefore on forethought saner, and have not fallen to the new art eccentric 485 THE ARCHITECTURAL RECORD

least self-denial on the is the cessation of the ties. . . I plead for a sane future when peace comes majority in art, including architecture." purchase of objects of art. But the creation and con- servation of the beautiful form a vast industry on Evening Post. Aug. 23, 1919. Editorial. which both the present and future commercial success Deals not with art, but with the whole question of the nation largely hinges. . . . Weaken and viti- of transportation of character. "The war trans- ate this source and the future of half the industries formed no one." in the country is jeopardised. . . . Unless we are careful, there is every danger of another decline in Fechter, Paul. Wege zur Kriegskunst. English taste. The people who have devoted their lives to ... art must receive or Kunst und Darm- adequate support, Dekoration, . (Deutsche else, as in the case of their predecessors, . . when the war is a new arise stadt, 19. Jahrgang, March, 1916, over, generation [will) ignorant of artistic traditions. . . . Money spent in British p. 475-478.) art is not money lost to the country." "With the war there came the to attempts perpet- Art and the uate, with the means of art, the prodigious event Harrison, Birge. European ... a paradox, since the war aimed at invisibility. war. (American Magazine of Art, 1916, . lies . . Tliis war's peculiarity in the fact that in the end it defies representation. . . . But, on vol. 7, p. 270-272.) the other hand, there is opened up a world of possi- Deals with the "all-enveloping war-atmosphere bilities for the younger men. They sought, even be- which at present overwhelms our intellectual world.

the . fore the war, to depart from mere representation . . The psychology of war and the psychology

visible. . . . here becomes the . . of the The war of art are dramatically opposed to each other. . strongest promoter of the timely. Where one form Monuments in commemoration of successful warfare its limits, it sets for the of art finds greater problems were provided. . . when the war spirit no longer other, the coming, art. filled the air." Friedmann, Armin. Der Krieg und die Kunst Hartley, C. Gasguoine, and Arthur D. Lewis. des Kindes. (Westermann's Monats- War and the arts. (English Review, hefte, 1915, Bd. 118, p. 551-559.) 1916, vol. 23, p. 150-162.) Deals with drawings made by children in the "Numberless wars left singularly little effect on schools of Vienna, mainly representing battle scenes. literature and painting. . . . Untroubled art is the product of deepest faith. . . . Those who have Galsworthy, John. Art and the war. (At- actually seen bloodshed . . . did not wish to write stories or poems. . . . Probably the horrors of lantic 624-628. Monthly, Nov., 1915, p. war have been better sxiggested by artists such as and than writer. Also in Fortnightly Review, Nov., 1915, Vereshchagon, Callot, Goya by any . . . It is the commonest error to think of art as if

p. 924-929. it stood outside the other activities of life. . . . By "For thousands of generations war has been the this war men have been brought back to the primi- normal state of man's existence, yet alongside war tive emotions. . . . Art which depends on mere has flourished this art, reflecting man's myriad as- . . . thin cleverness will become unimportant." pirations and longings. What can this war do that a million wars have not? It is bigger and more bloody Hausenstein, Wilhelm. Krieg und Kunst. the reaction from it will be but the greater. . . . (Neuezert, 1914, Jahrg. 33, Bd. 1, p. When the war is over, the world will find that the thing which has changed least is art. . . . The wind 154-160.) of war reeking with death will neither have warped "It is clear that the relation between war and nor poisoned it. ... Monsieur Splogub, the Rus- art, for the period of time nearest us, that is, the sian poet, . . . has indicated his view that after the 19th and 20th centuries, has had no significance in war art will move away from the paths of naturalism. any way decisive. Still, the time in which we live . . . It is never good to argue about words. . . . impels many to attempt a review of the subject." Art will take all after the war as before." paths just . . . Author touches on the economic significance of the war for the artist, destruction and appropriation Gerrard, Thomas J. Art after the war. of art monuments and objects, the artistic value of armor, uniforms, weapons, the representation of war (Dublin Review, vol. 158, Jan., 1916, p. in art, and the question of national art. 51-56.) T. H. War in Indian art. "Among the many hopes that are to be realized Hendley, (Jour- through the present clash of arms is that of a new nal of Indian Art, vol. 17, new series, birth to art in all its forms. . . . All art is sacramen- tal. There is an outward sign and inward beauty. April, 1915.) Plates. .... The experience of the battlefields will carry "Object is to trace effect which war has had on with it a far-reaching influence. The enormous sacri- artistic expression of the Indian people at different- ' ' fice of life is helping to make us appreciate more fully epochs. The article is concerned with the represent a- the reality of the spirit world. All these influences tion of war in art. . . . will fall on our national character and tempera- ment, and there shall rise again a national art worthy Jaumann, A. Die deutsche Kunst und der of a great nation." Krieg. (Deutsche Kunst und Dekora- Grundy, C. Reginald. War and British art. tion, Jahrg. 17, 1914, Hefte 12, 21.)

"War is not favorable to the muses. . . . To Illus. (Connoisseur, Aug., 1915, p. the noble race war is as a purgatory. It consumes 195-201.) all that is over-ripe and sickly. . . . That is the "Optimistic critics are looking to the war for a soil for a new, really German art. . . . Interna- great renaissance in English art, an idea which tional studio tricks, devoid of time or race, no longer probably owes its genesis to a sentence in one of Mr. interest us. ... A style will be formed, modern and George Moore's essays on Modern Painting. . . . German."

This is . . . But innumerable theory fascinating. War has wars . . . have occurred without being followed Kilmer, Joyce. stopped European art. . . . All the of art, which Mr. by periods letters and art, but after peace old forms Moore has mentioned, have followed on wars. . . . But they have also come during periods of great will be inadequate to express new and national prosperity: and, as prosperity appears to be the invariable forerunner of art, we must look on tremendous experiences, says Arthur wealth rather than war as the source of art." Author Bullard. (N. Y. Times Magazine, Nov. cites instances in the past, and compares England's position in art at the time of Napoleonic wars with 5, 1916, p. 8.) that which she occupies at the present. "Unfor- "The best art comes when the great experience tunately, one of the economies which imposes the has come and gone, and been pondered." 486 THE ARCHITECTURAL RECORD

Kriegs-Wahrzeichen zum Benageln. 69 Scott, Cyril. The connection of the war Entwiirfe axis einem Preiswettbewerb with art and music. (The Monthly des Deutschen Werkbundes. Munich: Musical Record, London, vol. 46, Mar., F. Bruckmann A. G., Dez., 1915. 1916, p. 68-70.) "As there was danger that tokens deficient would "Certain signs of a very particular nature have be erected, the Deutsche Werkbund instituted a shown themselves in the world of art within the competition for the acquisition of sketches which few years preceding the great struggle. In the do- were donated to the national cause." main of painting certain signs of viciousness ap- These tokens were the portraits and other figures peared: in sculpture, very much the same thing: erected to have nails driven into them. in music, a discordancy . . . Hardly ever has the Astral Plane been in the state it now is. ... The Lenz, Georg. Kriegsandenken der Konig- spirit of the war, then, most certainly seems to have influenced with its discordant force our world of lichen Porzellamnanufaktur zu Berlin. music." Illus. und Monat- (Velhagen Klasings Servaes, Franz. Der Krieg und der Kunst- shefte, 29, 1915, 250-262.) Jahrg. p. markt. Illus. (Deutsche Kunst und Description and illustrations of souvenirs, mainly of the Napoleonic wars and the Franco-German Dekoration, Jahrg. 18, 1915, p. 343-350.) War of 1870-71, thus illustrating influence of war "In war time there is apparently nothing more in a of art. temporary phase superfluous than art. . . . To him who really loves art, it will become doubly dear in time of tribulation Oechelhaeuser, Adolf von. und Kunst: Krieg and distress. . . . Therefore, it is necessary that Kriegs-Vortrag. Karlsruhe 1. B.: G. the atmosphere of artistic life in our land do not wholly die out at this time. ... It would be a Braun, 1915. 32 p. 12. great national calamity if our art market should Speaking from the standpoint of a victorious now be wholly deserted. In fine as well as in applied Germany, the author thinks that "new duties and art activity must not stop. Artists must produce and problems will be so many that all force and serious- art lovers must acquire. ness will be needed to fulllil them . . . and that will also benefit German art." Steinlein, Stephan. Krieg und Kunst. (Kunst und 105- Pazaurek, Gustav E. Patriotismus, Kunst Handwerk, 1915, Jahrg. 65, p. 108.) und Kunsthandwerk. Stuttgart : Deutsche "On the one hand, war is praised as the great Verlags-Anstalt, 1914. 32 p. 8. (Der fructifler and liberator. . . . and all past epochs in use same historic Heft are cited support. Others the deutsche Krieg, 20.) periods to emphasize the opposite. ... If today has come when all art, in so far as "Again a time there is a general belief that, so to speak, out of noth- it does not serve outer, blind glorification of the ing and over night ... a great change would take fatherland, is considered superfluous. . . . The place, just because the war gave the impetus, the rough practice of war does not provide a happy con- answer to this conception, based on romanticism dition for the appreciation and cultivation of art. rather than reality, is that, before all and as a deter- But when the cause has ceased . . . the inevi- mining factor, the matter turns on our possession table reaction will . . . not fail to appear, and of immediately active power and positive capability." art in every form will be all the more welcome and desired." Symon; J. W. War and creative art. [Dif- Phillips, Duncan. Art and the war. (American ficult position of the artist unable to go Magazine of Art, vol. 9, 1918, p. 303-309.) upon active service and finding no "Is a In war-time we are apt art luxury? ... demand for his creative genius.] (English to think more sentimentally than clearly. . . . The conservation of art should be an important part of Review, Dec., 1915, p. 51-520.) our war preparations . . . Art may be a refuge Deals with the actual practice of the arts during in . . . Art is an asset for potential usefulness time the war.

of war. . . . We need art to clarify our under- et les standing. We . . . need pictorial propaganda. Villeurbanne, Jean de. La guerre More vital ... is the record which art can make Salons de (Nouvelle revue, of the emotions of this war against war. . . . The peinture. is Painters and can existence of art at stake. sculptors April, 1915, p. 252-264.) . . . the civilization which we intend to visualize "The Salons will not open their doors in 1915. . . . How hard hit are just now. preserve. painters Therefore, it has seemed to us interesting to ask seems to have stopped. . . . Is it not worth Buying artists . . . these two questions : 1 . Will not the the sake time? . . . while to keep artists alite for of after war have a reaction and effect on the art of artists are for future genera- deep All true ... fighting tomorrow? 2. Will it not bring about a modification tions. Our artists have not yet received the great in the grouping of the Societies?" reaction. . . . Yet the war is and coloring shaping The replies, printed in this article, deal mainly their every thought. ..." with the question of Salon or no Salon. der Illus. Rothe, P. Die Kinder und Krieg. Wuest, Paul. Moglichkeiten Kunstlerischer Kunst und vol. (Deutsche Dekoration, Wahrnehmung im Kriege. (Literar- 35, 1915, p. 455-457.) historische Gesellscheft Bonn. Mitteil- Describes an exhibition, held in Vienna, of draw- ings by school children, representing war scenes. ungen, 1915, Jahrg. 10, p. 27-51.) Author describes "objectivity" with which soldier Salmon, Andre". Effect on art of present at front can observe nature, and considers it pos- a sort of reaction of the mind against all too war. (N. Y. Times Magazine, July sibly horrible immediate impressions. . . . On the other their 11, 1915.) hand, such images simply impose themselves by "Every war crisis puts art in grave peril, since it inherent force. shatters it economically and changes its conditions, Julius. und Graphik reduces for a while the number of its devotees." Zeitler, Buchgewerbe des Krieges. 3 pi. Illus. (Arohir fur Schubert, Walter F. Die deutsche Zeichen- 1915, Bd. 52, 193-223.) der Buchgewerbe, p. kunst und Weltkrieg. (Westennann's Review of discussion on art before and during the Monatshefte, Jan., 1916, p. 689-699.) war, in Germany. "It is clear that the emphasis

1ST is not so much on purging of foreign elements, as This effort to promote home art industries resulted desired by reactionaries, but on an immersion in the in the exhibition here described, controlled by a fountain of our own radical being. . . . With our jury of experts. The fact that the exhibitors were new art industry, and with architecture, our book-art limited to objects suitable for war souvenirs natur- shows the advantage of having already grown farthest ally brought into view a very obvious relation be- into the great cultural problems of the future, which tween war and art, since war was the direct subject. lie before us. The graphic arts also, so much a child The exhibition included glass, pottery, textiles, of German active phantasy, will have to join this wood carving, leatherwork, gingerbread. development into the spiritual, the ideal. . . . Thus do we define the result which this war in general Jaumann, Anton. Die weltwirtschaftliche may have for art. We now come to our subject when we consider how war itself is an object of representa- Rolle des Kunstgewerbes nach dem It has been shown that direct tion in art. ... Kriege. (Innen-Dekoration, 27. Jahr- participation in the war has great study-value, but that it cannot immediately further higher artistic pro- gang, March, 1916, p. 101-110.)

. . . artist who has remained at home duction. The "Preparation for peace needs no less attention is therefore not so different in his possibilities, from than that for war. . . . One of the first necessities been in the field. . . . To the artists the one who has of peace will be to have a sufficient quantity of goods at war will itself more working home always present to be exchanged for foreign raw materials. And are not so much under the influ- symbolically; they among these branches of production will be art in- horrors of the moment. . . . but for ence of the dustry." the feeling which moves us all . . . they find lofty So-called "Hurrah" illustration of the symbolism." Jessen, Peter. Deutsche Form im Kriegs- sensational, or sentimental kinds, is properly con- demned, at least in its lower aspects. jahr: Die Ausstellung in Koln, 1914 . . .

Miinchen : F. 2 ART INDUSTRIES Bruckmann, 1915, p. 1., 42 p., 1 1., 34 pi. 4. (Deutscher Werk- Annfield, Maxwell. Art and patriotism. bund. Jahrbuch, 1915.) (Colour, London, vol. 4, March, 1916, An illustrated catalogue of the exhibition of the Deutsche Werkbund, which was interrupted by the p. 55-59.) war. The only reference to our topic is in the last "The formation of the Design and Industries sentence of the introduction : "May the war, the great Association ... is a very interesting sign of the former of character, prove its purifying and forming times. Imitating a German organization that . . power with us also." has been pouring gold into the trade-coffers of that country, it ... shows that British commercial Magne, H. M. La guerre et 1'avenir de nos are to realize that art and people beginning patriotism, industries d'art. de la Societe or at any rate art and money-making, are not so (Bulletin disunited as they once believed. . . . Is art a d'Encouragement pour 1'Industrie Na- luxury? . . . Art is necessary to health. . . . Our economic position is largely due to the excellence of tionale, 1916, p. 532-552.) our exports. Of late years some of these have been "German competition ... in certain indus- superseded. . . . German goods, so far as sound- tries, especially chemical industries. Certain French ness are not a on our own. . . . Sound- goes, patch industries, despite the perfection of their products, ness is not the only quality demanded. Nowadays found competition from German industry. The some of the sound and very solid British goods lose German influence gave further cause for disquietude. then- attractiveness. The transformation of Ger- Not only were certain German products received in commercial . . . has been accom- many's output our exhibitions . . . and shops, but this sort of an association of artists, and plished by producers heavy and complicated forms . . . seemed to find distributors working with one aim and with inde- imitators. Happily the evil has not become general. fatigable industry and . . . American intelligence. . . . (p. 545.) The only means of maintaining the printing and have for some been typography years artistic pre-eminence of a country such as ours . . . far in advance of our own. . . . Whilst we have been is to develop, in the artist and the artizan, by means sleeping, the Americans are learning hard. They of an appropriate training, the qualities peculiar to are also that taste discovering pays. [Comparison . . . . pur race. One of our finest traditions . . between American and British advertisements and is to love art and enjoy it." illustrations.] In artistic application Great Britain is at a . . . present back number. " We shall be Vachon Marius. La guerre arti&tique avec compelled to face the music. . . . rAllemagne; 1' organisation de la vic- Eisler, Max. Oesterreichisches Kunstge- toire. Paris: Payot et Cie., 1916, 268 werbe. Illustrated. (Dekorative Kunst, pages, 12). Jahrg. 18, 1915, p. 258-262.) Preface: "When the great military war will be Describes an exhibition in the Oesterreichisches terminated by the victory of the allied nations Museum, designed to provide work for "home in- ... a new war will begin, the artistic, industrial dustry" and to incite the technical schools "in the and commercial war, under conditions which will direction in it terrible of needs cheap ware ; and to bring both make equally and implacable. The thor- into fruitful relation with the thought of the great ough preparation for this war is one of the most hour." serious and immediate preoccupations of the Entente. ... In this volume, I have analyzed, with all pos- Fischel, Hartwig. Ausstellung von Kriegs- sible care, the powerful organism for teaching and for the art industries created the Illus. und propaganda by erinerungsartikeln. (Kunst Germans since 1881, and which has served them to Kunsthandwerk, Wien, Jahrgang 18, make a breach, during thirty years, in the artistic supremacy of France. Sole object . . . has been to 1915, p. 130-159.) make known the elements of this organization . . . "The great times in which we are living make in order to discover what may be opportunely utilized, their influence felt in all fields of mental and commer- by an intelligent adaptation, to our needs, our ideas, cial life. Artistic impulse was arrested. . . . And and our traditions." yet, . . . more attention might be paid to the in- The chapters are as follows: 1 The artistic inva- tensive efforts of artistic, and especially art-indus- sion of France by Germany from 1882 to 1914 . . . trial, circles to produce for home production an in- 2. The organization of art industries in Germany. tensifying of its sterling quality of particularly ... 3. The causes of the crisis in French art in- Austrian character. If we succeed in making a virtue dustries. ... 4. What is the museum for industrial of the general necessity ; if the moment can be utilized , art doing in France? ... 5. Some other causes of at which . . . many of the foreign and bad influ- the crisis in French industrial art. ... 6. The les- ences are being kept at a distance, then a lasting and sons of history (XII-XVIII centuries). ... 7. The invaluable gain will grow from the natural drawing on organization of victory. (Suppression of the artistic and emphasizing of indigenous products." tutelage of the state, etc.).

488 THE ARCHITECTURAL RECORD

architecture, as it has always been. Great me- morials will spring up all over the country. They Architecture and the war. (Architect and will be monumental, which after all is the form real architecture should take. Let us hope that Engineer of California, vol. 5, Oct., 1917, they will be in stone. . . .The conqueror always builds unless he be a barbarian, and builds 67-68.) pro- p. fusely. The conqueror who fought for a principle A quotation from "Indian Engineering," Calcutta- alone should build ideally. So our twentieth cen- "In the profession the proportion of those that have tury should see in America the actual accomplish- studied outside their of a national character own country has fallen greatly ment architecture, and the" . . . But . . . the war has caught up the pro- of its structure should be martial fession bodily and carried it out to fight in France, Belgium, Italy, Greece, the Balkans, Turkey, Egypt, The Post-War Committee on Architectural Mesopotamia, India. Architects in great numbers Practice. Some comments from archi- have now observed some of the works of these coun- tries. . . . Such men must return home with a tects relating to questions asked by the greatly widened view of their profession. . . . Why do we not get beyond the eternal round of Renais- Committee. (Architectural Forum, Bos- sance, bastard Gothic . . . modified medieval? ton, Vol. 31, July, 1919, p. 17-19.) Because we are hide-bound by convention. . . . Those who have seen and been convinced of new Committee appointed by American Institute of Architectects to into in architecture now take the lead. inquire conditions surrounding possibilities may the of the "The future of The truest definition of architecture is that it is an practice profession. architecture is than of its expression in form of a people's feeling." brighter any period past. . . . Influence must now, however, be extended to wider fields. must be aware of Bragdon, Claude. Architecture and de- [The architect] sociological questions. . . . economic conditions. mocracy. New York: A. A, Knopf, 1918. We present some interesting letters on subjects con- tained in the Post-War others will fol- Architecture and and circular; democracy, before, during low in the next issue." The letters deal with the after the war, p. 1-73, appeared originally in the relations with the education of the Architectural contractor, the Record. as to the functions of the "In whatever the war the public architect, prac- way may complicate tical problems involved in factories, warehouses, etc. architect's it should . . . personal problem, clarify The Evening Post had two columns on this question- his attitude toward his art . . . The world's arrest- naire of the Institute, with its query "are we in right ment of architecture (in all but its most utilitarian and relation with the public, the building trades and phases) is no great loss to the world for the ephemeral crafts, and with each other. The experience of war reason that our architecture was uninspired. . . . has bared weaknesses." We were under the evil spell of materialism. . . . When the storm broke militant democracy turned to An opinion on competitions by E. Swartwout. the engineer, who produced buildings at record speed. ... In one direction only, toward the (Architectural Forum, Sept., 1919, p. 99- general housing problem, the architectural profession 102.) has been spurred into activity by reason of the war. . . . Architects will recapture their imperiled pres- Some Canadian opinions. (Journal of the tige, but . . . with an altered attitude toward their art. Many must unlearn preoccupation with Gothic American Institute of Architects, Aug.. classic. Many must learn certain neglected lessons from the engineer." [Author cites Red Cross Com- 1919, p. 363-365.) munity Club House at Camp Sherman as a product of the ideal relation between architect and engineer.) Post-War Committee on Architectural Prac- "Of the transvaluation of values brought about tice. (Architect and Engineer of Cali- by the war, this building is an eminent example; it stands in symbolic relation to the time. . . . To fornia, San Francisco, vol. 57, p. 57-61.) the architect falls the task, in the new dispensation, of Convention of American Institute of Architects the appropriate material environment for providing . . . discussion: on status of architect. Post- Its new life. Let him turn to the . . . soldiers. They War Committee statement . . . mailed to 10,000 will come back with ideas. . . . The future of the or more architects. Extracts: Need for more com- in their hands. will countries will be young They prehensive service. Modern tendency of business, Because it is a seek for self-expression. spiritual accentuated by the experience of the war, is to will find art. thing it supreme expression through deal with larger organizations rather than with The architect who assists in weaving this garment will the several contributing factors. . . . It is said be supremely blessed." [In considering the effect that the architect has done nothing to meet this of of war on art, author discusses the increase light demand, but that engineers and contracting organ- and color in building and city planning.] "Thus will izations have, to an extent, done so. The war has of ; and orna- be born the architecture the future the brought a situation which demands that produc- ment of that architecture will tell, in a new set of tion be increased. demonstrated the of the world." Experience symbols, the story of the rejuvenation great advantage of intimate organized co-operation . . . between engineers, architects and construc- Gillies, John Wallace. The effect of war tion men. The architect is said to have neglected

. . Standardization of upon architecture. There have been his relationship to labor. building products . . . would simplify and cheapen two great influences in architecture, war the process of building." and religion, and the former is dealt Newell, J. P. A time for optimism. (Arch- with in these paragraphs. (Arts and itect and Engineer of California, vol. 56, Decoration, May, 1919, p. 7-9, 38-47.) March, 1919.) "Now that we have successfully ended the greatest "The period of transition in business from war . . Into war of our history, with the minimum of loss and to peace is one of doubt and uncertainty. the maximum of material gain, we should be strong this uncertainty comes the (Portland) City Plan- in national and rich necessarily. A greater ning Commission and proposes that every property spirit the future activity in building than we have ever known owner should set himself to considering should follow during the next fifty years, if of his neighborhood, studying its prospective growth work ol is to be depended upon. Up to in the light of its past development. As the any precedent will this time our architecture has been peace-loving. city planning proceeds, the spirit of optimism real commercial. . . .Now it is to be martial: spread." Architects have yet to "lighting" or "effect of light," the atmosphere, master the problem of the sunshine, that floods his picture. The sun- Color of color in sunshine The shine acts in modifying, blending and harmo- Architecture failufe of many of them nizing every color in it. Lighting is the in Sunshine. . in ^ regard g due &s great goal of modern landscape painting. I have hinted at va- The only difference between architect and rious times before, to the fact that they do not painter in regard to lighting is difference take the painter's point of view. The in the technique of realizing it. The paint- painter's point of view is really the art- er works with the brush and palette, and ist's point of view. Where color is con- the architect chooses colors of materials. cerned the architect must view things through Yet it is curious enough that, in all the end- the painter's eyes, or he is just so much less discussions of color in architecture, the less artistic. He can hardly lay claim the all-essential matter of "lighting" and of to a system of color of his own, different "effect of light" is rarely mentioned. from the painter's, and equally valuable. The painter sits him down as I have If we try to view color in architecture said, and immediately strives, with all his with the painter's eye, certain facts arrest might, to sense the effect of light in his our attention. One is that a building placed picture. Now, as everyone knows, light in a landscape forms a picture with the and atmosphere in a landscape never re- enveloping foliage, turf, rocks, etc., of main exactly the same for many minutes which the building is only a part. All this at a time, yet the painter must draw some seems evident enough; it has been referred conclusions from Nature in the infinite to many times in talk and writing, yet the coquetry of her moods. If he sits still and architect ignores it in practice. He con- studies his subject too long, the light will tinues to choose colors of walls and roofs, change. Consequently he is apt to determine either pleasing in themselves or in combina- at once whether the light be "hot" or "cold," tion, but without thinking of how they will or intense or subdued, or clear or murky. If be affected by the sky, the land, and, above it is "cold," it does not mean always that all, by the sunlight. cold colors, such as blue, purple, blue green Let us assume that a painter has decided predominate, but that the light effect is some- to paint a picture of a building that is promi- what bluish or greenish or purplish. The sun nent in a landscape. His first thought is therefore a changing spotlight on Nature's is to achieve the fullest impression of outdoor stage. Objects which are actually unity possible. Without that single im- white or gray will appear bluish or greenish- pression, he knows that he will fail in white or gray. Bright red and yellow colors his art, no matter how perfect his drawing will appear slightly neutralized or softened, or rendering of different parts may be. and dark reds will take on a purplish tinge. Composition or design will tend to achieve On the other hand, if the light is "hot," this unity, and this is what architects mainly a golden or amber film of light will ap- conceive of when they think of unity in a pear drawn over the atmosphere. Blues picture. But equally important, and, in will appear more vibrant, often more green- regard to color, almost solely important, is the ish; purples, richer; greens will be touched 490 THE ARCHITECTURAL RECORD

with gold, and the reds and yellows will quality. Edges, details appear at a dis- blaze forth. There are no whites or grays tance. The light is hardly hot or cold; in such a picture; they all become yellowish or rather white altogether; never very hot slightly golden. Even the high lights on pure or very cold in the range of its shiftings. white clouds, the upper parts in the sky In New England is this hard light espe- where the light turns full upon them, will need cially characteristic. There the midday sun to be painted in a slightly yellow tone to hold is metallic in its glare, showing up every them in the key of color of the canvas. detail ruthlessly, without any soften- The painter, then, determines the qual- ing edges or mellowness of form, with- ity of light in the landscape before him. out depth or poetry or atmosphere. With- as a single, full impression, and strives out much of what Ruskin explains as "mys- mightily to key aU his colors to it. And tery," in a splendid chapter in Mod- the architect must do the same when he ern Painters. The New England light is enters the landscape with his buildings, the most matter-of-fact, bull's-eye light if he would have his colors successful. He that I believe may be seen in the world. must therefore learn to think of the This is not to say that poetry and romance light in his landscapes more than he has are not to be found in the New England done up to this time. Hitherto he has landscape. Not in the noon sun, perhaps, thought of his colors as "local" colors merely. but on damp or misty days, and at sun- He has chosen colors of ^all, roof, pilaster, rise and sunset. It has often been a delight cornice, window frames, shutters, simply to watch the beautiful, cool, clear blues thinking of how they will go together in and violets slowly steal into the hard shadows themselves perhaps in a sample room as the day ends there; to see the faint golden, without much regard to their effect in sun- yet very clear, light envelop the hills at a shine. Or, if he has perchance worked up an distance and enflame the high lights of green excellent color scheme in sunlight in a certain lawns, of tree trunks and of roads in the locality, he is apt to use the same scheme else- foreground. At this time the landscape has an where, where, in a different light and land- atmosphere of deep, clear, almost resonant har- scape, it will be out of harmony, In sun- mony. The hard, severe light of New England shine a larger synthesis of color must be occurs, somewhat softened, as one goes west accomplished, that of keying colors to the along the northern boundary of the country and brilliant light of the American sunshine. south from New York and Philadelphia. The proof of these assertions will be Of course, an exception to this is the mel- evident if we study our American sun- lower light of the seashore, along the shore shine, and try to see if we cannot under- south of Cape Cod and Long Island. stand it better than we do now. Then we The appropriateness of the white walls must study some of the prevailing schemes of the New England farmhouse is much of color in architecture to find out how explained if we understand the hard light far they are united to the light in different of the north. Though not an imaginative localities of the country. The architect coloring, white goes well in most landscapes, should consult the painter in this, for he can either in an atmosphere that tends to best give the benefit of his long training and disappear, leaving colors to exist chiefly experience in painting in many landscapes. as local colors, or where there is radiance There are, however, some observations that in the sunshine. Then walls become touched should occur to any keen eyed architect. with faint clear, often violet shadows; or a If we try to generalize, we may assert golden or greenish light. It also adds cheerful- that most of the usual color combinations ness to the landscape, and affords a foil for employed on buildings were developed, foliage and their shadows. The olden New along with the architectural design, in the Englander was poetic when he introduced his eastern and northern portion of the United white architectural elements of fences, posts, States, largely east of the Mississippi, gates, trellises and summer houses into his north of the Ohio and of the Mason and gardens, where they gleam most appro- Dixon line. What may be said of the priately in dainty exquisite touches. Un- quality of sunshine in this district? A fortunately, the modern architect has been light, brilliant, hard, even disconcerting, somewhat less successful, especially in garden trying in its very clearness and searching work. Design is overelaborated by too

491 THE ARCHITECTURAL RECORD

many spotty paths and flower beds; masonry south, however, that the sunlight becomes so work is sombre by use of dark brick or rock, wonderfully mellow and golden. With the with a consequent effect of dullness. Too luxuriousness of the vegetation, it produces much detail is bad in a searching light where landscape coloring that is warm, sensuous, it is all thrust before the eye. Much more vibrating. Let me quote the following: fitting are those designs where broad green- "Here and there a negro log cabin alone sward spaces are set off against massed flowers, disturbed the dogwood and the judas-tree, long rows and hedges, with masonry walls the azalea and the laurel. The tulip and whitewashed or white painted or stuccoed the chestnut gave no sense of struggle against to form a foil for the planting. These flat a stingy nature. The soft full outlines of the white surfaces catch sunlight and reflect landscape carried no hidden horror of glaciers colors. The gardens of the Alcazar in Seville, in its bosom. The brooding heat of the prof- sim- Spain, are a classic example of what big, ligate vegetation, the cool charm of the ple handling of masses of foliage and flowers running water, the terrific splendor of the against severe white walls may accomplish. The June thunder-gust in the deep and solitary whole effect of the Alcazar might easily be trans- woods, were all sensual, animal, elemental. ferred to America and seem quite in place here. No European spring had shown him the same Another error has been made by our intermixture of delicate grace and passionate northern architects and landscape archi- depravity that marked the Maryland May. tects in their work. I mean their ill- He loved it too much, as if it were half thought use of color schemes imported Greek and half human." from alien atmospheres of northern Europe. This is not taken from a follower of They would have done better to stick Swinburne, nor of a modern-like Gals- to the cautious, somewhat bald, but worthy in his most exuberant mood. It still rightful beginnings of the early was penned by one of the coolest of the New Englanders and New Yorkers. North Puritans, an essential Bostonian, Henry Europe has no great sunlight: has in fact Adams (The Education of Henry Adams, gloom, mist, rain. In such climate the page 268). In another passage he says

of red . . . soft dull harmonies dark brick, "the May sunshine and shadow ; stone, purple slate and weathered timber the thickness of the foliage and the heavy go well together. The murky atmosphere smells, the sense of atmosphere, almost tones over their edges and contrasts. Ma- new." Study these lines carefully and one terials favoring play of light and shade will see that it is the realization by a are not greatly needed. Consequently the keen mind in his first experience of the classic orders are never so vital as in great difference between New England and Italy or America, for they were designed southern landscape a difference more sig- for brilliant sunshine and clear skies. nificant than even in respect to color or Under misty conditions the dull colors of light, one which should profoundly influ- European architecture are rarely beauti- ence the inspiration of architecture in the ful, blended, edges softened, and smoothed south. "The sense of atmosphere, almost over by light reflected through moisture. new" reveals the impression made on a But transferred to American sunlight, they young New Englander who had grown up crop out hard and cold in the north of our without seeing anything but his hard, clear, country and dull in the south. This is native light, when he first experiences the mel- rather true of our prevailing motive of low light of Maryland. Certainly Henry white stone and red brick. It is most difficult Adams furnishes us with a picture into which to bring such coloration into the key of Ameri- no architect can enter in any tepid mood of can sunlight satisfactorily. imported north European color schemes. South of New York and Philadelphia, In parts of the south this golden mellow- our hard glaring sunlight softens, not in ness in the air is extraordinary. In the intensity of light, but by reason of a beauti- South Carolina sand hills in full summer ful golden radiance often increasing as one it was a marvel to me. An infinitely deep goes south. In New Jersey this radiance has blue sky, often with vast steam clouds, a prettifying, at times almost cloying effect on so huge as I had never seen before, tower- the full greens and red earth of the landscape, ing and piling up into the sunlight, up, somewhat as in Sienna, Italy. It is further up, casting vast shadows into great cliffs 492 THE ARCHITECTURAL RECORD and abysses of cloud. The clouds were tains and plains, such landscapes as Zuloaga never really white, even toward the sun, paints as the backgrounds for his pictures, but always golden, and the golden light as all the great Spaniards have done before played down into the vast shadows. The him. In this light the Spaniard has preferred phenomenon was so striking that even a decisive coloring for his buildings. He uses practical soldier-minds noted it, and of- a rich yellow golden stone for his walls, fered explanations of it. Obviously, in almost as rich as any marble; yeUow, ver- such a hot effect of light, an architecture million and claret tiles for his roofs; bright of hot colors is needed walls yellow, of colored accessories; brass, and strongly pat- or tints roofs chrome sienna or ochre ; yellow, terned iron work. He accents his coloring with pink, red, vermillion or claret, bright green decoration in bold relief, grouped or in strong spots, brilliant awnings. A more prosaic bands, gaining the utmost possible contrast by arrangement will probably disappoint. the deep holes of the under cuttings, showing In the coloring of hotter climes than black, either in light or in the luminous England or Flanders should American shadows. Thus he meets Nature on her own architects seek their inspiration. Let them terms, opposing flashing color and bold light study atmospheric color in Spain and Italy. and shade and concentrated, sparkling decora- If they do they will discover that each tion to her flashing color in brilliant light. country has a different method of coloration. As a result, Spanish buildings are always In Italy the light and color is daintier, keyed into the picture, indeed in the centre of more subtle, more evanescent, more feminine: things. They do not appear as intruders, drab in Spain the light and color is bolder, hotter, beggars at a banquet. higher in key, more masculine. Before I went Let architects think not only of the local to Italy I had often remarked the landscapes coloring of materials, but of the light in our in the backgrounds of the paintings of Titian, American landscape, and its effect on the Tintoretto, Veronese, and had thought the colors of buildings. There is a revival of very blue mountains and pretty, clear interest in color, over the whole art world, even colors in the distance exaggerated; but it in the last few years. Only twenty years ago is exactly the effect one finds in the Italian color was somewhat neglected, and by painters, landscapes, that clear, radiant "pretty" too, who avoided bright colors, preferring light near the horizon and in the distance. neutral tones. But now the new art of Perhaps on account of this delicate light the decoration is swiftly gaining acceptance, Italians of north Italy where most of the is even influencing commercial products, great architecture is do not attempt so much and, in the theatre especially, is exerting strong coloring as the Spaniards, except a profound and stirring interest. But, around Perugia and Assisi. Also they are except for a few brilliant exceptions, ar- blessed with such a picturesque and statuesque chitecture still lags behind, a generation flora stone pines and cedars that they behind. Let it lead and not follow. often prefer to use their architecture as JOHN TAYLOR BOYD, JB. a foil for this foliage, as I have pointed out in times past. Although there are a Word has just come number of well-known villas in and near The Passing of from the City of Mexico the cities which are highly developed de- the "House that the famous "House signs in themselves, interesting architec- of the Tiles" of the Tiles" (Casa de turally without regard to then* setting, los Azulejos), one of the hundreds of less-known country villas the most conspicuous and are usually bare, light colored walls, pierced beautiful of the palatial old houses in the capi- with a few window holes, like an old fashioned tal, is to be converted into a typical American factory- But they are wonderful screens drug store. This will be lamented by all against which the foliage stands out so lovers of the Spanish Colonial architecture countries in magnificently. that in Mexico, of all Latin the In Spain we meet with wilder and more New World, is found in its highest develop- violent conditions, more like our own ment. No other palace of the vice-regal in America. There is blinding yellow sun- nobility of New Spain has to this day been both within and light over broad sweeps of landscape, not so perfectly preserved, many trees on the yellow and red moun- without, as this. It seems an everlasting 493 THE ARCHITECTURAL RECORD

pity that this fortunate condition could building. But just now the expense would be- not have been perpetuated. These fine old out of the question. Hope that eventually monuments have been well appreciated in the government will do this seems to be en- Mexico; the national government seems to couraged by the circumstance that before the have been alive to the fact; under ordinary alterations for commercial uses were taken in circumstances it would doubtless have taken hand, photographs of all important details measures to secure the preservation of the were taken. Let us hope that measurements

PATIO HOUSE OF TILES. CITY OF MEXICO. (REPRODUCED BY PERMISSION FROM "SPANISH COLONIAL ARCHITECTURE IN MEXICO," BY SYLVESTER BAXTER. BOSTON: J. B. MILLET, PUBLISHER.) 494 THE ARCHITECTURAL RECORD

THE HOUSE OF TILES, CITY OF MEXICO. (REPRODUCED BY PERMISSION FROM "SPANISH COLONIAL ARCHITECTURE IN MEXICO," BY SYLVESTER BAXTER. BOSTON: J. B. MILLET. PUBLISHER.) were also made and that all portions of the glazed tiles, its sparkling quality enhanced stonework, carvings, tiles, etc., that have had with touches of yellow, under the clear skies to be removed have been carefully preserved. and intense tropical sunlight of that latitude How far this reconstruction has had to go it looks as new as if it had been built the for the new purposes does not appear. But year before, instead of standing in its pres- the piso, or basement story, is uncom- ent shape something like a century and a monly low, as may be seen by comparison half. Just how old the house is nobody can with the neighboring buildings shown in say. But it dates well back into the six- the illustration. So it appears not unlikely teenth century. Don Damian Martinez was that the basement and the story above may the first owner on record. Impoverished by be thrown into one. In that event only the financial misfortune, Don Damian felt greatest care would avoid a painful dis- obliged to sell the place at public auction. figurement of the beautiful exterior with Don Diego Suarez de Pereda was the high- the customary show windows. Perhaps by est bidder, taking possession on December the time this article appears the sizzling of 2, 1596. In this way it became the palace the soda-fountain will have become a feature of the Count of the Valley of Orizaba, one of what will probably be one of the busiest of the wealthiest and most eminent of the corners of the modern city. nobility of New Spain, as Mexico was called The House of the Tiles has an uncom- before its independence. In the early days monly interesting history. It is the most of the colony a Spanish gentleman of old notable example of Moorish influence upon and eminent family, Don Rodrigo de Vivero Spanish Colonial architecture in America. Velasco, came to New Spain and married With its brilliant surface of blue and white the widow of one of the conquerors. Their

495 THE ARCHITECTURAL RECORD son, who became the first bearer of the Puebla has been famed for its tiles and its title, achieved eminence as a scholar and pottery. From Puebla have come all the statesman. He was the author 6f a treatise beautiful tiles that so finely characterize on political economy and ottfer notable much of the best architecture all through works. He served as governor and captain Central and Southern Mexico, particularly general of the Philippines and on his return in the resplendent polychrome surfacing of voyage was shipwrecked, perhaps on one of the domes of the churches and convents the richly laden galleons that used to bring and probably in no other country is the splendid cargoes of precious wares from the dome such a universal feature. Orient to Acapulco; to this day old Mexican With the exception of the ornamental families treasure heirlooms in the shape of stonework of light buff limestone the delicate Chinese porcelain and exquisitely main part of the exterior is entirely covered wrought silken fabrics dating from those times with these tiles. The stonework, in color and that is, if any of them have had the fortune design, effectively frames the broad sur- to escape a sacking of their houses in the faces of tile. The following is from the ac- period of anarchy precipitated upon Mexico. count of the house in my book, "Spanish- The second Count of the Valley of Orizaba, Colonial Architecture in Mexico": Don Luis de Vivero, married Dona Graciana, The beautiful bronze balconies of the the daughter of Don Diego Suarez de Pereda. upper story, the altos, together with the The grand old house thus became the seniorial balustrade of the patio corridor, were made mansion of the family. Its aspect both with- in China or Japan (probably China), as out and within must have been radically was likewise the case with the similar bal- different in those days. According to tradi- cony over the entrance to the house of the tion its transformation into its present shape Count of Heras. The interior throughout, or rather the shape it bore until just now is in its elegance, bears out the promise of accounted for by the following picturesque the exterior. There is a strong flavor of story, with its truly Spanish flavor: the Oriental in the style Persian as well The mayorazgo, as the oldest son and heir as Moorish; the former, for example, in the pe- is called in Spanish, of one of the counts, culiarly tall and slender columns of the patio. was such a spendthrift that his father said Tiles are lavishly employed here, also; no- to him one day, "Hijo, tu nunca haras casa tably in the dado of the corridor and of the de azulejos My son, thou wilt never achieve staircase, and bordering the exquisite fountain a house of tiles." in the patio. In the tiling on the staircase To dwell in a "house of tiles" seems pro- the arms of the house are represented. verbially to have been a Spanish ideal, repre- This staircase witnessed the assassina- senting the luxurious living incident to the accu- tion in 1828 of the last nobleman of the line, mulation of great wealth, ever since the Moors the ex-Count Don Andies Suarez de Pereda, built in that fashion then- "castles in Spain." whose title had been extinguished with the The father's remark gave the young man proclamation of the republic. pause. The idea stayed by: A house of It was late in the eighties, or early in the tiles! The seed germinated in his brain nineties, of the nineteenth century that and bore fruit in purpose; he turned a new the House of the Tiles became the home of leaf; changed his mode of life, worked stead- the Jockey Club at that time in Mexico, fastly for his end, and with such success that as typically in other Latin capitals of the when the property came into his hands he world, celebrated for wealth, luxurious liv- at once began to transform his ancestral ing, and for gambling; quite as with gilded home into such a palace of tiles, without youth and effete old age the world over. and within, that nothing so elaborate and Few clubs anywhere have been more sump- splendid in that form of adornment has ever tuously or palatially housed. The Jockey equaled it in New Spain or anywhere else in Club, of course, went the way of all flesh the New World. during the recent period of anarchy in The tiles were of Mexican make, the Mexico. The palace has since remained product of an art developed in the city of vacant until its conversion to commercial Puebla by skilled workers brought over uses. Its lessees have secured it for a period from Talavera in Spain by Dominican friars of twenty years. BAXTER. in the sixteenth century. Since that time SYLVESTER 496