VOL. XVIII. No. 3. SEPTEMBER, 1905. WHOLE No. 84

A NEW SERIES OF STAGE SETTINGS FOR SHAKESPEARE'S "ROMEO

AND JULIET "ILLUSTRATED . 175 FRANK CHOUTEAU BROWN THE FAMOUS JAPANESE ROOM IN THE MARQUAND HOUSE ILLUS- TRATED 193 RUSSELL STURGIS DECORATIVE PAINTING IN MAN-

TUA, ITALY ILLUSTRATED . . ALFREDO MELANI A NOVEL COLLEGE CHAPTER-

HOUSE ILLUSTRATED . . . SOME CALIFORNIA BUNGALOWS-

ILLUSTRATED . . . . . 217 THE AMERICAN PANTRY ILLUS- TRATED ...... 225 KATHERINE C. BUDD

NOTES AND COMMENTS ILLUSTRATED 233

C. W. SWEET, Publisher R. W. REINHOLJD, Business Mgr. H.W.DESMOND, Editor H. D. CROLY. Associate Editor

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(See article, "A New Series of Stage Settings for Shakespeare's 'Romeo and Juliet.' ") Vol. XVIII SEPTEMBER, 19O5 No. 3

A New Series of Stage Settings for Shake- speare's "Romeo and Juliet." Designed by Frank Chouteau Brown, Architect.

Although the designing of stage scen- Italy, architectural designers had also ery does not belong to the ordinary been employed upon stage scenery. Ser- routine of work in an architectural of- lio in one of his works on Architecture, fice, yet the architect's training should gives us designs for stage settings ap- eminently fit him to suggest interesting propriate to different kinds of classic and architecturally correct stage pic- plays, and at least one stage setting of or not he a his was in Palladio's tures ; whether possesses design employed sufficient knowledge of scenic require- native town of Vicenza. A little later, ments to fully work out in detail the Scamozzi designed the stationary scen- exact application of his ideas to the ery still in place in Palladio's Classic elaborate conventions of the stage. "Olympic" Theatre in the same city. For many of the most important Since the time of Inigo Jones, now English productions, especially those re- just 300 years ago, the conventions gov- quired to truthfully depict a definite his- erning theatrical scenery have become toric period or place, proper architec- so complicated and technical that, un- tural advice has been obtained in one less the designer possesses a most elab- or another form before starting the orate and intimate knowledge of the ne- scenery. Upon a few occasions it cessities of the problem presented by has even been entirely given into such its handling, setting, housing, and trans- in that competent hands ; the same way portation, a most impractical set of de- the costumes are often designed by such signs is likely to result. authorities as Sir Alma-Tadema, or Mr. That there exist to-day certain preju- Percy Anderson, for instance. For this dices against the architect as a scenic there exists ample precedent as, in the designer among even the best theatri- early days of the development of the cal managers, is apparent from a pre- English drama, we know that many set- vious personal experience of my own. tings were invented by the eminent Some six years ago, when work was just architect to a certain Inigo Jones ; whom, indeed, commencing on important pro- we are largely indebted for the present duction,! called on Mr. Daniel Frohman, of both Theatre and to the arrangement Stage ; .the producing manager, suggest even many of the actual scene con- possible advantages of having the Co- ventions still existing to-day in theatri- lonial and Georgian architectural set- cal presentations having been first origi- tings reproduce, with more fidelity than nated by him. the scenic studio would ordinarily com- Previous to this in another country, pass, the actual local surroundings of

Copyright, 1905, by "THE ARCHITECTURAL RECORD COMPANY." All rights reserved. of 1879. Entered May 22. 1902, as second-class matter. Post Office at New York, N. Y.. Act of Congress March 3d, 176 THE ARCHITECTURAL RECORD. this early period in our development and Stock Company giving a matinee and history. He proved to be most ap- evening performance on all six days of proachable, but when it developed in the week is maintained. To realize the the course of the conversation that his designs by constructing and painting caller was an architect, it immediately the scenery and properties, the regular became apparent that he had no inclina- staff connected with the theatre could tion to further discuss the matter with alone be depended upon. There also ex- any one belonging to that profession. isted other unalterable conditions. From the impression obtained at that The matter of time was important. time it appeared that previous experi- The Management had so far deter- ence had quite convinced him that such mined the plays that were to precede gentlemen were as a class too narrow and follow "Romeo and Juliet," that it in their of view as was to make substan- and assured point ; impossible any tial in their and for well as too impracticable and expensive change sequence ; in their designs, to make it worth his the painting of scenery, but an absolute while to undertake any additional two weeks was available. During the bother for what was so far as any di- first of these two weeks, too, it became rect financial return or artistic apprecia- necessary to finish up and put into final tion from an audience could be counted shape the scenery for Boucicault's "Col- upon a comparatively unimportant de- leen Bawn," the play that occupied the tail. And this represents the position stage of the Theatre for the week im- taken by one of the most enlightened, mediately preceding "Romeo and intelligent, and probably least com- Juliet." This popular Irish melodrama mercial among our theatrical producers. required the handling of some 14 sep- It was with sur- arate scenes at each consequently some presentation ; prise and pleasure that the preferred which was. in itself, unfortunate, as it opportunity to work up a set of designs occupied all the stage hands and prop- for scenery to accompany Shakespeare's erty men continuously during every af- "Romeo and Juliet" was accepted by ternoon and evening of the week. It the writer. Even under the greatly re- was this sequence that largely proved stricted conditions that in this case nec- the responsible cause for the inability essarily accompanied the commission, of the Theatre staff to finally realize, the ideal beauty of the scenic problems in some two or three of the scenes, the presented by such a play was in itself an utmost of the intentions expressed in inspiration. the scene models. In further explaining the circum- In laying out this scenery too, not stances attending this venture there is only was the designer held down by the no intention of begging allowances on ordinary considerations that hold true account of undue restrictions, as to cost of any production of a Shakespearian or otherwise, having been imposed by drama ; so many scenes to be quickly the Theatre management. Such is far handled requiring especially simple from being the case. The more thor- construction, but other restrictions, as the actual facts oughly are known, the well, resulted from the special . condi- more remarkable and interesting the tions governing the case. A due regard experiment becomes. The Management for the short length of the run, one itself displayed a surprising liberality, week, made impossible the use of any and seemed actuated only by the de- elaborately constructed or built-up set- sire to put on a Shakespearian play in tings, as well as those requiring many the best manner that was humanly pos- "flats" of characteristic or special out- sible in a Repertoire theatre, with the line. It thus became necessary to de- resources at their disposal. pend almost entirely upon simple The performance was to be given "for "drops," "borders," and plain stock one week only" at the Castle Square "wings" of ordinary size, to realize the Theatre, in Boston, where a dramatic effects of each scene. These necessary STAGE SETTINGS FOR NEW "ROMEO AND JULIET." 177 limitations were all most reasonable, picturesque background was intended. and instead of restricting the scenic pos- Above all, it was important for the sibilities, they even added an additional settings to be picturesquely and strong- zest in making the problem the more ly suggestive of the romantic atmos- in no case can of the it difficult of solution ; while phere story, and is this reason it be said that they prevented the reali- alone that makes the North Italian zation of an appropriate and effective locale so scenically valuable, offering as set. it does picturesque possibilities of much Besides requiring thorough experi- greater importance than absolute his- ence, a practical knowledge of the tech- toric or architectural veracity. Any ro- nical restrictions determining the con- mantic suggestiveness possibly deriva- struction and use of scenery, the archi- ble from period, landscape, environment, tect has certain other temperamental color or line were made to assist psy- and educational influences to overcome chologically or visually toward produc- before he can be relied upon to pro- ing upon the audience the temperamen- duce successful stage pictures. In this tal mood most desirable for their appre- capacity there are demanded of him ciation of the various scenes of the play. many of the imaginative, picturesque Of the many versions of this story and compositional traits of the success- that appear as probable sources for the ful that are little derivation of the painter ; qualities likely plot, the one included to survive the conventional architectural in Matteo Bandello's collection (pub- training with its insistence upon clas- lished in 1554) may be considered as the sic balance and repetition of feature, ten- most important. This tale there ap- dencies to which the arrangement of the pears localized in North Italy, and some stage picture unfortunately most readily students of Renaissance literature have lends itself. even so definitely placed its action as to But the placing of the period of the claim the year 1303 for its approximate play anterior to the Renaissance, (the date, and this period has been in the early fourteenth century) made it essen- main adhered to in these se'ttings. tial to adopt the more informal treat- It was almost immediately decided ments that belonged to that pre-classic that it was neither essential nor advis- age. Both the too-archaeological and able to archaeologically reconstruct the too-architecturally-perfect points of view 1/j.th century city of Verona. So sug- were to be as carefully avoided as was gestions and motives from remains be- consciously possible, as any such treat- longing to that century or to the imme- ment would at once cause the settings diately preceding periods have been to become monotonous, hard and un- used without any hesitation, so long as and would result in an im- in the graceful ; they suggest type and treatment mediate lack of grasp upon the Audi- architecture of the North Italian prov- ence as well as a corresponding loss of inces. picturesqueness, "atmosphere" and hu- The early date given to the occur- man interest in the scene itself. rence of the tragedy was, however, the The student will recognize that nei- cause for other difficulties that may not ther the period nor the locality in which be apparent to any one not knowing in- Romeo and Juliet is placed are to be re- timately the architectural conditions in garded as inseparably connected with its Italy at and since the I4th century. story. As usual in Shakespeare's plays, The architect will, after a moment's no great effort at localization, either by thought, realize the great lack of exist- the addition of local color or atmos- ing authentic Italian buildings dating to the has been or to the for phere text, attempted ; from previous year 1303, and in placing the action as he did in instance, but only the scenic designer and about Verona, it is not to be sup- will appreciate what extra labor this posed that anything more than the sug- lack of material entails. Outside of the gestion of an appropriate poetic and two fairly well known old houses at Vi- i 78 THE ARCHITECTURAL RECORD.

terbo (Figs. A and B) variously assigned and since the period of the Renaissance, to the I2th and I3th centuries, some of but aggravate the difficulties of the the dwellings in San Gimignano sever- problem. al of which are shown in the view in the On the other hand, the very name of Piazza Cavour (Fig. C) amongst them Italy conjures up a well-defined roman- being the well known Palazzo Pratel- tic atmosphere, so widely spread that it lesi at the right, supposititiously dating might well be expected that there would from the I3th century and some of the be few people in an American audience less well defined and more ruinous build- but would have some more or less defi- ings that are still found in mediaeval por- nite ideas as to the type of landscape and tions of such cities as Viterbo and Gub- architectural surroundings proper to the

FIG. B. OLD HOUSES IN VITERBO. bio, available existing material is scat- country if not to the play. And it was tered and hard to find. He will further important for the success of the settings realize the fact that there exists substan- that these ideals should not be too rude- tially no interiors belonging to the life ly shattered. In other words, it was nec- of this period except what have come essary to a certain extent to consciously down to us in the treatment and the "play to the gallery" in suggesting a decoration of one or two churches, not- much as possible of what they would ably the lower Chapel of S. Francesco at recognize as being "Italian," while at the Assisi the fact that there exist same time not so far from the ; and departing countless photographs of picturesque actual surroundings and conditions of and beautiful Italian architecture, repro- the time so nearly as they could be re- ducing existing buildings dating from imaged or reproduced as to discon- NEW STAGE SETTINGS FOR "ROMEO AND JULIET. 179

FIG. C. PIAZZA CAVOUR. SAX QIMI6NANO. i8o THE ARCHITECTURAL RECORD.

fastidious at the scale inch cert tfte more intelligent and ; cardboard of one-half or even the best trained minds that to the foot, in just the way that it would might be expected to witness this pro- be afterwards constructed at full size in duction of a Shakespearian drama. Not the painted borders, flats, wings and task as be seen and of the theatre. It as well an easy this, may ; drops might it certainly was not. be at once confessed that even with a In the presentation of "Romeo and Ju- long familiarity with the stage and thea- liet" that forms the basis for this article, tre, both from "in front" and "behind the the acting version was first carefully ar- scenes," there yet remained a great deal ranged and studied out. This allowed that it was necessary to learn. These of the natural determination of those al- deficiencies in a minute knowledge of a terations of deep and shallow stage set- myriad technical details were at once tings necessary to secure the rapid suc- discovered when starting work upon the models of the scenes, and so each scene model had to be carefully studied out and painstakingly tested, before it was possible to proceed further with that design with any assurance of its proving thoroughly practical. On this model were shown not only the outlines and composition of the buildings, foliage and other natural ac- cessories, but also their massing with the sky in borders, drops, etc., all in carefully rendered pen and ink drawings, so as to delineate as particularly as might be possible the architectural treatment and feeling of every detail of each scene. Besides this model, which proved the practicability of each setting, the scene painter was furnished with a careful and exact description of the in- tended atmosphere, material, color, lighting and treatment of each individual scene. A sketch book containing fur- ther architectural details (Fig. D), and FIG. D. notes not already shown upon the scene model with sufficient definiteness, as cession of scenes and with well as sketches for furni- ; when, along properties, many other minor matters, enough of ture, and other accessories, accompanied the action had been settled upon to place the model. the location of the entrances and exits, Before these models were finally ac- or the other important portions of the cepted by the management, they were scenes required for the execution of submitted to the stage manager, Mr. W. stage "business" with some accuracy, C. Masson, to see if they would allow of work \vas begun upon the scenery de- correct employment of the "business" signs themselves. of the play as he had already mapped it After each scene had been sketched out out, and upon receiving his approval and its composition and architectural they were finally turned over to the treatment substantially determined, a scene painter, carpenter and property miniature stage was constructed com- man of the theatre and actual work plete with proscenium, flies, and grid- upon them was commenced. this the scenes in the order that irons ; and upon stage each scene Taking up was then built up in separate pieces of they were shown, the first "Verona," a NEW STAGE SETTINGS FOR "ROMEO AND JULIET." 181

FIG. R THE GUINIGI PALACE AT LUCCA: 14TH CENTURY. 1 82 THE ARCHITECTURAL RECORD. public place proved in many ways the architecturally at variance with the pe- least satisfactory of the entire series. riod, in coloring most successfully toned Used three times, under different condi-- in with the remainder of the picture. tions of lighting at early morning, This explains the presence of the French noon and at evening its last use was by half-timber houses. The purple color- far the most impressive, as was proper note selected to pervade the garden set- considering that the death of Mercutio ting was intended to be first touched in is the bit of action that this scene and over the trellised most important ; pergo- takes place against this background. la on top of the brick house at the right, The entire available stage was neces- and the seat opposite were draped the sary, as in two of its employments oc- white and purple blossoms of the bloom- curred a fight requiring some 40 or 50 ing wisteria that, in the following characters and "supers" for its presen- scenes covered the Capulet garden walls, tation. house and balcony. The final omission For the purpose of localizing the ac- of the brick house restricted this effect tion of the play, and including a charaq.- to the seat trellisage alone, with the re- teristic bit of North Italian landscape, a sult that its relative color importance square supposititiously placed in an ele- was so diminished as to almost entirely vated position on the banks of and over- lose its intended psychologic effect. looking the River Adige was selected as Of the ten different settings there was the basis for this scene. The distance, one, a corridor in Capulet's house, for with the river winding among the hills, which new scenery was not painted, and was painted on the back drop as a this interior was shown as the second "transparency," in order to allow effects scene in the first act. The action next of sunset coloring in both sky and wa- passed to the outside of Capulet's house, ter by lights thrown upon the canvas where occurs the famous "Queen Mab" from behind. As it turned out, the speech. This shallow setting showed, transparent quality of the drop finally painted on one drop, Capulet's house only proved available in the Ballroom and garden wall over which and through scene when, through the arches at the the gateway appeared glimpses of Jul- back of the stage, the river beyond ap- iet's balcony and the garden, with its peared under the effect of moonlight suggestion of enclosing hillsides beyond. shining upon the water. On account of its romantic associations, Much of the intended architec- an early Venetian-Gothic type of archi- tural character of the setting has been tecture was adopted for this scene, de- lost through the entire omission of some pending upon such a characteristic pre- houses and by attempting to utilize old cedent as the Palazzo Guinigi at Lucca "outline flats" that it seemed possible to (Fig. E) generally placed as dating paint over and adapt to the general from the first half of the I3th century of the others instead of as of its in shape ; building proof consistency period. new stage "house-wings," balustrades, Placed against the quiet sleeping dis- steps, well head, etc., of the proportions tance of garden housetops and campa- called for in the designs. The large arch- nile, and seen under the dim moonlight, way, for instance, was adapted from a patterned by the moving colored lan- of" used in terns held Romeo's friends the "piece scenery previously by ; spell Othello, from which the oriel window of this scene was further enhanced by and pilaster and arch effect are palpably the carefully developed atmosphere, the a survival. guests arriving for the ball, and the oc- When these repainted flats were set casional bursts of music, light and mer- up at the scene rehearsal it became nec- riment from the house itself. Again and essary, in order to fill the stage or "cov- more importantly the passionate pre- er in" at the sides where houses shown dominating color-note of the garden in the model had been omitted, to put in scene was here presaged in the purple two or three stock wings that, while and violet flowers of the wisteria that NEW STAGE SETTINGS FOR "ROMEO AND JULIET." 183

SET I. VERONA. A PUBLIC PLACE. SET II. BEFORE CAPULETS HOUSE. Photo by Leon Dadmun. i84 THE ARCHITECTURAL RECORD. covered the walls of house, garden and same view of the river as was used for gateway with their clambering full- the first scene. The sides of the stage blossoming branches. are taken up by the large fireplace and In this scene, used but the one time, the entrance used by the arriving and it was possible to first fully sound the departing guests. Overhead is the note of poetry and romance that exists musicians' gallery, whence is supposed throughout this love drama, and deepens to come the music that is heard through- and strengthens with the gathering im- out the scene. petus of the action, until it sweeps su- When the curtain first arose the light- perbly into the grander tragic intensity ing was a diffused and dim shade of red of the final climax. in the hall itself, while through the The interior of Capulet's house show- arches the violet colors of moonlight ing the Ballroom, immediately followed. were thrown upon 'the distant landscape Again, the number of persons required and river. As the scene progressed and in the stage picture and the dance tha< the action grew in importance the light- formed an important part of the act de- ing of the foreground was increased in manded the full stage. In this setting brilliancy; but by that time the atmos- alone did considerations of historic ac- phere and effect of the "picture" had curacy and theatrical effectiveness seem been thoroughly impressed upon the at variance. To a modern audience the audience. effect of the severe architecture and On account of the absolute poetic decoration proper to the hall of the beauty of the text probably the most Capulet's, would seem oppressively perfect love-poem existing in the Eng- gloomy and forbidding. It is obvious lish language the entire second act was that this scene the only one of gaiety given to the Capulet Garden or balcony and revelry in the whole play, and the scene. Shakespeare's stage directions occasion of the first meeting of Romeo place this scene in Capulet's orchard, but ami julii-t should be cheerful and festal an old-fashioned garden foreground had in effect, if only for the value of the already been determined upon befofe it contrast it furnishes. The atmosphere of was discovered that the term "orchard" this setting was also to foreshadow and at that period was used indifferently to prepare the way for the beautiful and describe either an orchard or a garden. poetic Garden scene that immediately The formal Italian garden was a prod- follows. uct of a later age, and so this set dis- Therefore, the heavy vaulting of the played a simple semi-natural arrange- ceiling was depended upon to indicate ment of trees and shrubbery, much such the proper construction and stern archi- a composition as might be found to-day tectural lines of the room, which were in the overgrown Villa d'Este, or the old lightened by the variously colored Giusti Gardens, at Verona. marble columns and brilliantly dec- Running diagonally across the back of orated arches of the Byzantine the stage is the inner side of the wall, screen that opened out upon the shown in a previous scene, with the gate loggia and terraces of the garden at the left, through which Romeo's beyond. The coloring merely sug- friends appear and call to him at the gested the old type of decoration. The opening of the act. The garden en- groined ceiling was painted a dark blue, closed between this wall, the house on with intercrossing ribs of red, blue and the right, and the old Italian pergola grey, and spangled with gold stars of and row of cypress trees that define the many rays. The walls were toned a warm opposite side has, near the centre, a rose-red, and paneled by a stencil bor- clump of shrubbery and flowering der of blue, yellow, and gold. When set bushes grouped around the base of two for the performance, the banquet tables tall cypresses that overshadow and are are seen through the arcade at the back, reflected in the water of the pool below. and beyond the terrace wall appears the Over all the walls of the house, garden SETTINGS NEW STAGE FOR "ROMEO AND JULIET.' 185

SET III. A HALL IN CAPULET'S HOUSE. SET IV. CAPULETT'S GARDEN. Photo by Leon Dadmun. i86 THE ARCHITECTURAL RECORD. and pergola clamber the full flowering esting, although the back drop -intend- wisteria vines, whose violet and purple ed to be seen through the grilled win- blossoms form a veritable shadowed dow and the open door, and representing bower over the arched gateway. It is the monastery courtyard, with its gar- these flowers that furnish the d'ominant den bounded and enclosed by the white purple color note of this scene and sug- plastered walls, red tiled roof and colon- gest psychologically something of the nade of the buildings on the- opposite warmth of passion and riotous color side, with a few dark cypresses cutting that dwells within the poetic dialogue it- against the bright, blue sky was not self. Beyond the garden, on the other painted from lack of time. side of the lane, is seen an Italian hill- The next new setting disclosed is the side, planted with flowering orchard interior of Juliet's chamber. The archi- trees mounting to its crest, where ap- tectural skeleton and plan of this room, pears in silhouette against the sky the purposely made irregular, is extremely white plastered walls and terraces of an simple. At the rear an alcove of plain Italian hilltop villa. plaster walls toned an old discolored red This act again calls for the character- one side of which is formed by the istic early Venetian-Gothic architecture arched openings out on to the balcony adopted for the style of this residence in forms a color contrast to the age-stained, an earlier scene, here expressed in the dark walnut in wide, high and simple arched on the an that dadoed the rest of the openings balcony ; panels cham- architectural motif that later appears in ber. Above this is a plaster frieze of a the interior of Juliet's chamber. What- grayish blue tone with a stencil orna- ever the means, the garden scene ment of a different shade of the same proved the most poetically effective of color upon it, and overhead an informal any of the settings used throughout the rough beam treatment of the period. play. Much of the result must be cred- The effect of this scene was strength- ited to the inherent rhythmic beauty and ened by the furnishing and lighting, the pulsation of the written scene itself, latter being kept quiet and subdued on with which the personation of the two both occasions of its use. While of lovers was so exquisitely and gracefully the furnishings the photograph itself in accord that every iota of feeling was gives a comparatively correct idea, for perfectly preserved. Some part, also, of the color and lighting the imagination the illusion belongs, no doubt, to the of the reader must be depended upon. careful preparation made in the preced- One of the results of preparing a pro- ing scenes in working up to and prepar- duction in such haste appears in this set- ing the effectiveness of this poetic and ting, where it may be noticed that the scenic climax. Certain it is that this set- cornice beam lines at one place fail to ting produced the "atmosphere" and properly follow through and connect. mood best suited to deepen the spell This mistake did not show up until the contained in Shakespeare's beautiful scenery was put together on the stage word-painting and so form an appropri- the afternoon of the rehearsal and in the ate background against which the play- actual presentation the interest was so ers could weave the tissue of their art. thoroughly held by the acting, that it is Next follows the interior of Friar to be doubted if a half dozen people no- Laurence's Cell, used four times. Each ticed the mistake throughout the entire scene is short and not dissimilar in week. mood from those~ others that precede In the last act there occurred three and follow it. It allowed of a fairly suc- scenes, each new to the spectator. The cessful treatment that succeeded in at- first, A Street in Mantua, was something taining to a nice mean between the popu- of a disappointment as, in order to com- lar idea and an architecturally simple and plete it in time, much of the detail in- correct representation. The whole ef- tended in the original desigs was per- fect of the interior was thoroughly inter- force -omitted, and the "faked" drop NEW STAGE SETTINGS FOR "ROMEO AND JULIET." I87

SET V. FRIAR LAWRENCE'S CELL. SET VI. JULIET'S CHAMBER. Photo by Leon Dadmun. 1 88 THE ARCHITECTURAL RECORD.

in the substi- the of shown photograph was ings ; and, finally, long row cy- tuted for the one designed, intended to presses in the distance all combining show a street winding up the hillside be- to hold in and depress the imagination. tween overhanging and narrowly-placed The lighting was all in very dim and houses with a campanile appearing over subdued violet effects thrown almost en- the roof tops in the distance. Unfor- tirely from the side, so that no direct tunately, in order to form a contrast to light was cast upon the painted drop. the dark painting and lighting, and the This left the distance purposely dark and tragic tones of the preceding and fol- gloomy and helped to preserve the il- lowing scenes, this setting was to be dis- lusion and insensibly prepare the audi- played under the conditions most trying ence for the impressiveness of the final to its in the imi- scene that followed. painting ; garish stage immediately

SET VII. A STREET IN MANTUA. Photo by Leon Dadmun. tation of the full-flooding sunlight of an The lights were kept subdued during Italian morning. the moment that the curtain remained The exterior of Capulet's tomb, one down, so when it arose upon the Inte- of the most impressive settings supplied rior of the Tomb, this carrying-over of was, like the second scene in the first the atmosphere of the previous setting act, painted entirely upon one drop. Its acted to make the cumulative grimness effect was obtained by continued and and sombreness of the new surround- reiterated insistence upon the sombre- ings intensely more effective. Sur- ness of the atmosphere furnished by the roundings, too, that in treatment and architectural treatment and its environ- coloring had all been conceived and ment the carried out with ; gloomy cypress-shaded alley the single intention of at the right; the few scattered grave creating as much as possible of a mood stones the dark brick structure with that ; would prepare the audience for the its forbidding arched and barred open- double tragedy all the more tragic STAGE NEW SETTINGS FOR "ROMEO AND JULIET." 189 from its very .seeming lack of necessity around and beyond them in the and inevitability that closes the play. obscurity half appear the tombs and Simple as was this setting consisting monuments to the dead and gone found- of but substantially three drops, the last ers of the House of Capulet. forming a back vista that carried around Ac noon, on the Sunday of the week the circular colonnade indicated in the given to this production, was started a second its effect was most impressive. complete rehearsal of dialogue, action, The underground portion of the chapel scenery, and lights that lasted until a with the dark staircase leading to the up- quarter past two on Monday morning level in front per was and, beneath the before the curtain was finally dropped cumbersome brick and stone arches and on the last stage picture. This rehearsal,

SET VIII. THE TOMB OF THE CAPUL.BTS. Photo by Leon Dadmun. damp splotched and stained plaster representing only the third time that the vaultings overhead, reposed the white- company had gone completely through draped bier of Juliet, lighted by four the play, found them letter perfect in candles flaring in the drafty eddies of their parts; and, during the long and this gruesome place, and the corpse of fatiguing day not only they but every her recently murdered kinsman, Tybalt, individual connected with the presenta- covered with a dark velvet pall. The tion from stage hands up, apparently in- scene was lighted only by the pale and spired by this masterpiece of the great sickly moonlight that filtered down from English dramatist, worked patiently and the barred windows of the dome above incessantly to render as perfect as was and cast upon the flagged floor of the humanly possible each picture and scene. vault the irregular shadows of the parti- When actual work upon the produc- colored marble and brick columns of the tion was commenced, personal supervi- all facilitate circular arcade between ; while sion was found to greatly mat- THE RECORD. i go ARCHITECTURAL ters and during the last week almost all force began work upon the play for my time between ten in the morning and the week following ! ten at night was spent at the theatre. With the exception of the ballroom Through the final Sunday and Monday scene, taken later under even harder the scenic artist, Mr. LaMoss, and his conditions, these photographs were assistants were working incessantly to made at the Sunday rehearsal and show finish up all the small and harassing de- the scenery in many ways still incom- tails that always come up at the last plete, the "profiles" or outlines around minutes before an initial production. All some wings and a few of the drops being of the foliage wings and accessories of yet uncut, and some parts entirely lack- the garden scene and some of the most ing. Later each setting was exhibited important portions of the ballroom to better advantage and several minor

SET IX. INSIDE OF THE CAPULETS' TOMB. Photo by Leon Dadmun. scene were built and painted during Sun- changes made in the setting of the stage of the the first of the all day ; some portions latter, vitally during part week necessary to complete it, were, indeed, tended to improve and increase the ef- being finished on the paint-bridge over fect of the scenery over what it appears the rear of the stage at the moment the in these reproductions. Painted, as they curtain arose on the first scene of the were, for certain specific effects of col- afternoon and and also suffer from performance Monday ; by oring lighting, they the time that the action moved along to the much stronger and more direct light this fourth scene had been to obtain the the they finished, required photograph ; lowered on the stage, turned around omission of color, the different values of and hung in place, and the production certain colors as they appear to the cam- was finally completed. And hardly was era, and the stage, bare of the moving the strain removed before the theatre figures with which it was filled during NEW STAGE SETTINGS FOR "ROMEO AND JULIET." 191 the action of the play, all combine to de- tre, Mr. E. La Moss to whose inter- stroy much of the illusion and beauty of ested assistance, long experience and ar- atmosphere and vraisemblance that was tistic skill much of the result is due created in the theatre under those con- with but one assistant and a paint boy, ditions that the scenery was designed to except during the last two days, when meet. two extra men were put on to help finish The first performance on Monday af- up and complete the ballroom interior. ternoon lasted substantially four hours. In this country, where even the most At the second performance, on that eve- elaborate American productions are on ning, exactly 48 minutes was saved customarily based upon, if not exactly this acting time and that without a sin- copied from, earlier presentations by ac- gle change or excision in the lines or some one of the London Actor-Man- tion of the play. This means that the agers, such as Sir Henry Irving, Mr. entire amount had been made up in the Beerbohm Tree, or Mr. George Alexan- quicker handling and setting of the scen- the limited time allowed, by the scenic of scene ery. As seventeen changes "Romeo and Juliet," made at a Reper- were necessary during the performance, toire Theatre playing to popular prices some idea may be obtained of the rapid- with a complete change of bill every 'to ity with which the stage hands had week, becomes even the more remark- work. After this second performance able. In the history of the theatre in the acting length of the play varied be- this country it appears as perhaps the tween three hours and three hours and first occasion when an entire profes- five or ten minutes. sional production has been directly As a mere matter of figures this pro- painted under the supervision and from duction required for the scenery alone designs made with a due regard for his- (not considering the long list of "prop- toric and architectural accuracy by an erties," including the furniture and mov- architect especially engaged by the able articles used in setting the stage) management for that purpose. And it the painting anew of 14 drops, averaging is believed that the success of this ex- from 40 to 44 feet wide and 30 feet high. periment should prove that such au- Fifty-two wings and flats, running from thoritative and well-considered settings, 6 to 12 feet wide and 20 to 24 feet high. truthfully depicting both probable and Six new borders, 40 feet long and 15 to possible surroundings, may be properly feet Three sets of balustrades not 18 deep. ; depended upon to greatly increase 2 wells, i gateway, 2 walls, 2 seats, 3 bal- only the educational value but the es- conies, i fireplace and a ceiling; making sential moods and atmosphere that in all some 30,000 square surface feet of should surround the productions of our canvas to be covered, often with several Classic dramas with a theatric effective- coats of color. (In distemper painting, ness that will form those backgrounds one coat goes on right over another and best suited to bring out and accentuate covers up the one upon which it is super- the highest work of the actor. posed.) All this work was done within the limited time allowed by the scenic Tichnor House, 9 Park Street, Bos- artist regularly connected with the thea- ton, May n, 1905. THE ARCHITECTURAL RECORD.

El

o- The Famous Japanese Room in the Marquand House.

In the house of Henry G. Marquand, shelving (our more immediate subject when there was a room but this built, prepared to-day) ; embroidery was not for the reception and display of a con- entirely successful. The orders given siderable collection of Chinese porce- for it (as I heard at the time, and have lains and other art objects from the ex- heard frequently since) were for that treme Orient. This collection formed a beautiful flower-work, that charming considerable part of that large Mar- semi-realistic design in leaf and spray, quand sale which was the sensation of flower and fruit, which the Japanese New York in the autumn of 1903, and have made their own. In some way the since the time of that sale the shelves order went astray or was misinter- and pedestals, the brackets and cases preted, and a composition made up ranged along the walls of the room, and of Japanese utensils and furniture was specially fitted for the reception of the substituted for it. Here are to be pieces which they were intended to dis- seen pictured the cabinet with its open play, have been vacant. It is, therefore, shelves and closed compartments, its more easy than before to study the doors and cupboards, and, upon its actual design of the room and the shelves, boxes for decorative writing minute and careful arrangement of its paper, other boxes for ink or for pen- details. effect is a or then the or many The proposed cils, book two ; koro, largely a thing of the past that effect incense-burner, standing on a deli- that was never intended to be complete cately modeled or richly lacquered without the porcelains in their proper support with three or four legs, and an but the means that ef- elaborate to cover their places ; by which lambrequin fect was produced are, to a great extent, connection with the table-top. Here are more readily traceable to-day than they the sword racks with the weapons of were five years ago. For this reason the Samurai, the musical instruments photographs of the room as it now is the larger boxes for perfumes and have been prepared, and are shown in for drugs the bronze flower-vases these pages side by side with photo- with cut flowers or with plants grow- graphs made while the room was still in ing freely in mould. Here are the use, as it was intended to be used, as a larger and more showy vases, brilliant museum of works of Oriental art. in themselves, and again holding either Mr. Manly N. Cutter undertook the flowering branches or peacock feathers. design and arrangement of the room. A Here are pipe-cases, braziers for burn- great number of valuable pieces of Jap- ing charcoal, larger stands with small anese art were accessible at that time utensils of various kinds grouped upon panels of lacquer-ware of extraordinary their top; and here are a few flowering beauty, such as had formed the doors sprays and branches mingled with the of cabinets, or had been made simply as rest. Out of all these objects surface decorative pictures to hang on the decoration has been made, as the Jap- as a anese know so well how to do but this walls, painting or a bas-relief or a ; piece of inlay might be displayed. was not what Mr. Marquand had de- These elaborate pieces were bought sired, nor has it to our Western eyes freely by Mr. Marquand, and laid aside that universal charm which is found in for the time of utilization. Moreover, the designs bas.ed upon pure nature, an order was given for embroidery to with which the Japanese have made us be made in Japan upon a rough-sur- so familiar. faced silk, which should cover all the No more need be said of this misfor- walls above the wooden sheathing and tune, nor of the fact that the ceiling 194 THE ARCHITECTURAL RECORD. IN JAPANESE ROOM THE MARQUAND HOUSE. 195 RECORD. 196 THE ARCHITECTURAL could not be a really constructive ceil- have been hinted at above. Another elaborate scheme and more detailed will ing-; for obviously the photograph show of interlacing bars which the architect just how these things are put together; felt that he needed overhead could never but let us consider first the doorway it- be the supporting structure of the floor self and the doors which fill it. And here above. In an American house of great it may be stated that all the woodwork size and with large spans of floor tim- is of that curious red-brown Brazilian bers, those floor timbers must be deep wood known as Quebracho wood. It and heavy, they must be solidly framed takes a beautiful polish, a polish like and large in section, "deep" as the say- ivory, and its warm color, when treated ing is with a great vertical dimension, as delicately as it \vas treated here, is in order to give perfect stiffness most grateful and pleasant to the eye, to the room above. We do not, in combining perfectly with the white and crossing the floor of a second story bluish-white wares which form so large room, expect it to sway beneath us and a part of the ceramic display. The vibrate like the hurricane deck of a carving was done by the old firm of for like that Ellin & Kitson. steamboat ; we look solidity, which is felt in walking on a terrace out Mr. Cutter must have set himself to of doors. And so the twelve-inch the work of design and drawing-out with in a the utmost wooden beams do the work ; or, deliberation, and with a more advanced time the eight-inch painstaking ambition rarely seen. It rolled steel beams of some approved was impossible for such work to be section and such ornamental ceil- for in ; any properly paid money; omitting ing as this has to be hung up afterwards, for the moment all consideration of even as you put a decorative panel into decorative carving, he must have given place because it is decorative. nearly as many hours to the work as the What is specially valuable in the room wood-worker himself, days and weeks of is, I think, the combination of shelves patient working over the drawings, and cupboards for large and small por- even if such personal supervision could celains with the dado, the door-frames be given as would allow of changes at and doors and the elaborate fittings the last moment and on the spot. In about the mantelpiece. The effect of this way only is the almost infinite the is of these no of the to be whole room made up ; variety fittings explained, one need look beyond them to be kept and their extraordinary novelty of con- busy for many a minute of close exami- ception understood, even by a most nation, and then he will be sure that practiced designer of such matters. he has only half seen the compli- The doorway in front of us in Fig. i cated design of the apartment. Fig. I shows above the doors two Japanese shows the wall which is opposite you lacquer panels with details in high re- as you enter the room from with- lief, some of these details being of out, passing through the entrance hall, foreign substances encrusted in the opening the door and stepping in. You polished surface, others of the lacquer look "westward" as it is our custom to itself. Two similar panels, somewhat in the direction is are framed into say, though reality larger, the doors ; others more nearly northwest you look to- in another illustration will be more ward Fifth Avenue and as you do so readily seen. The door is formed of you see the pair of sliding-doors in the the Brazilian wood named above, the middle of the wall before you, with the carvings of the doors and those of the over-door piece made up of elab- trim around the door, the strange sculp- orate carving in wood with lacquered tured transom above it and the elabor- panels inserted; and on either side of ate rama if that is the proper word for this doorway the cluster of horizontals a piece of carving which is not pierced and uprights which make up one section through and through at the top of the of the museum accommodations which room. The smaller ornaments, namely,. JAPANESE ROOM IN THE MARQUAND HOUSE. 197 those little disks which, ranged in rows, large panels of the upper wall are Jap- frame in the large lacquer panel, the anese lacquer of extraordinary beauty. little panels between the disks, and There are also smaller panels of lacquer those cross-shaped and flower-shaped and some panels of bronze with very appliques which are seen at the meeting minute and delicate figure subjects, also of every two bars or members of the brought from the East. frame below and above, all are of bronze; and most of these were made here in New York, many of them at the workshops of the Henry - Bonnard Bronze Co. Now, if the visitor turns toward his right he has, in front of him and facing the great windows, the mantel-piece and fire-place shown in Fig. 2. He will no- tice at once that this wall has two axes, the great bronze disk above the fire- place not being centered on the fire- place, but centered on the room. It is a perfectly legitimate thing to do, whether necessary or not, and the fact that it is cleverly and well done is vis- ible now in this, that one does not detect it readily. The uniformity of the sur- face described above the brownish-red wood and the purplish-brown silk is broken here, at the chimney end of the room, by the prevalence of bronze, for the most part of the usual dark brown patina, common in the work of Japan of not very ancient date. It cannot be quite approved or accepted by the lover of Oriental art, the free use of the Eastern bronze vases by the American designer. He has pulled them to pieces to make columns of them and has built them up, cylinder upon cylinder, bulb upon bulb, so as to give on either side of the fire- place a group of columns or at least of uprights five feet high, carrying a struc r ture of carved wood which seems suf- ficient to account for the but support ; still one regrets the bronze vases. They were not of unusually precious quality nor of great rarity, but they had a right to exist in their character as original FIG. 1A. WEST CORNER OF THE JAPANE3SE conceived by their maker. The narrow ROOM IN THE MARQUAND HOUSE. recess with a seat in it on the left hand of the fire-place goes through to the If now the visitor turns once more to outer wall and the panel with leaded his right, he will see very nearly the sash is in the really a window, letting a certain wall shown Fig. 3 ; though pic- amount of light into this most remote ture shows only that half of the wall corner of the large room. The seven which is nearer the window and farther. THE ARCHITECTURAL RECORD.

another at the from the fire-place. This door is in directly opposite, and left, intended to afford shel- many respects like the one opposite, are glass-cases im- showing no more diversity of design ter for cups and jars of exceptional than one expects in so elaborate a room. portance. Also farther on the right It will be well now to consider the and below is one of a little row of sliding de- shelving a little more in detail. Fig. lA doors which enclose a shelf where is that corner of the room between licate lacquer boxes used to be kept, the window wall and the wall shown in and below, obscuring this, is a narrow with which could be Fig. i. In looking at it as we do in silk curtain fringes across that of the front. taking this picture, Fig. lA, we look drawn part Apart from this, everything is open

shelving carried on very light supports ; shelves of very great variety of form, narrow and wide, set close upon one another vertically, so as to allow only five or six inches of clear space, and again set far apart. Look also at Fig. iB, in which is shown the window jamb on that same side in fact the fluted ; column seen on the right in iB is the same column that we see on the left in lA. Here in iB again is a glass box with hinges and a ttirnbuckle with a knob, and below that are shelves, some long, some short, carried on slight and delicate bars of wood almost lost in the elaborate background of that exquisite Japanese work where the natural fibre of the wood is partly picked out and cleaned out, so as to leave the grain as a decorative pattern, and upon this a still more elaborate and significant pat- tern of great white peonies and their leaves above of some great spreading flower like the magnolia below. Then still higher in the wr all are little niches with brackets below them, and between these a still larger panel of Japanese

r lacquer, a splendid rarity w orthy of any collector's attention. The sheathing of FIG. IB. THE WINDOW JAMB IN THE NORTHWEST CORNER THE JAPANESE the uprights at the bottom and the large ROOM^OF THE MARQUAND HOUSE. and small sockets and flat mounts em- planed upon them at different heights also towa'rd the corner of Fifth Avenue are all of the same bronze-work as those and East 68th Street. This photograph mentioned in connection with Fig. I. was taken after the porcelains and pot- Fig. 2A is the corner at the right of teries of the collection had been re- the fire-place when you stand regarding moved, and on this account the minute it. The light from the windows falls shelving can be the better seen. The fully into it, and one may see just how reader is requested to try and make out the structure has been completed. Ris- the careful design, and the putting to- ing from the floor is a podium, as it so gether of parts, so delicate, and yet were, with drawers ; and on the left a strong and trustworthy. The nearly square pedestal wr ith little square shelves cubical box-like on the and above then above the a shape right ; podium system JAPANESE ROOM IN THE MARQUAND HOUSE. 199

middle, partly screened by the curtains which are wider there, a row of glazed boxes in which, as mentioned above, very highly esteemed morsels of por- celain or lacquer may be put in com- parative safety and out of the reach of too hasty fingers. Again above those broad shelves, some more continuous than usual in the room, and alternating with these and rising out of them some of the small round and oblong shelves with little galleries in front of them which are intended in every case for single pieces or couples for the vases of the collection now scattered. Fig. 3A is a part of the wall on the eastern side of the the left room ; upright on the is one trim of the door through which you pass in entering the room from the hall. This piece of walling is, then, be- tween that doorway and the windows- whose full light can be seen shining on the panels at the right of the picture and partly concealing them by its great re- flection. The same general system of construction has been carried out here and the shelving and enclosed boxes for the display of delicate objects are man- aged in the same way. The broken and zig-zag band of ornament of carved wood which continues as it were, the framing of this piece of cabinet work on either side is perhaps less fortunate than the actually constructed shelving and its back-ground. One could wish a very firm bounding line here and there, a feature which indeed a Japanese de- signer would hardly have failed to give to a piece otherwise so varied and fan- tastic. When it is deliberately proposed to' carry out in American building pieces of decoration of ornament, absurd re- sults are expected partly as a matter of course. The Chinese craze of Horace time occurs to the Walpole's memory ;: one remembers the ridicule deservedly- FIG. 2A. EAST CORNER OF THE JAPANESE fancies of the the ROOM OF THE MARQUAND HOUSE. shot at the day, "Wooden srches bent astride, A ditch of water four feet wide." of shelves intended to be screened with silk curtains and a bit of enclosure with And that we are told wooden grating which opens to the hand "The traveler sees A all Chinese, one of the doors temple truly by sliding grated past With many a bell and tawdry rag on the other. Above this again and in the And crested by a sprawling dragon." 2OO THE ARCHITECTURAL RECORD.

FIG. 3 A. THE JAPANESE ROOM IN THE MARQUAND HOUSE THE MIDDLE OF THE SOUTHEAST WALL.

Xow of course the writer of those the placing of its windows and fire- lines did not understand the of but walls must have a cer- utility place ; the bells or of the tain curtains must be of significance dragon ; color, soft, nor could he sympathize with Oriental woven stuff, the cover of a grand design. It was left for our more in- piano must be delicate and may be quisitive day to learn something of for- rich, a great cabinet which is built on eign beliefs and foreign traditions, and purpose to hold "curios'' may be of to be able to see the charm of that which Eastern wood and beautifully handled the Chinaman finds charming. We and finished so as to be attractive to the know of rooms in our Occidental cities, eye, and inlaid with delicate metal-work here and in which soft- for and and these there, exquisite fastening hinge pull ; ness of color combined with beautiful refinements give an Eastern grace to design in embroidery and in textile ma- the hard Yankee facts. So in the much terial makes the keynote of that which more elaborate room we are consider- still remains an American sitting-room. ing, the question being how to set off Such a room may not differ from others aright the rich display of far Eastern in the same house, in the squareness of works of art and to retain while doing its walls, the flatness of its ceilings, so that part of the Oriental's own feel- JAPANESE ROOM IN THE MARQVAND HOUSE. 201 ing which would forbid him to range his result has always seemed to me ex- vases on a continuous shelf seven attractive I long tremely ; and while admit feet high above the floor, the well ad- that much of this is in the beauty of vised designer of the Marquand "Anglo- color of the wood, and of the bronze, Japanese" room undertook to give its yet I see much to rejoice in when I ex- own shelf to every vase and to impart amine the details bit by bit and grasp to the sculpture, the inlay, such con- the significant intention in every separ- trast of surface and of color as Orien- ate detail. tal practice could suggest to him. The Russell Siurgis. 2O2 THE ARCHITECTURAL RECORD. Decorative Painting in Mantua, Italy.

Those who enjoy decorative painting, equal. I do not exaggerate when I say and travel through Italy, should not fail that the ducal palace in Mantua is the to visit Mantua, not far from Milan. It finest in Italy. one of the of the Its exterior is was formerly capitals Gothic ; but of that Peninsula, though now fallen from its sombre and serious type which gives the ancient glory. You must remember, structure a military stamp. The exterior that during the Renaissance, Italy was of the Palace recalls the beginning of divided into several political provinces, that mode of architecture which dates each of which boasted its dukes, its from the fourteenth century. princes and its marquises. The power On the other hand, the Renaissance which they exercised over their respec- interior dazzles the eyes with its per- tive principalities was handed down manent decorations the paintings and from generation to generation on the stuccos, the woodwork, and above all same principal of succession which ex- the ceiling are of a surpassing beauty. ists in our present kingdoms. The dukes The contrast arises, indeed, from the and princes were often struggling with psychology of its inhabitants. These one another, besides leading a very dis- people, who, as I have just told you, turbed existence. Yet these Italians of were in a continual struggle, were never- the fifteenth and sixteenth centuries theless deeply sensible of aesthetic en- maintained the culture of beauty. In joyment when once they had entered their palaces and chateaux they brought their dwellings. It was a time when together the greatest artists, painters, woman played an important part; in sculptors and industrial artists, with the fact, more so than to-day. sole purpose of beautifying their halls During the period of embellishment of and chambers, with every variety of or- the ducal palace at Mantua, the dynasty nament. Thus, traveling through the of Gonzaga brought forth one of those Peninsula, it is not of uncommon occur- rare women in whose goodness were rence, to stop in some city, dead at the united wisdom and taste. In mention- present, yet its story would fill pages of ing her, we name one of the most cele- highly interesting reading the History brated women of the Renaissance of Art. Isabelle d'Este. This beautiful and In the fifteenth and sixteenth cen- virtuous woman had married at the age turies Mantua was prominent among the of sixteen, the fourth Marquis of Man- little kingdoms of Italy. Its ruling dyn- tua, Francesco Gonzaga. She came of asty were the Gonzagas. These, hav- a family in which the love of knowledge ing continued the work on the ducal pal- was very intense. Her alliance with ace, begun in the fourteenth century by the ruling dynasty in Mantua brought the dynasty whom the Gonzagas had with it all the genius and love of a wo- ousted, namely, the Bonnacolsi, wished man devoted to beauty and virtue. Thus to surround themselves with the great- Isabelle d'Este happily found herself in est artists of the Renaissance, to adorn rapport with the most celebrated artists their palaces with the most exquisite de- of her time; Mantegna, Giorgione Le- corations which at that time were, onardo Grambellino, Perugino, Gran- known. Thus, aside from the architect- cristofora Romano, Costa, and, perhaps, ural grandeur of the ducal palace at Michael Angelo. . In the ducal palace at Mantua, you will see halls and cham- Mantua, Mantegna, the hero of painting bers, decorated with a taste and rich- of his time of northern Italy, erected ness, which to-day would be difficult to a monument to his glory; above THE ARCHITECTURAL RECORD.

FIG. 2.- CEILING OF THE DUCAL PALACE AT MANTUA. DECORATIVE PAINTING IN MANTUA, ITALY. 205

FIG. 3. CEILING OF THE DUCAL PALACE AT MANTUA. 2O6 THE ARCHITECTURAL RECORD. all with the frescoes of the so-called Sala it have been removed, and are now em- degli Sposi (The Hall of the Be- bellishing foreign museums. For ex- trothed), the ceiling of which is repro- ample, the celebrated "Triumph of duced. It is a masterpiece. Cesar," which England possesses at But before speaking of this or that Hampton Court, once hung in one of artist, you must know that our ducal the halls of the ducal palace of Mantua. palace is very far from having the ap- It is a work of Mantegna, as well as the pearance which it originally had. Sev- "Triumph of Scipio," in the National eral of its halls are in complete ruin, and Gallery of London. I can further state the largest salon is in a hopeless condi- that those who have not seen the cycle tion. At present the Government is at Hampton Court cannot pride them-

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- v - '"g V . '*"... . %M^v

FIG. 4. CEILING OF THE DUCAL, PALACE AT MAXTUA. interesting itself in the old palace, and selves of having a thorough knowledge giving it much more attention than for- of Mantegna. the merly. Although we cannot remedy Furthermore, I wish to add that the disasters which past negligence has Louvre is also adorned with pictures caused, we can care for that which has which once decorated the ducal palace remained. Let us hope that the future of Mantua. The same applies to the will be more respectful to the building National Gallery of Munich. And some in the Im- than the past has been to it. of the tapestries can be found Francis Without stopping to describe the perial apartments of Emperor also ruined ceiling, I will limit myself to a Joseph at Vienna. London pos- description of the paintings which for- sesses pictures of the Emperors, painted merly adorned the ducal palace of Man- by Titian, and destined for our ducal tua. I should state at once that many palace. English art lovers, particularly of the treasures that once belonged to from London, have so thoroughly ap- IN DECORATIVE PAINTING MANTUA, ITALY. 207

of our predated the beauty palace that, bers, work rooms, courts and gardens, have in the museum of Kensington, they because the building in question is of tried to reproduce one of the most ex- such extraordinary vastness. One visit I have seen it in quisite apartments. would never suffice, to yield both plea- London but I must that the sure I ; say repro- and profit. am giving but a duction is not very precise. The Museum meagre idea of this Vatican of Mantua. of Kensington aimed at having the Par- The halls, the salons, corridors, and adise Room (Cabinet of Paradise) in re- courts are so interlaced that it is not lief. The model in the museum is de- difficult to lose oneself in this immense corated with pictures which did not be- maze. Here, there is always to be long to the room reproduced, but to the found that innate pleasure, by those "Studiolo" (a little study room), called whose souls are open to esthetic emo- "di Corte Vecchia." The researches tion. and studies, carried on for this purpose The ducal palace is not all that there during the last few years, and which I is to a visit. A visit is not complete if have collected and published in the Lon- you fail to see the palace of the Sea the on the don Studio, should have suggested other side of the city. Its beauty correction of the model exhibited in the is an artistic complement of the ducal Kensington Museum. At least there palace. should be a little enlightening explan- The second palace represents the ation below the reproduction. transformation of an estate, formerly The Cabinet of Paradise which I have destined by Francisco IV. Gonzaga, for just named belongs to one of the finest the stables of his celebrated stud. The apartments of the palace. It is called change was executed by Giulio Pappi, the Cabinet of Paradise because of the called Giulio Romano, who not only in- splendid panoramic view which one gets terested himself as architect, but also as from its windows. It takes in one en- painter, figuriste and decorator. Thus tire side of the ducal palace. We owe finally, our master of arts, because of his this to Isabelle d'Este. You should not work on the Palace and for his direc- fail to see the beautifully carved wood- tion of the work on the ducal palace work of the ceilings, all of which are (Giulio Romano continued during the gilded. It is to be regretted that the sixteenth century the work of his glori- walls have been stripped of their orig- ous predecessors of the ducal palace), inal ornaments such as that "Studiolo was made schoolmaster in Mantua. The di Corte Vecchia," which has caused painter and decorator should not fail to such confusion with the model at Ken- visit Mantua, which he should regard as sington. The responsibility should really the "Terre promise" of his art. be placed at the door of Griarte, who Giulio Romano was a disciple of was not very precise when he wrote Raphael. He was a master who pos- about it. The "Studiolo," or the Little sessed the sense of decoration to a very Study-room, is also known by the name, high degree. As a painter and figur- "a presso la grotta"(" Near the Grotto"). iste particularly his work showed a It was part of a second apartment of the genius imbued with a ready taste, full palace which originally contained quite of imagination and force. Neither was a number of of our master in of execu- paintings ; two Manteg- lacking rapidity na, two of Lotto, now in the Louvre, tion. For decorative purposes he loved one of Perugino, also in the Louvre, re- mythological studies to a high degree. presenting the struggle between Love The most remarkable hall in the Pal- and Chastity. ace is the Chamber of Psyche, which I have mentioned a first and a second contains the richest and most pleasing apartment. Were I to dwell at length frescoes of the palace. The walls are on the ducal palace I would have to entirely covered with vast landscapes. write about other apartments, as well as The ceiling was painted by pupils of numerous halls, salons, sleeping cham- Giulio, to whom the palace of the sea is 208 THE ARCHITECTURAL RECORD.

FIG. 5. DECORATION IN THE DUCAL PALACE AT MANTUA. DECORATIVE PAINTING IN MANTUA, ITALY. 209

ADEORVDJECV V BSOI.VI1

FIG. G. DECORATIONS IN THE DUCAL PALACE AT MANTUA. 210 THE ARCHITECTURAL RECORD. indebted for one of the most bizarre ages and animals. Mantua itself is truly halls that one can imagine, namely, the the most beautifully adorned with this Hall of Giants. The figures that it con- order of decoration. tains are twelve four- I have of the truly gigantic ; spoken dazzling efflor- teen feet high, in all sorts of positions, escence of this painting which decorates among enormous masses of rocks. The cabinets, halls and corridors. With my painting of the walls blends with that description I hope to have given you a of the vaulted hall. The appearance as good idea of the painting at Mantua. a whole is absolutely colossal. Its prin- Without touching on the grandeur of the celebrated halls of cipal executor was Rinaldo Montovano ; the Vatican, the but we cannot exclude Giulio from par- painting at Mantua as a whole, presents taking of the glory of this grand mass of a most harmonizing effect of beauty and gigantic painting. clearness. You must notice the splen- it is be it in the in did idea of As ; ducal palace, or proportion between the or- the Palace of the Sea, this painting, namentation of each room and the size wherein the fulness, the movement and of the apartment. All of which gives a decorative grandeur, impress one as a new and original importance to our thing unheard of, is interspersed with a Giulio Romano and to his pupils, to mass of that grotesque, odd, fantastique whom Mantua is indebted for this part painting with which Italy has been of the decoration of the Mantuan pal- largely decorated since the Hellenic and aces. And my readers, in whose hearts Pompeian eras. Ceilings and walls are there is a place for Beauty, pure, ele- interwoven with curious floral effects, vating and fascinating, will surely de- extravagant figures, improbable person- sire to visit them. Alfredo Melam. A Novel College Chapter-House.

One of the peculiar advantages of larly in the West, has been ex- the practice of American architecture is hibiting an increasing flexibility with- the inexhaustible variety of the special out losing a wholesome respect for problems of design, which are offered to tradition; and this flexibility is the re- its practitioners. Our country contains sult of a sincere attempt to make the every conceivable variety of climate forms of a particular building an ex- barring only the extremes of tropical pression both of the conditions which heat barren cold it contains the it and ; every environ it, and function serves. variety of natural formation from vast A good example of a peculiar archi- to mountains and its inhab- tectural treated in an plains high ; problem equally itants, differing as they do among them- individual wa\ is to be found in

CHAPTER-HOUSE OF THE ALPHA DELTA PHI FRATERNITY.

Cornell University, Ithaca, N. Y. Dean & Dean, Architects.

selves iii ideas, traditions and needs, re- the chapter-house of the Alpha Del- quire construction of many novel and ta Phi fraternity at Cornell University peculiar types of building. The full ef- illustrations of which accompany this fect upon American architecture of this article. The building is situated on a enormous variety of architectural op- point of land jutting out over the valley, has not to be real- is feet below and this porrunity yet begun which 350 ; pe- it meth- ized, because requires a mature culiarity of the site determined the form structure od of design and a permanent of the house and many peculiarities of and fully to bring out the peculiar its plan. In designing the building the exceptional nature of any special architects examined carefully the ar- architectural but of late of some similar struc- problem ; rangement forty American tures and the examination had years, architecture, particu- ; only 212 THE ARCHITECTURAL RECORD.

the result of showing them what not to of the meetings held within it. It con- do. In this instance the result of con- tains no windows, and presents to the sulting precedents was a conviction that uninitiated a massive sixteen-sided wall, the precedents were useful only as made of Bedford stone, and with its sec- warnings, so that the originality of the tion somewhat smaller at the top than Cornell chapter-house is due to a well- at the bottom. It constitutes not only informed conviction as to the necessity a thoroughly appropriate structure but, of novel dispositions both as to plan also, a very honest and impressive piece and design. of stone-work. A chapter-house of a secret so- In the main clubhouse the architect ciety, situated in the country and used has worked along the same lines, and by college students is a very different has kept his design extremely plain and thing from the usual country clubhouse. business-like. Of course he has not neg- The fact that the building is used by a lected to make the clubhouse a habitable

CHAPTER-HOUSE OF THE ALPHA DELTA PHI FRATERNITY

Cornell University, Ithaca, N. Y. Dean & Dean, Architects. and secret society necessitates certain pecu- attractive building ; but he has done liar in so the use of the arrangements the plan ; and the by simplest and most fact that it is used by college students legitimate means. calls for some simplicity and even sever- F~or the basement he has used Bed- ity of treatment. Both of these condi- ford stone, for the second story brick, tions have been met by the architect in a and above plaster. The colors of the most interesting way. Fraternity, green and white, predomi- The lodge, which has been built as nate in the exterior and in the interior; a memorial to Hiram Murray Little by but they are so thoroughly subdued to his brother Bascom Little, is separated a greyish tone that the green and white from the clubhouse and is connected is only present by suggestion. The by a well-heated and lighted under- basement is made solid by the thicken- tunnel. Its form was of the walls at the bottom the an- ground suggested ing ; by the Fraternity pin (the star and gles of the enclosed porch on the first crescent), and its design by the secrecy floor are emphasized by sharp projec- A COLLEGE NOVEL CHAPTER-HOUSE. 2F }

f 214 THE ARCHITECTURAL RECORD.

HALL AND LOUNGING ROOM. The Cornell Chapter-House of the Alpha Delta Phi Fraternity. Ithaca, N. Y. Dean & Dean, Architects. A NOVEL COLLEGE CHAPTER-HOUSE. 215

LIBRARY AND DINING ROOM. The Cornell Chapter-House of the Alpha Delta Phi Fraternity. Ithaca, N. Y. Dean & Dean, Architects. 2l6 THE ARCHITECTURAL RECORD.

tions and salient frame the while all the chairs ; mouldings are designed to windows on the long walls and provide stand the wear the furniture of a college a cap for the upper line of brick-work. chapter-house sometimes receives. The Above there is a plain story in plaster, walls are either paneled or have been al- surmounted by a grey-green roof with lowed to remain flat and plain. There sufficient overhang to throw a heavy are no wall papers and no hang- shadow. All applied ornament is rigid- ings, except simple little window cur- ly eschewed and the whole design is tains. In the lounging-rooms the thoroughly rational. The effect of the depth of the wall provides a suf- is a little austere but as we of building ; ficiency those window-seats which have intimated, that is as it should be. students at college seem particularly to The interiors preserve the character like. The whole aspect of the place is of the exterior. They are simply and solid, substantial, simple and comforta- logically designed, and consistently and ble, while at the same time it also bears comfortably furnished. Certain pecu- the marks of thorough and intelligent liarities of the furniture are to be ex- design. One cannot help feeling that, plained by the peculiar function of the when a student can obtain surroundings building. The form of the dining-room such as these for the hours he spends in table, for instance, allows one side for eating and lounging, he is much more each of the four classes, and a side for likely to carry with him into after life an the head senior. The high-backed instinct for aesthetic simplicity and in- chairs in this room permit easy serving, tegrity.

STAINED GLASS WINDOW IN THE HALL. Cornell Chapter-House of the Alpha Delta Phi. Dean & Dean, Architects. Some California Bungalows.

The word "bungalow" implies a dif- securing the essentials of space and com- ferent kind of building in different parts fort. Of course there are many thor- of the United States. In the east and oughly finished houses which are for middle west it means a country house o7 one reason or another called "bun- dimensions of some- as there are in ample ; but, perhaps, galows," just "camps" what inferior or unfinished construction, the Adirondacks, whose owners, in their which is used onlv for a few summer enjoyment of nature, have the assistance

BUNGALOW AT PASADENA, CAL. months. It is a low five generally building of a butler and a dinner of courses ; with one spacious room, in which the but the bungalow in the east, if it means owner both lives and eats, a kitchen and anything distinctive, means the sort of two or three bedrooms. The whole house roughly outlined above. place is supposed to have an air about it In California, however, the "bunga- of informal charm and its owners are different. Mid- ; low" means something supposed to dispense with the embroid- dle and Southern California have the eries of domestic life for the sake of advantage of being regions in which its 218 THE ARCHITECTURAL RECORD.

BUNGALOW AT ALTADENA, CAL. SOME CALIFORNIA BUNGALOWS. 219

DINING ROOM AND LIVING ROOM OF A BUNGALOW AT PASADENA, CAL. 22O THE ARCHITECTURAL RECORD.

TWO BUNGALOWS AT PASADENA, CAL. SOME CALIFORNIA BUNGALOWS. 221

TWO SUBURBAN BUNGALOWS IN CALIFORNIA. 222 THE ARCHITECTURAL RECORD.

A LOG-CABIN BUNGALOW IN CALIFORNIA. inhabitants can live out of doors frequently a suburban villa, but it is a the of the villa of one kind. It is a low throughout greater part year ; particular and consequently in such a climate house, generally with a spacious interior, a house of comparatively cheap con- and designed with certain architectural struction, but with a spacious interior, effects in mind. In fact, it is after a in as well as in fashion an architectural it is can be occupied winter type ; and summer. Thus the bungalow is becom- one which has its special fitness for ing a commoner type of residence in people of some taste living in a country California than it is in the east. It is like California, where economic condi- built for permanent occupation by tions favor inexpensive and fragile con- people for whom the name has the same struction. sort of charm as the word "Mesopot- The reader can verify these observa- had to a in Maine and be- tions for himself the illustrations amia" lady ; by ing permanently occupied it naturally which are reproduced herewith. These assumes somewhat different characteris- are all houses which are described by tics. It becomes a more complicated their owners as bungalows. They are and more carefully finished product, all built at a small expense from plans with a with and which have been and dining-room, plastered specially prepared ; sometimes even paneled walls. In- they are all with greater or smaller suc- stead of being perched upon a hill-top cess trying to be "artistic." Only one and surrounded by rocks and grass, it is of them looks as if it were situated in the situated upon a street and is surrounded open country, and that is the house at bv suburban villas. In all essentials it is Altadena. This is probably the most SOME CALIFORNIA BUNGALOWS. 223 expensive building of the group, be- vious impropriety is the log cabin bun- cause it is the most spacious and is sur- galow. There is no objection at all to rounded by a garden. Its living-room building a log cabin and calling it a bun- is large and is in appearance extremely galow. Indeed the log cabin is the comfortable but its size does not count shall ; primitive bungalow, or we say that as much as it should, because it is filled the bungalow is the "up-to-date" log with too many things. With one ex- cabin. But the "log-cabin" style is not ception all these houses are designed adapted to porticos and pediments. The with a of the kind of classic forms are flexible proper conception tolerably ; but effect which should be sought in such they cannot be "rusticated" without be- low, simple, unpretentious buildings. coming absurd. On the other hand, if They set snug and close to the ground, we were asked to express a preference with overhanging eaves, and great sur- for the design of anyone of these houses, faces of roof. They are only one story our choice would fall on one at Pasa- high, or at most one story and attic, and dena with a porch running along the are stained dark on account of the daz- whole length of the building, the roof zling brilliancy of the California sun- of which is an extension of the roof of light. The porches are designed to be the building. This is a simple design, well-shaded. Rough stones are used which is picturesque without unneces- for the chimneys and visible founda- sary irregularities. It suggests the tions much more often than brick, doubt- white New England farm-house the less because they are more available. best type of cheap and unpretentious The only house which displays any ob- frame house ever erected in this country.

BUNGALOW IN SWISS CHALET STYLE. 224 THE ARCHITECTURAL RECORD.

CHICAGO PUBLIC LIBRARY. (Chicago Ornamental Iron Works.) The American Pantry.

In planning our modern houses, much der, then, that she welcomes the most time is devoted to careful of adjustment "up-to-date," labor-saving devices. Her the of rooms in order to re- proportion kitchen is marvelously compact. Bril- duce the amount of service All required. liantly lighted by the cleanly convenient details are studied with care to attain little electric bulbs, it is radiant from the utmost convenience of arrangement. the spotless white of the wainscot tiles The busy mistress of a household can and the porcelain sinks, to the bur- find countless devices intended to sim- nished copper utensils and plumbing plify the problem of domestic service. fixtures. It is our intention here to We do not realize how much has been describe, not the kitchen, but that done to lift the heaviest burdens from very important little link between it and the the housekeeper's shoulders until we the compare our arrangements for service dining-room pantry. In the the word with those common in English houses, beginning, "pantry" was to the room where the bread where the kitchen is far removed from applied was kept, the name derived from the dining-room, at the end of a long, being the word French for bread. badly-lighted hallway through which "pain," food and dishes must be carried. In Before people became accustomed to the of food used in England many servants are required, great variety but labor is it is to modern times, bread was the most im- cheap ; easy obtain article of the mistress of well-trained willing maids and men. portant diet, the household honored the Here, however, conditions are different ; being by servants, difficult to obtain in the first title "lady" (loaf giver) because she instance, rarely remain in one place very gave out the supply from her store long. Life is simpler if few are em- room. We fail to realize, in these days ployed. In every well-run household, of cold storage and quick transporta- more or less entertaining must be tion, what life must have been sometimes done, the mistress prides herself on a in those long cold winter days, with no perfectly served dinner. To the guest fruit except a few apples, with no green the it a if far no with who enjoys meal, seems very- vegetables ; inland, fish, to the few of the consider necessities. simple thing plan ; housekeeper things we alone knows the thousands of in- Nowadays, in a large city, one can ob- finitesimal details that go to make or tain almost any article of diet in prime mar its success. She knows the dif- condition, in season or out. In the ficulty of preparing complicated dishes, country, storerooms are planned tor un- of serving them promptly at the proper limited supplies ot canned or dried minute in the dinner, at the exact de- foods, to fall back on in emergencies. of of or closet where gree temperature required ; keeping In England, the room them at that degree in case there is de- these stores are kept is generally called in or lay beginning serving the dinner. the "pantry," the word being also used She be fortunate to may enough there for the place where the knives are have a but in case the regular chef, any cleaned. English people often have a hidden must run like clock- machinery special boy to clean the knives. This work. After final orders are and given puzzles an American, accustomed in this the meal is in progress, the lady of the country to the general use of plated house must appear to be entirely free knives^ and to the easy process of from anxietv as to the result. No won- polishing steel blades with one of our 226 THE ARCHITECTURAL RECORD. patent powders or by a simple buffing allows her dishes to drain as is the com- wheel, worked by foot power. mon practice. She removes every par- In the most approved system of serv- ticle of food into a proper receptacle, ing, where very large dinners are to be then clips each piece of glass, silver or china taken into consideration, the kitchen and separately, first into a wooden (or Mining-room are situated on the same metal) tub full of boiling hot soapsuds, floor, but lack ot space, especially in rubbing lightly with a white mop, the city house, often prevents this. The then into another tub of equally hot, clean kitchen must be in the basement, or water and dries it without delay on a more infrequently, on the top of the fresh linen towel, changing the towel when it Blouse, connected by a dumbwaiter with becomes damp. This may be the pantry. Before the architect's draw- done with the utmost rapidity, and the ings are finished a careful study should dishes set at once in their proper po- be made of the requirements, a list being sitions on the shelves. The intense heat made of things to be included so that drying off all moisture, the surface nothing can be forgotten. In every shines with cleanliness. This follows the household this list will vary. One house- pretty old-fashioned custom of our keeper keeps her tablecloths in her linen capable great grandmothers, who at- tended to room and the greater part of her china well the ways of their house- hold china in a closet she insists that the ; were too separate ; teacups precious in those to be entrusted to light from the window shall fall from the days clumsy and of right-hand side on the sink where her fingers danger chipping. maid is to wash dishes the window must ; DRESSERS. be high, so that people cannot look in. Whereas, her next -door neighbor will China and glass are kept on shelves wish all these conditions reversed and in dressers above the counter-shelf, order the window low down so that her large platters being arranged on edge, servants in working can watch the en- back of the piles of plates. Distance trance and be ready to answer the door between shelves varies according to the bell. All these items are the dis- size of the dishes petty, ; small shelves are set cussion of them tedious to the last in between the large ones, for tumblers, but add to and for the various small dishes degree, they immeasurably ; cups the comfort of a family, if considered hang on small brass hooks screwed up in the beginning and intelligently carried into the under side of the shelves. into execution. Places are carefully arranged for all kinds of COUNTER-SHELF. dishes, teapots, pitchers, etc., an arrangement of this kind encourag- The first thing to provide in a pan- ing order and neatness, as it is easy to try is a place to deposit the dishes, on put things at once where they belong. their way to or from the dining-room. Sliding gdass doors, running smooth- A wide shelf of wood running around ly with ball bearings on brass tracks, are the room gives ample space for this. provided to shut the dishes away from Sometimes, drop shelves are hinged to dust. the edge, to give more space if neces- RACKS FOR TRAYS. sary. Close under the lowest shelf of the SINKS. dresser nearest the dining-room door The next thing is to have a is a wire rack into which the silver trays for the dishes the most for the dishes place washing ; handling are slipped when convenient way is to have a sink (or not in use. several let into this wide sinks) shelf, CUPBOARDS. which is grooved and sloped near the sinks so that all moisture runs back into Under the countershelf cupboards the sink. The model housekeeper never are provided with shelves and paneled THE AMERICAN PANTRY. 227 doors. In these are kept the glass tow- in the majority of our houses. In con- chamois sili- els, skins, brushes, cloths, trast to this we recall one (since thor- con, soap, ammonia, polishes, extra oughly remodeled) which existed until mops, etc. two years ago in a very handsome house PLATE WARMER. on Fifth Avenue. Built at a time when heavy black walnut was in fashion, it One division under the counter-shelf displayed the most massive and exagger- is devoted to the plate warmer, heated ated rolls and mouldings around the by steam, gas, or hot water, where plates doors, the tops of which being semicir- and sometimes the dishes are kept at cular, added to the general confusion. proper temperature till their term of The place was long and narrow, made service comes. narrower by an inconvenient back stairs which REFRIGERATOR. went up from the pantry not down, you had to go out in the hall to Under the counter-shelf also, a small get to the kitchen below. It was full of refrigerator is built in. When salads or doors, bvit there was no window, no desserts are prepared in the pantry, they are left here with the waitress' store of cream and wine, which are under her care, not under that of the cook. DRAWERS.

Drawers are of sizes planned varying D CZ1 according to the sizes of things they are to contain. Silver is gen- erally kept on or in the sideboard in the the linen dining-room ; sometimes also is kept there. If not, small drawers are here provided, divided into compart- ments, and lined with felt, for all sizes of knives, forks, and spoons. One very n n nn long drawer is necessary for tablecloths which are rolled on a roller at the laun- First Pantry Elevation Towards Dumbwaiter. dry, to be laid without a crease on the dinner table. Napkins, serviettes, tea- outside ventilation that had been cut table each have cloths, centres, etc., off by a wing added to the rear of the their As a the linen in places. rule, only house. The cupboards, plumbing, etc., daily use is kept here. One drawer is were as inconvenient as could well be devoted to can- corkscrews, graters, imagined. The best china had to be and various small tools and openers, transported on the dumbwaiter to the "Yankee notions." fourth floor every time it was used. The In a the planning pantry fittings owner rather objected to the improve- should be laid out on a scale carefully ments proposed as it "seemed a shame and the drawing, approved by owner, to paint or remove handsome walnut before the final drawings are made at woodwork like that !" full size. In few dust-catch- detailing, FIRST PANTRY. ing mouldings or other projections wide should be introduced, simplicity being The first, a room seven feet of the first importance in a serving by twelve long, in a large old-fashioned room. house, has been remodeled from one Three pantries are described here, somewhat resembling that described with a view to giving as many useful above. It now rivals the most mod- ' old wood- hints as possible : ern in convenience. All the The first is the kind of pantry needed work, the clumsy black walnut, the 228 THE ARCHITECTURAL RECORD. heavy ugly old shelving, with swinging having been provided for these very glass doors, and turned baluster sup- necessary articles. Shallow shelves hold ports, the stuffy boxed-in plumbing were bottles and boxes for cleaning things, torn out and ruthlessly cast away. Then also a tool box divided into tiny com- the ceiling was planed off, the elab- partments, containing a supply of tacks orate plaster cornice removed and re- and nails, a few screws, screw-eyes, placed by a simple cove at junction of etc., a tack hammer, screw-driver, wall and ceiling. A perfectly plain trim patent awl, etc., ready for use in any five inches wide with edges rounded off emergency. This closet is very small, finished the window and door openings. merely an annex to the housemaid's All of the new woodwork was carried closet on the second floor where the out in well-seasoned pine, painted and main supplies are kept in quantity. enameled white, carefully rubbed after The pantry sink and counter-shelf each coat to give an effect of ivory were set an inch and a half higher than smoothness. is usual, in order that the maid might The heights of the openings and the work without stooping over. The sink spaces left on the walls were carefully was placed at the right side of the win- measured. It was necessary to have dow, as it is always best in working to

J1INJNG,

a'- o" THE FIRST PANTRY PLAN. stairs leading down, to the kitchen from have the light come from the left side. the pantry as before, but they were re- The sink is of tinned copper with oval arranged, without dangerous winders, bottom, with plug and chain. In this and made fairly easy. They take up an dishes can be safely washed without fear inconvenient amount of room, although of breakage. It was set in a wide heavy part has been utilized by a shelf over hardwood drip shelf grooved and grad- (which answers for a serving table) and ed so that all drip water would drain by a dresser over that again for rarely back. The wall under and back of the used china. sink was finished in white tiles. All ex- The clumsy noisy old dumbwaiter was posed piping and the high pantry fau- replaced by a compact little one of mod- cets were nickel plated. The hot water ern design, weighted so that a touch cock was threaded for the attachment sets it in motion, not a sound betraying of a short rubber hose with a spray at the fact of its operation. In the waste the end for rinsing dishes. Over the space between the dumb-waiter and the sink were folding rods, also nickel plat- dining-room door, a small triangle was ed, for towels. Shallow shelves in the partitioned off for a closet large enough small cupboard at the side held the nec- to hold a broom, brushes, dusters, etc., essary cleaning cloths, bottles, etc. no accommodation on the parlor floor On the opposite side of the room, a THE AMERICAN PANTRY. 229 small refrigerator was fitted in under the Two inches below the widest dresser a counter-shelf, a simple boxlike affair, light rack was fastened to hold trays. made by the plumber, of tinned copper, This was made of light strips of metal, with a narrow compartment at the side, nickel plated. which can be removed to the kitchen In one dresser the shelves were made and filled with ice. movable, like book shelves, so that they The plate warmer, a metal box with could be raised or lowered at will. slat shelves over a reservoir filled with The sliding sash extended up as far hot water was kept at even temperature as the shelves could be conveniently by a gas jet. Both plate warmer and reached from the floor. Above this, the refrigerator were protected by a thick space was filled by small cupboards covering of asbestos, and an additional closed in by doors, where the reserve airtight covering of metal. stock of china was stored out of the Ample space over the counter-shelf way. In the corner, under the counter,

THE FIRST PANTRY. Elevation towards the Stairway. was left for the placing of high dishes, a strong little set of folding steps was pitchers, etc. No supports under the tucked away ready for use whenever it dresser were allowed to interfere with was necessary to get at the high cup- this space. boards. The width of the dressers above was A drop shelf was hinged in front of carefully calculated, and comfortable the window. The window itself was quarters provided for every platter and screened by full white sash curtains and dish. Some shelves were only ten inches holland shades. Extra sets of curtains wide, others over fourteen. This, with were provided so that a fresh set could the necessary allowance for the width of be shirred on each week. the sash sliding past each other in the Cork flooring in small block pattern, two tracks in front of the dresser, made proved very satisfactory, being soft un- the total width fifteen and eighteen der foot, noiseless, and easy to keep inches. clean. RECORD. 230 THE ARCHITECTURAL

SECOND PANTRY. hung up under this drop shelf. Her quaint assortment of gayly flowered In marked contrast to this is a tiny crockery, gathered in student days built into a nook in a studio pantry, abroad, forms an inviting picture, and an but by ingenious impecunious simple meals, prepared over her little art whose entire suite con- student, gas stove, have a homelike flavor lack- sisted of the studio with a small bedroom ing in the more elaborate ones eaten in and bath adjoining. Her needs forced the restaurant. THIRD PANTRY.

A third pantry is an adjunct to the house of a woman of large means. The kitchen itself is in its way per- fection. The walls and floors are tiled, the of hard if ceiling plaster ; necessary the hose may be turned on in cleaning the room. The electric and coal ranges are of latest model but all that, as Kip- ling would say, "is another story." This space is reserved for the description of the large pantries which connect it to the dining-room. From the pantry or serving room adjoining the kitchen start two electric dumbwaiters and a staircase, which end in the pantry above, a large well-lighted room, fitted up with- out regard to expense, to suit the own- er's tastes. The idea in the beginning came to her while examining some Ro- man ruins. The beauty of the arrange- ments for the baths, the costly simplicity of the marble and terra cotta which en- her to contrive some convenient way of crusted walls and seats, even the rather concealing the corner where her cups crude but effective means' of providing and plates \vere stowed away after her hot and cold water, appealed to her coffee was made in the morning. Her strongly. She resolved that on her re- regular meals were taken in a neighbor- turn to her native land, she would re- ing French restaurant, but the early cof- produce the general effect in a room in fee and five o'clock tea or late supper her own home. were comforts to be had at home. Her The first thing that struck her was the accommodations were limited, no space perfect adaptation of the material to the in her studio could be conveniently service required of it, next the beauty of spared, but after much thought a niche the workmanship. She resolved that two feet wide and six inches deep be- with all the resource of modern times at tween two piers, was screened by a her disposal, she could certainly turn heavy cotton curtain exactly matching out something that, while absolutely fill- the green wall covering in tone. Her ing every need, would also please the store of cups and plates were arranged eye by the fineness of material em- on shelves, spaced at unequal distances ployed. feet to the ceiling. A small bread board two The room, twelve wide by twenty feet square was hinged to one of the four long, with a domed ceiling, is shelves, forming a drop shelf or table. abundantly lighted by a large window at The bright copper tea kettle and blue one end. The floor, of marble, in grey and white enameled saucepans were and pink, is connected with the tiles on THE AMERICAN PANTRY. 231 the walls by a coved moulding. Glass the car from jars even when run at top doors flush with the walls protect the speed. A tube at the side of each com- shelves behind them, the shelves them- municates with the pantry below, from selves being of heavy plate glass on which the food is sent. No one at the nickel plated supports. dinner table can possibly overhear re- A refrigerator, cooled, as is the cold marks made by the butler and his sate- room off the kitchen, by currents of lites to the chef or his force in the brine from the refrigerating plant in the kitchen. A telephone here connects basement, lined with porcelain tiles and with all the important rooms in the house. In the butler's own room, which <>/' house, adjoins this pantry, is the long distance over which his orders to *(. Tie telephone tradespeople are given when necessary.

2Vo s/ia/T - Built in the wall at the rear is a large well-lighted silver room. Burglars feel discouraged when they consider the clever contrivances for f/an. h i* many rendering try, its valuable contents absolutely secure. The thick iron door, swinging heavily on sootless within and without, holds such its hinges, concealed in the paneling desserts and supplies as come directly when closed, is the only sign of the safe- under the butler's eye. guards employed. Inside rows of wide A closet, heated by electricity, keeps shallow drawers, white like the rest of plates and dishes warm. Next to it is an- this immaculate place, hold dozens of other, a hot closet, where everything forks, spoons, etc., arranged with ex- may be kept at a higher degree. Elec- quisite regularity on soft white mats. tricity, here as elsewhere in the house, Heavy pieces of plate, removed at night retains the temperature at any given from the sideboard, are placed each in point. its own particular niche in this great A large cupboard holds stores of linen, safe. towels, and fine and coarse cloths for The wide counter-shelf and the table every use. A small chute near the sink, running down the centre of the room leading to the laundry below quickly are of marble, the three sinks of por- disposes of soiled linen. celain. No woodwork shows anywhere,, Two electric lifts from the kitchen, even the dressers being fited up with convey the food from the kitchen. A plate glass doors set in narrow nickel- system of springs and liquid checks keep plated frames. Kathcrine C. Bndd.

Perspective Sketch of the Third Butler's Pantry. 232 THE ARCHITECTURAL RECORD.

THE BARCLAY BUILDING.

Broadway, New York City. Stockton Colt, Architect. NOTES ^COMMENTS

Mr. R. Phen6 re- SPIER'S Spiers Mr. Spiers is a practiced draughtsman, and ceived much honor, last a water-color artist whose work can be ARCHI- when there was TECTURE February, trusted for its accurate presentation, and a special gathering, in therefore those photographs which are taken EAST London, of architects and from his drawings are of unique value. One desirous to ac- AND students of these sho\vs an interior of the great the WE.ST knowledge important mosque at Damascus as it was in 1866, long that he has done for work before the ruinous fire, and the results of that them. This a meeting was followed by com- ccnflagration are shown in photographs from dinner and plimentary was accompanied by the building itself; and those photographs al- the of these presentation special memorials so are generally inaccessible, for they do not a bronze medallion Edward portrait by seem to be in the market at all. So there is Lanteri, of which smaller copies were dis- a picture of certain details in the Byzantine a collection of architectural tributed, books, church at Murano in the Venetian lagoon, and a volume of Mr. Spiers' essays made from a very delicate drawing which, specially gathered for the occasion, pub- however, is not signed, and another of details lished by B. T. Batsford, and bearing from the palace at Rabbath Ammon. date 1905. The volume in question There are others nearly as remarkable, such has reached New York and contains as Fig. 86, an elevation of a part of the an- three preliminary pages about the testimo- cient palace at Diarbekr. R. S. nial, and then the frontispiece a photograph of Lanteri's bas-relief, and, facing that the title-page of the volume itself. This vol- Some of the warehouses ume is of 269 pages; it consists of nine es- and factories which are all the SOME says, illustrated, pictures being some- brought to notice are in- times full-page sometimes half- half-tones, NE.W YORK deed so interesting that tones printed in the and still more often text, thev offer a vague hope of cuts of the nature of COMMERCIAL diagrams explanatory a new architecture based plans and the like pictures for reference BUILDINGS upon construction and and not for decoration. plan, upon purpose and The papers are not always new. The very It will not even valuable and complete one on "Mahometan logical significance. surprise the designers of the Colon- architecture," 45 pages long, was read before pseudo-Roman nades to hear it once more that such the Architectural Association in 1888; that urged as that is our main to have on Saint Front of Pfiriguex and its kindred designing hope churches before a general meeting of the R. an architecture at all. It is not an archi- I. B. A. in 1896. A curious study of the in- tecture, the building of more neo-Roman col- fluence of Greek art on that of Persia was onnades, no matter how carefully the pro- ' printed in "The Builder" in 1904. But the portions are studied from the best models of reader may be assured that the papers, old old time. and new, long and short, are of extreme in- Our photograph, Fig. 1, shows in the mid- terest, and that the volume will repay care- dle distance a building which has been given ful reading, even to the taking of one essay before in these columns, the Oxley-Enos at a time, and that followed up by reference Building on Seventh avenue, at the corner to the authorities cited. For frequent refer- of West Sixteenth street, in New York City. ence, after the volume has been set up on its When that photograph was made (see the permanent shelf, the index of nine pages, Record for February, 1904: Vol. XV., p. which refers to notes as well as to the body 127) there was a row of old-fashioned three- of the text, suffices making the book into story fronts adjoining it on Seventh avenue, a handy encyclopedia concerning what Is ?.s indeed there was on the street. Since that known of Persian, Byzantine, Levantine and time the large building at the corner of West early French round-arched building. Fifteenth street has taken shape and this, TUE ARCHITECTURAL RECORD.

FIG. 1. THE OXLEY-ENOS AND THE STREET & SMITH BUILDINGS. Henry F. Kilburn, Architect of the Street & Smith Building.

7th Ave.. from 15th to 16th Sts.. New York City. NOTES AND COMMENTS. 235 which we shall call the Street & Smith peat the note of that porch at the other end Building, fills up the whole block on Seventh of the front. For observe the two great piers avenue from the property line of the Oxley- which in so very fortunate a way bound and Enos Building. It is a good deal larger and limit the avenue front on the left and on the somewhat more pretentious, and without be- right. That use of corner piers is a feature ing so exceptionally happy in design as one which there has been occasion to comment or two buildings named in the earlier chap- upon before, in the De Vinne Buildins-, in the ters of this discussion, it has great merit Judge Building, in the Tarrant Building, in Suppose that such buildings as this were to the more simple buildings on West Twenty- be built on Fifth avenue, between Thirty- sixth street: and the possibility of piercing fourth and Fifty-fourth streets, to-day! The so great a pier as this with windows of nor- first feeling, even of believers in the realistic mal and useful size, makes that architectural and the logical in architecture, would be that feature natural and easy to introduce. In this plain brick front, without attempted the case before us there is, indeed, a sus- mouldings and sculpture and traditional lay- picion that the corner pier is a little too out, was really a little out of place; but much broken up by these windows; that win- would not the second feeling be that a slight dows here might have been made with sills modification of that system of design would higher above the floor or divided differently result in the true street building of the fu- with three small, narrow lights instead ot ture? Suppose that the same spirit which two larger ones, or in ?ome such way differ- influenced the Judge Building (for which see entiated from the rest of the front even more the Record for January, 1904, Vol. XV., p. than they now are. That is a counsel of per- 11) were to inspire the designer of the next fection. The presence of the piers is a most big strenuous business building! Suppose fortunate thing, and again let- it be said that that some such refinements of massing and the one on the right seems to need a detail at moulding were attempted! Suppose, as we the base which would seem to repeat in a way may, more readily indeed, that moulded the pale, smooth mass of the porch. Apart bricks were ordered from carefully drawn from that, how good and satisfactory is the profiles, giving five or six different possible building! It is one more instance of the groups of mouldings about the larger and widely spread, and on the whole, fortunate the smaller windows and doers, and that the tendency to use the plain, hard, square-edged cornices were considered also in the light of bricks of commerce in slight relief and slight such modification as these bricks would al- depression, getting thereby effects of color low. In other words, let us assume without the use of colored material. For that the architect to whose lot it indeed the shade line and the shadow line shall fall to build a rather lofty business on a red brick wall have color of much in- building on Fifth avenue next fall, not a terest, and that would be more plainly seen steel-framed skyscraper, should decide to be were there not the greater contrast of the as modern in his methods of proceeding in white stone lintels and sills. It is hardly design as in construction. He would nat- worth while to dwell upon the details of th* urally look about for methods of decorative design because the principle underlying it treatment, and in addition to the mouldings all is sufficiently obvious. The only desider- so easy to procure he might ask for a atum which it suggest* is that of a system of bit of cast brick or terra-cotta, giving wall-cornices for these buildings which have slightly more elaborate decoration than thosg no neo-classic pretensions at all. The brick mouldings anthemions, or ball-flowers, cornices of Mr. Hunt's buildings named above coves with leafage laid in them, or bits with are just so far irrational that they suggest leafage to envelop them for, indeed, there too much the mediaeval fortifications, the is nothing non-modern, nothing unworthy of machicolation which accompanies and sup- of a realistic design, nothing illogical, in the ports the battlements of many a fortress addition of carved or cast ornament of any feudal days. Cornices like the one shown In richness which the owner's purse may allow. Fig. 1 suggest again the classical entablature It is the old-fashioned, the traditional, the of the architectural school. To offer prizes accepted architectural ordonnance, the fenes- in the Architectural League or elsewhere for tration of the palazzo and the "flve-orders," designs for wall-cornices would be a good that the practical requirements of to-day for- move. "Required, designs for the topping bid absolutely. out of high walls of city buildings in cases The Street & Smith Building we take to where no roof is to be visible above the walls, be 125 feet wide on the avenue, with a white and where nothing but a gutter, if even that, courses ol stone porch of entrance at the extreme left, is to be masked by the uppermost and a great need of something to echo or re- masonry. Required, two forms of the de- 236 THE ARCHITECTURAL RECORD.

FIG. 2. THE STREET & SMITH BUILDING.

7th Ave. and loth St., New York City. Henry F. Kilburn. Architect. NOTES AND COMMENTS. 237

sign; the one with a pierced parapet of some petition among youthful designers. The ex- form whether with a continuous straight terior fire-escape so properly called for by horizontal line to bind it, or the broken line our laws let that be treated as an archi-

suggesting and suggested by battlements tectural feature. There is, or was, in a street but in any case something that will break on the east side of town and below East the sky into the wall and the wall into the Fourteenth street, an instance of the fire- sky: the other without such accessory, but escape treated as a staircase in a well sur- with all its effect procured by the light and rounded by masonry Avails, and wholly open shade and shadow below the gutter-member, to the street, although enclosed within the the cyma recta or crownjng moulding of dif- building line. Even if that stair should ferent form." That is a programme which exist no longer, the architectural designer one would like to see laid before the archi- might see his way to recreate the thing in tectural students; or, failing that, the pro- his mind; and really it ought to pass into

FIG. 3. STABLES FOR ARNOLD, CONSTABLE & CO.

7th Ave. and 16th St., New York City.

gramme which any designer may set to him- permanent shape as one of the features of self or to his assistants. There are and there New York City architecture. There is an have bten the excellent pierced parapets of example at the southwest corner of Lexing- the Hanan Building in Center street, the ton avenue and 34th street, and in this a Judge Building in Fifth avenue, as it was be- very different scheme is adopted. Modi- fore the recent alterations (for of each of fications of that system also would be in- these there has been discussion in the Rec- teresting to study out. ord), and of larger buildings which as yet And now, as this block on the lower west have not received their meed of critical side is interesting, as we have seen, so is the notice. block opposite interesting in a way by the Fig. 2 shows the Street & Smith Building presence there of another new building, sim- more completely, giving the front on West ple and without startling features, and yet Fifteenth street and the elaborate system of worthy of mention as a bit of sensible street- iron ladders which makes up the fire-escape. front designing. Fig. 3 shows the stables of There seems to be a chance for another corn- Arnold, Constable & Co., and it is good to 238 THE ARCHITECTURAL RECORD. see reminiscences of the Italian palazzi, of had been more fruitful in evidence that pub- the big street fronts of Ferrara and lic opinion is alive to the subject. "The Bologna, struggling with the disposition to principle for which Scapa eleven years ago build a very simple brick building. The cas- set itself to secure recognition is now con- ings of the windows in the architectural stantly upheld in the leading journals. The basement both the square ones and the Institute of British Architects has lately oculi above them, are terra-cotta castings taken action which has done much good. A with some little pretension in the way of no less encouraging symptom is the manifest adornments added to the run of continuous determination of many landlords and other mouldings, but the casings of the great door- owners to exclude defacing notices from the ways are not so elaborate and the window- sphere under their control." In so far as this heads of the windows in the wall above are subject relates to the plastering of building as simple as possible, easy to build of brick fagades with signs, it is, one may add, of as flat arches, although in this case they are great concern to architects, whose good work cast in one block as a terra-cotta lintel. And is often thus ruined the moment it is com- this simple building gives one a chance to pleted. The bulletin closed with some very notice and to say how very different the fa- pertinent and suggestive extracts from the miliar old business of rustication is when proceedings of the House of Commons during treated in brickwork. One gets to abhor a discussion of the changes in the Mall and rustication when it consists in dressing the St. James's Park. John Burns said that faces of handsome blocks of stone with little when there was a clear road from Bucking- splays or rebates around their edges; but ham Palace to Charing Cross, the most prom- when every seventh course of brickwork is inent object would be a certain illuminated recessed three-quarters of an inch or so in advertisement on * * * * and he hoped order to draw a line of shade on the front, the noble lord would use his influence to have how sensible that seems and how pretty is this advertisement removed. Replying, Lord the effect! If it were not for the too cum- Balcarres (for First Commissioner of Works) bersome parapet, what a good building said, With regard to the advertisement nuis- would this three-story "horse hotel" afford! ance, every one who walked down the Mall R. S. at night must have noticed that the adver- tisement to which attention had been called, with its royal monogram and imperial "Scapa," the English So- crown, flashed its message to the very win- DEALING ciety for Checking the dows of the sovereign's palace. The Office Abuses of Public Adver- of Works had no WITH jurisdiction in the matter. ADVER- tising, has recently issued All he could say was that by drawing public TISEME.NTS a bulletin containing a re- attention to it a stimulus would be given to sume of its efforts of last IN E.NGLAND the great movement which was now on foot year. These bulletins are to give to public authorities the right to reg- always interesting read- ulate this nuisance. Cheers interrupted him ing, though last year proved more bare of at this assertion. results than is usual. This is because the society's exertions were mainly devoted to a fruitless endeavor to get a till through Par- The continuing and even liament that should assert "the principle that BALCONIES growing interest in there ought to reside somewhere legal au- Louis H. Sullivan's treat- thority to prevent, in specific cases, grossly FOR A ment of the skyscraper disfiguring developments of advertising." The SULLIVAN problem needs no com- legal authority was to be a local authority. FACADE? ment here. If proofs were It is interesting to note that among the required of that interest, precedents brought forward in support of the it would be found in the bill was the American legislation which gives constant recurrence of dicsussions of the to park commissioners the power to make work. At a recent club meeting, when the reasonable regulations concerning the dis- talk turned to his Prudential Life Building play of advertisements so near to parks and in Buffalo, a suggestion novel as far as the parkways as to tie visible therefrom. Hap- writer knows was advanced, in all humility, pily the story of the signs on the Bryant that the structure might have been improved Park fence in New York seems not to have by a use of iron balconies. The speaker, ad- crossed the sea to negative the good im- mitting everything that was said in favor of pression these citations were making! Apart the building, and himself a vigorous admirer from the failure to enact this attempted leg- of Mr. Sullivan's sincerity, maintained that islation, the bulletin remarks that no year the lateral view of the building the view THE ARCHITECTURAL RECORD. 239

from the same side of the street, when one cony would not become obtrusive in the di- looked along the structure's side; or from rect view, nor would it unpleasantly jar up- any point at which the recessed windows and on the studied monotony of the facade. From horizontal courses become invisible was not such a point the balcony would then be ab- pleasant. Neither, he thought, was it truth- sorbed in the facade, while seen from the ful. And owing to the location of most high lateral point of view it would offer with wel- buildings, this is the view that unfortunately come visual effect a bridge across the narrow must be usually had of them. In the case of but dark and uncertainly deep chasm be- the Prudential Life, looked at in this way, tween the piers. the eye, he thought, suffered a series of as it tried to travel checks or rebuffs along In an article headed, "The American Coun- the after its facade, pier pier opposing pro- try Estate," in the July number of the iron balconies he sug gress. Light would, "Architectural Record," we devoted some gested, carry it restfully from one to an- space to the handsome volume recently pro- other. They would 'be justified by their utili- duced by Mr. Barr Ferree. By an oversight, tarian function; their material would fit- we did not state that Munn & Co., publish- tingly and charmingly sugggest the structure ers of "Scientific American," 361 Broadway, of the building; and their essential horizontal New York are the of the lines would indicate the connection that actu- City, publishers volume in the correct title of which ally exists between the piers; while he question, is "American Estates and Gardens." The thought that if, between the outside iron girder of the balcony floor and the iron-guard reader, interested in the finer residences of will rail, there was provided a protective shield the United States, find this book most of terra cotta, similar to the horizontal valuable and interesting. The illustrations courses of the rest of the building, the bal- are particularly fine and complete. "The Book of the Catalogue"

A Department Devoted to Items of Interest Regarding "Sweet's Indexed Catalogue of Building Construction"

This department of the "Architectural Rec- Twenty-six hundred architects, besides ord" is devoted to keeping- the architectural many thousands outside of the profession, profession, builders, house-owners, and others have endorsed this plan in writing. "A bril- informed concerning the field of building- in- liant idea," says one architect; "the very formation covered by "Sweet's Indexed Cat- thing that is wanted," says another; "the real alogue of Building Construction." This build- solution of our catalogue difficulties," says a ing- material field is quite as important and third; "after this I shall ask building- mate- scarcely, if at all, less interesting- than the rial houses not to send catalogues to me," "art side" of architecture. It is of the ut- says a fourth the story is similar to the most importance to architect and owner alike end of the twenty-six hundred letters. that they should be promptly, reliably, and readily with supplied up-to-date news of "Sweet's Catalogue" is to be in all archi- materials building and building- equipment. tects' offices. If you are an architect and The "promiscuous catalogue" does not supply have not sent in your name, do so promptly. this information. The architect gets too many Remember, a copy of this work, which will of these to read and they are so "built" that it cost more than one hundred thousand dollars Is almost to refer impossible to them handily, to produce is sent to you entirely free of besides they are all of different sizes and the charge, provided the publishers are assured of preservation them in a cheap, ready, avail- that you will keep the work in constant use. able form has hitherto been an impossible task. Hence "Sweet's Catalogue" and this We append a partial list of firms who have department, which will keep "Sweet's Catal- taken the first towards the ogue" up-to-date. step abandoning- present expensive and inadequate method of distributing information to the architectural The entire architectural profession has profession by means of the "promiscuous condemned the present catalogue method. catalogue." The list is worth studying, as it Architects declare that at least 75% of the exhibits some of the most progressive firms money spent upon catalogues is, so far as in the country. It will ba noticed that these they are concerned, thrown away. Most cat- are the firms that are doing most of the im- alogues go into the waste-paper basket un- portant work now under way. read. Nevertheless, the architect needs cat- alogue information, but he wants it in a shape so that he can refer to any particulai Building material firms can now keep the item precisely as he refers to a dictionary or entire architectural profession thoroughly encyclopaedia. Think of a dictionary in the posted for about one-tenth of what it cost shape of three or four thousand loose book- previously by putting their catalogue in lets of every conceivable size, shape and "Sweet's," and then using- space in the adver- color! Think of referring to it for precise in- tising pages of the "Architectural Record" in formation! "Sweet's Catalogue" will entirely order to announce each month any novelties do away with the "catalogue evil." It will or changes in their goods or prices. After place in the architects' specifications rooms this, it is valueless to spend a dollar else- an encyclopaedia or dictionary of building where, because "Sweet's" will be the working material. It is THE BOOK of catalogues tool in the specification rooms of the archi- all catalogues of the same size, all compiled tectural profession, and the "Architectural according to a logical scheme, all arranged in Record" possesses at least three times the reasonable order, and all prefaced with a circulation of any other architectural publi- scientific cross-index by means of which al- cation. "Sweet's" will be handsomely bound, most any material or make of material may of the highest typography, and printed on the be turned to in an instant. finest paper. It will be published in the fall. THE ARCHITECTURAL RECORD. 241

The "individual catalogue," distributed pro- ment. All that is necessary is to put miscuously, is about as justifiable as it would "Sweet's" on the specification table and later, be were the men who issued them to insist for anything wanted, turn to the Index. Some upon traveling at any hour and upon special architects have tried to "do something" trains. It is easy to figure how costly and in- with a few of the promiscuous catalogues efficient this system of locomotion would be. they have received in the course of a year. Just as easy to figure the same result with It has cost them several hundred dollars per the catalogue. When "Sweet's" arrives at annum to achieve a little order in chaos. an architect's office, every catalogue that the "Sweet's" will relieve the architect of this architect will want arrives at the same mo- difficulty and expense.

Practically all the principal manufacturers of Building Materials and Equipment have arranged to have a digest of their catalogue included in "Sweet's" Indexed Catalogue.

The following are some of those who will be represented in the work :

Acetylene Apparatus Mfg. Co. Carlson, Conrad. Federal Electric Co. Allith iMfg. Co. Carpenter Co., F. EX Filbert Paving & Construction Co. American Art Marble Co. C&yuga Lake Cement Co. Fireproof Building Co. American Enameled Brick & Tile Central Foundry Co. Fireproof Door Co. Co. Central Iron Wks. Fitzpatrick, F. W. American Encaustic Tiling Co. Chamberlin Metal Weather Strip Fleck Bros. Co. American Luxfer Prism Co. Co. Flint Granite Co. American Machinery Co. Chesebro, Whitman & Co. Flour City Ornamental Iron Wks. American Mason Safety Tread Co. Chester Mantel & Tile Co. Folsom Snow Guard Co. American Porcelain Co. Chicago Clothes Dryer Wks. Ford Co., Thomas P. American Prismatic Light Co. Chicago Hardware Co. Frost Mfg. Co. American Terra Cotta & Ceramic Chicago Spring Butt Co. Frink, I. P. Varnish Co. Chicago Co. Galloway, Wm. Tin Plate Co. Churchill American & Spalding Gamewell Auxiliary Fire Alarm Co. American Tin Terne Plate Co. Cincinnati Co. & Mfg. Oast, F. J. Varnish Cliff Guibert Co. American Co. & Geetzy Co. Co. Clinton Wire Cloth Co. American Ventilating General Fireprooflng Co. Post Iron N. Anchor Wks. Cole, George Gilbert & Barker Mfg. Co. Johnson Co. Colt J. B. Andrews & Co., Glen Mfg. Co. Artificial Columbia 'Marble Co. Heating Co. Globe Mfg. Co. Artiste Craftsmen Co. Columbian Co. & Fireprooflng Globe Roofing & Tile Co. Associated Expanded Metal Co.'s. Consolidated Rosendale Cement Co. Goodale Marble Co. Asbestos & Magnesia Mfg. Co. Continuous Glass Press Co. Goodhue, Harry E. Atlantic Terra Cotta Co. Cooley, Wm. H. Goodyear Tire & Rubber Co. Atlas Portland Co. P. F. Cement Corbin, & Goulds Mfg. Co. Automatic Mail Co. Cornell J. B. J. Delivery Co., & M. Graf, Frank H. Ashtabula Mfg. Co. Covert Co. H. W. Graff Furnace Co. Anstheimer, Hans Crook, W. T. M. T. Cragln. Grand Rapids Carved Moulding Co. Creamery Co. B. & 9ons Co. Package Mfg. Grand Rapids Refrigerator Co. Badger, R Crocker-Whee'.er Co. Barber Asphalt Paving Co. Grant Pulley & Hardware Co. Bardsley, Jos. Dahlstrom Metallic Door Co. Griffin Roofing Co. Barnes & Erb Co. Darby & Sons Co., Edward. Gross & Horn. Barrett Mfg. Co. Davis Co., John. Grueby Faience Co. Baesett-Presley Co. De La Vergne Machine Co. Guastavino Co., R. Decorators' Benjamin Electric Mfg. Co. Supply Co. Hain&s, Jones & Cadbury Co. Co. Bernstein Mfg. Co. Deming Harris Safety Co. Detroit Show Case Co. Bernstein, S., Co. Hart Mfg. Co. Berry Bros. Dexter Brothers Co. Hartmann Bros. Mfg. Co. Bickelhaupt, G. Dow Wire & Iron Wks. Hascall Paint Co. Co. Binswanger Co., H. P. Duplex Hanger Hawes & Dodd. T. Bird & Son, F. W. Davidson, M. Hayes Co., George. Detroit Tile Co. Bird & Co., F. A. & W. Fireproofing Hayes Mfg. Co. Blanchard Co., J. F. Davis Acetylene Co. Heaton & Wood. Blatchley, C. G. Eadie Co., J. M. Hecla Iron Wks. Blue Ridge Marble Co. Eastern Sheet Steel Wks. Heine Safety Boiler Co. Bommer Bros. Eaton, Cole & Burnham Co. Herbert Boiler Co. Borough Bronze Co. Eco Magneto Clock Co. Herring-Hall-Marvin Safe Co. Brown Hoisting Machine Co. Economy Drawing Table Co. Higgin Mfg. Co. Broschart & Braun. Edison Portland Cement Co. Holland Radiator Co. Bruce-Merian-Abbott Co. Electric Utilities Co. Holophane Glass Co. Brunswick Refrigerating Co. Electro-Dynamic Co. Howard Iron Wks. Buffalo Refrigerating Machine Co. Elektron Mfg. Co. Howard Clock Co., H. Burdett-'Rowntree Mfg. Co. Elevator Supply & Repair Co. Humphrey Co. Burlington Venetian Blind Co. Ellis Co. Huntington Roofing Tile Co. Burrowes Co., B. T. Eureka Refrigerator Co. Hydraulic Frees Brick Co. Burton Co., W. J. EJxcelsior Terra Cotta Co. Hewitt & Bros., C. B. Blenio Fireprooflng Co. Fmpire Safety Tread Co. Ideal Register & Metallic Furniture Cummings, Robt. A. Enos Co. Co. Cambridge Tile Mfg. Co. Emmel Co. Imperial Clay Co. Caldwell Mfg. Co. Excelsior Steel Furnace Co. International Fence & Fireprooflng Carbondale Machine Co. Economy Paving & Const. Co. Co. Carey Mfg. Co., Philip. Farrin Lumber Co., M. B. Ives Co., H. B. RECORD. 242 THE ARCHITECTURAL

Jackson Co., Win. H. Narragansett Machine Co. Schroeder Lumber Co., John Janusch, Estate of F. G. National Filter Co. Scully Ventilator Co. Jewett Refrigerator Co. National Fireproof Paint Corp. Sedgwick Machine Co. Johns-Manviile Co., H. W. National Lead Co. Shirley Radiator Foundry Co. Johnson Temperature Regulating National Tile Co. Shone Co. Co. National Ventilating Co. Silver Lake Co. Xational Waterproofing & Cleaning Simmons Co. Kaestner Co. & Co. Simplex Concrete Piling Co. Co. Kanueberg Roofing & Ceiling Naturo Co. Sloane, W. & J. & Mattison Co. Keasbey New Construction Co., T. Smith Mfg. Co., E. C. Metal Keighley Ceiling & Mfg. New Jersey Zinc Co. Smith's Son, John R. Co., S. New York Fireproof Column Co. Soltmann, E. G. Kellogg-Mackay-Cameron Co. New York Mosaic & Marble Co. Spencer, Robert C, Jr. Oo. Kelsey Heating New York Prism Co. Spiers, R. N. Valve Co. Kennedy Mfg. Nonpareil Cork Wks. Sprague Electric Co. Kent-Costikyan Norcross Co. Stanley Hod Elevator Co. Ketcham, O. W. Northampton Portland Cement Co. Standard Concrete-Steel Co. Kewanee Boiler Co. Northwestern Terra Cotta Co. Standard Table Oil Cloth Co. Kewanee Pneumatic Water Supply Northern Electric Co. Stanley Wks. Co. Norwall Mfg. Co. Stevenson Co. Co. Keyatone Fireproofing National Fireprooflng Co. Stewart Iron Wks. Co. Plaster Co. Keystone Newburgh Brick Co. Storm Mfg. Co. Kinnear Pressed Radiator Co. Stowell Mfg. Co. Brick Co. Kitts Mfg. Co. Opal Sunlight Gas Machine Co. Elevator Co. Knisely Bros. Otis Swain Mfg. Co. H. Knisely Co., C. John Smith & Anthony. Kohler Bros. Peirce, Pullman Automatic Ventilator Co. Koppel, Arthur Taylor Co.. N. & G. T. C. Kinnear Mfg. Co. Prouty Co., Tea Tray Co., The Prometheus Electric Co. King, J. B., Co. Terwilliger Mfg. Co. Pressed Steel Tank Co. Koch & Co. Thatcher Furnace Co. Paddock, W. W. Thermograde Valve Co. Larsen, Antoii. Paltridge & Co., R. W. Thomas & Smith Lasar-Latzig Mfg. Co. Parker, Preston & Co. Thompson-Starrett Co. Lawler D. Charles Co., W. F. and Parsons, H. Thomson Wood Finishing Co. Lawrence Gas Fixture Mfg. Co. Peerless Brick Co. Tiffany Enameled Brick Co. Lawson Mfg. Co. Peerless Kitchen Boiler & Supply Toch Bros. Lindstam, S. F. Co. Trent Tile Co. Link Belt Engineering Co. Pels & Co., Henry. Trenton Potteries Co. Livezey, John R. Penn American Plate Glass Co. Truss Metal Lath Co. Lloyd Co., W. X. S. Penn Engineering Co. Truss & Cable Fence Co. Filter Co. Perfect Fresh Air Inlet Co. Loomis-Manning Tucker & Vinton Corp. Lord & Burnham Co. Perfect Window Co. Safety Guard Tuttle & Bailey Mfg. Co. Lorillard Co. Refrigerator Co Phelps Thomas, Roberts, Stevenson Co. Water Purification Co. Mackolite Philadelphia Fireproofing Co. A. J. H. W. Mannen Phillips Co., Underwood, & Esterly Co. Pitt Balance Door Co. TTnion Brassworks Co. Marine Philadelphia -Engine & Machine Co. Pittsburgh Plate Glass Co. Union Fibre Co. Marsh Co., Jas. P. Union Steam McCabe Plenty Skylight Wks., Josephus Pump Co. Hanger Mfg. Co. Portal Bed Co Unit Concrete Steel Frame Co. & Jas. McCreery Co., Porter Screen Mfg. Co. U. S. Radiator Co. McCreery Co., Joseph Power Specialty Co. TT. S. Mineral Wool Co. McFarland & Co., J. C. Powers Regulator Co. TJ. S. Wind Engine & Pump Co. McLain Co., S. C. Prescott & Son, J. B. Universal Safety Tread Co. Mechanical Metal Co. Mfg. Preservaline Mfg. Co. Utica Heater Co. Bell Co. Meneely Protective Ventilator Co. Menzel & Son, Wm. Van Kannel Revolving Door Co. Merchant Co. & Evans Co. Rambusch Glass & Decorating Co Variety Mfg. Merritt & Co. Ramsay, Andrew Vehicle Specialty Co. Mertz's Sons, George Rapid Heater Co. Voigtmann & Co. Meurer Bro.?. Co. Rapp, John W. C. J. Michigan Pipe Co. Wadsworth, Raymond Concrete Pile Co. ^'aring, & Miller & Bro.. Jas. A. Chapman Farquhar. Reading Stove Wks. Warner Co., Charles Milner Seating Co., A. B. Redlich & Co., Wm. F. Watpon Mfg. Co. Mississippi Glass Co. Reliance Ball Bearing Door Hang- Wheeling Co. Modern Steel Structural Co. Corrugating er Co. White Enamel Co. Moore & Co., B. B. Refrigerator Reno Inclined Elevator Co. White Construction Morgan & Co. Fireproof Co. Revis, Wm. H. 'Vhiiehall Portland Cement Co. Martin J. Monahan. Richards Mfg. Co. Whitman Co., J. Franklin Monarch Acetylene Gas Co. Richardson & Boynton Co. Whitley, John Monarch Water Heater Co. Rinald Bros. Wight-Easton-Townsend Co. Monroe Refrigerator Co. Roberts Mfg. Co. Wilcox Co. Montauk Fir P Mfg. Detecting Wire Co. Rock Plaster Co. Wilks Mosaic Marble Co. Mfg. Co., S. Rockoort Granite Co. Wilke Co. Mosaic Tile Mfg. Co. Roebling Construction Co. Muralo Co. Williams, John Ronalds & Johnson Co. ""lliams Pivot Sash Murphy Varnish Co. Co. Rookwood Pottery Co. Williams & Whitman. Manhattan Fireproof Door Co. Rush Acetylene Generator Co. Wilson Co., A. & S. Mueller Mfg. Co., H. ^iohardson Engineering Co. Wilson Jas. G. Murray Iron Wks. Co. Mfg. Co., Russell and Erwin Mfg. Co. Wimmer Murtaugh Co., Jas. Adjustable Window Shade Co. Mycenian Marble Co. Sackett Wall Board Co. Winslow Bros. Co. Municipal Co. Safety Window Lock & Ventilator Lighting Winslow E. Municipal & Contract- Co. Co., J. Engineering Wirt & Knox Co. ing Co. Sail Mountain Asbestos Mfg. Co. Mfg. Wood Mosaic Co. McCray Refrigerator Co. Damson Cordage Wks. Flooring "'nodburv Granite Co. Murphy Iron Wks. Sayre and Fisher Co. Wiener Ernest Co. Morse Co., F. E. Pealey & Co., Henry E. Maurer & Son, Henry J. Schouler, W. W. York Mfg. Co.