Fil
Vol. LI I CONTENTS Serial No. 3 SEPTEMBER, 1922 No. 288
Page "TOWARDS A NEW THEATRE." 171 By Claude Bragdon, F. A. I. A. Being a Description with Commentary of a New Type of Theatre Building, designed by Norman-Bel Geddes
THE PHI DELTA THETA FRATERNITY HOUSE, Cor- nell University, Ithaca, N. Y.: William McLeish Dunbar, Architect - - 183 By Albert C. Phelps.
THE KENSINGTON SCHOOL, Great Neck, L. I. : Wesley Sherwood Bessell, Architect 198 By Harold Donaldson Eberlein.
PORTFOLIO OF CURRENT ARCHITECTURE - - 211
THE OLD HOUSES OF MICHIGAN - - - 227 By Fiske Kimball.
THE ARCHITECT AS A FACTOR IN THE CONSTRUC- TION BUSINESS - - 241
By Thomas S. Holden, Statistician, The F. W. Dodge Company.
NOTES AND COMMENTS 245
COVER Water Color by Otto Eggers
Editor: MICHAEL A. MIKKELSEN Business Manager: J. A. OAKLEY Contributing Editors: GEORGE BURNAP HERBERT CROLY RUSSELL F. WHITEHEAD
PUBLISHED MONTHLY BY THE ARCHITECTURAL RECORD COMPANY 115-119 WEST FORTIETH STREET, NEW YORK
T. 8. MORGAN, Pres. M. A. MIKKELSEN, Vice- Pres. B. S. DODGE, Vlce-Pres. J. W. FRANK, Sec'y-Treas.
Yearly Subscription: United States, $3.00; Foreign, $4.00; Single Copies, 35 cents. Copyright, 1922, by The Architectural Record Co. All rights reserved. Member Audit Bureau of Circulation. - - r
A scene from the first act of Mr. Geddes' "Erminie" production, transported without change to his new type of theatre. Every spectator sees everything on the stage at all times. The entire scene yields a sense of luminous space and distance impossible in the existing type of stage. The point of sight in this drawing is from the seat farthest from the stage.
one hundred seventy " TOWARDS A NEW THEATRE " BY CLAUDE BRAGDON, (FA.I.A)
a Being a Description With Commentary of New Type of Theatre Building designed by Norman-Bel Qeddes
has contributed little to greater freedom of position and move- AMERICAmodern dramatic literature the ment: up and down, back and forth, as best plays of recent years have well as to right and to left. been importations. There are, however, But the greatest liberation they would certain individuals working in our theatre accord to the dramatist. The playwright or more often outside it, beating at its brought up in the school of the theatre doors in vain who are concerned with is accustomed to limit himself to one or what has come to be called the art of the two scenes to an act, or to a single scene theatre, and such of their stagecraft as throughout an entire play. He takes they have succeeded in presenting has these restrictions so much for granted won for them an acclaim frequently de- that (unless reminded by Shakespere and nied to the actor and the dramatist. They the Elizabethans) he thinks of them as in- have brought about this strange inver- herent in the dramatic form, instead of as sion of values without in the least in- imposed by the form of the modern thea- tending to do so, simply by the force of tres. Unconsciously also he confines him- their sense of beauty their superior self to what he knows can be represented consciousness. by means and methods with which he is These artists, in spite of an unlooked- familiar he clips the wings of his imag- for initial success, so far from being con- ination to keep it in the barnyard, as it tent or complacent, are in revolt not only were. In brief, the modern dramatist, against existing conditions, but against without himself realizing it, has come the physical limitations of the theatre it- to think of the drama in terms of stage self. What they are coming to desire and representation, with the result that his discern is a new and different theatre; creative imagination is not stimulated into and this not so much for the use that activity by. the flux of life. Inevitably they themselves might make of it as for writers of more untamed imagination and the sake of the audience, the actor and dearer lovers of life have sought an out- the dramatist. let through the more flexible form of the For the audience they seek a closer novel, the tale. communion, one with another; a fuller Now the release of audience, actor, participation; increased facilities for see- or dramatist from the restrictions imposed ing, hearing and enjoying; a sublimation by the existing type of proscenium or of the emotions and the imagination "peep-show" theatre, is not, of course, go- through new modes of sensuous appeal. ing to re-create the drama. That rena- For the actor they seek release from scence depends on the movement of con- the limits of his proscenium picture sciousness and upon that alone. As long that of frame, where he appears remote, flat, an as the theatre temple the human continues to be as "a real image moving in a pool of light like a spirit regarded fish in an aquarium. They would restore estate proposition" and is exploited as him to the world of solids, of three-di- such, no flower of the spirit will bloom or mensionality, by enabling him to be seen flourish there. No fact is better estab- - "in the round"; they would accord him lished than that the money getting one hundred seventy-one THE ARCHITECTURAL RECORD.
consciousness is aesthetically sterile. have revolutionized European stagecraft But evidences are not lacking of a (in its finer manifestations) and even in- transformation of consciousness, of the fluenced its drama are completely un- pressure, both without and within the known in the modern American theatre, theatre, of a fresher and more abundant wherein the comfort of the playgoer has life. Because the artists to whom I have been increasingly considered, but the con- referred feel in themselves this pressure, venience of all back-stage functionaries, because they believe in "a fount about to including the actor's, has been consid- stream,'' they want to fashion a more ered less and less. To sum it all up in perfect vessel for the poured out creative a phrase, there has been no intention of energy when that fount shall be unsealed. consciousness upon the fundamental It is not their idea to abandon the pres- physical problems of the theatre from ent form of theatre altogether or all at any other point of view than that of once. The proscenium- frame theatre is monetary gain. (naturally) perfectly adapted to that Such being the situation, any new dramatic form which has been adapted to solution of the problem of the theatre it, but it is ill-suited to the presentation building should be of interest, and the of Greek or Elizabethan drama, and to solution here presented has a unique im- such plays as would give free range to portance, because it is the contribution of the imagination of an author accustomed Mr. Norman-Bel Geddes, a man deeply to the liberty afforded by the novel or immersed in the existing theatre, but at even of the cinema. Least of all would the same time deeply desirous of that the picture- frame theatre prove adequate other theatre which exists as yet only in for a new type of dramatic representa- the ardent dreams of those who feel the tion altogether one which is shaping it- pressure of a beauty which is new. self in the minds of those dedicated to Mr. Geddes' plans are presented with- the discovery of new possibilities of emo- out change, just as they came from his tional expression in song, in mobile color, hand. Because he is neither an architect in pantomime and in the dance. Some nor an engineer they must needs be synthesis of all these elements some in- dealt with from the standpoint both of spired binding of them all together might design and structure before they achieve lead to a new art form: the art of the their final synthesis. Such matters as heat- theatre par excellence. ing, plumbing, ventilation, remain uncon- To gain some idea of the grounds for sidered; the question of safety has been the deep dissatisfaction with the existing kept constantly in mind, but not as safe- (physical) theatre cherished by those who guarded by building ordinances framed know it best, glance at it for a moment for an entirely different type of theatre. with their eyes. It is convenient, com- These plans, which are developed con- fortable, even luxurious as to its audi- siderably beyond the "preliminary sketch" torium the box-office side; but on the stage, were presented by their author at a seamy side of the asbestos curtain there meeting of the Architectural League of has been no substantial improvement, but New York; and when it broke up, after rather retrogression from the theatres an animated discussion which lasted till of an earlier day by reason of the saving after one o'clock in the morning, the con- of space made necessary by high building sensus of opinion appeared to be that costs and increased ground rents. The Mr. Geddes' plans were practicable, shallower the floor not at all and stage has been made ; structurally unsound, trap, the painting bridge, the green-room aesthetically full of promise. the rooms The theatre is an urban in- have been eliminated ; dressing essentially stitution it flourishes best the tide have been crowded aloft, and, superim- ; where posed, are reached only by endless flights of life flows strongest and consequently of narrow, noisy iron stairs. The many where land values, rents and taxes are ingenious mechanical devices and felici- highest. Any theatre scheme must there- ties of operation and arrangement which fore take into consideration the economic
one hundred seventy-two ,/CAU? 'THEATRE MUMDEMX
aspect of the problem first of all. This his scheme, a plot of ground one hundred holds true whether the building be pri- by one hundred feet, with streets on two vately owned and operated, or whether it adjoining sides. This approximates con- be endowed. And because the revenue ditions current in New York for build- of a theatre is derived from the sale of ings of this class. He finds that by his its seats, that plan will be best (other scheme, placing the stage in an angle in- things being equal), because most eco- stead of against one side of the square, nomical, which provides the greatest he is able to seat more people than does number of desirable seats on the smallest the old-fashioned theatre of equal size. plot of ground. At the same time he gets a deeper stage, Because he does not seek to avoid, but dispenses with balconies and galleries al- rather to challenge comparison with together, and gives to each person nearly theatres of the existing type in this mat- double the amount of floor space ordina- ter of profitable utilization of space, Mr. rily allotted. All this is .made possible be- Geddes assumes, for the working out of cause the main axis of stage and audi- one hundred seventy-three THE ARCHITECTURAL RECORD.
torium is along the diagonal of the square steps across its entire front, and two side represented by the ground plan, and the jambs which lose themselves in the curve diagonal of a square is the longest line of the ceiling. The same great dome which can be drawn within it, as every spans actor and spectator; there is no schoolboy knows. visible orchestra pit, no footlights, no That with which this type of auditorium proscenium arch, nor even a curtain be- has the closest affinity is perhaps the tween the two. Greek theatre, with its seats arranged To a stage-hand, strange to such a circle-wise, in tiers. But in this modern stage, looking aloft for "a line in one," instance the tiers are not intersected by it would be as though his entire firma- transverse aisles whatever the actor ment were blotted out clear of any ; swept faces an unbroken sea of faces. The en- every appurtenance of his trade. Instead trances being from either side instead of of the usual wilderness of ropes, cloths, from the back, each tier becomes an aisle battens, borders, his eyes would encounter but the vast for all those entering or leaving it, a nothing sweep of that cyclo- thing made possible by the wide interval rama which constitutes both walls and four and one-half feet between one roof. This, capable of being made lumi- chair-back and the next. By this ar- nous in any part, in any color, to any rangement every seat has plenty of "leg- pitch of intensity, would yield every im- room" and also commands an excellent aginable sky effect. All else in the way of view of the entire stage, none being too scenery is set on movable platforms distant to be desirable, nor too high up deep underneath the stage platforms which or low down. There is no gallery and are capable of being shifted hori- there are no boxes only a single row of zontally, and of being raised and lowered loges immediately above and behind the by hydraulic power; in their final posi- outermost tier of chairs.* tion at the proper level they constitute Because this constitutes so radical a de- the stage floor. There are two of these parture from the existing type of audi- platforms, so that while one scene is be- torium, it fails to conform to current ing played the next is being set, the sub- building laws relating to theatres, but this stitution being effected during a few mo- does not mean that it would be less safe ments of darkness, or behind a "curtain fire there is of In this scene could be under panic and conditions ; light." way made to succeed every reason to believe it would be more scene with no descend- so. Instead of being an aisleless theatre, ing guillotine of a curtain to cut off the as from the floor plan it appears, it is all actors' heads, and by a diversion of at- aisles, and these discharge into passage- tention, break the spell. ways two feet wider than the New York The major part of the space under- neath the building law requires. The direction of auditorium is occupied by a is the broad the discharge gently downward ; quadrant-shaped foyer, extending from one entrance to absence of a balcony, with its long flights the other an am- of stairs, eliminates the greatest source ple promenade, which by reason of its of danger in case of panic, while the ab- great curved colonnade could not but be sence of flies, gridiron and an accumula- architecturally impressive. The remain- room tion of scenery on and above the stage ing between the fover and the stage reduces the danger of fire. on this level is occupied by the orchestra, which is For in the stage and everything pertain- entirely concealed from the view of the ing to it Mr. Geddes departs from prece- audience, the sound reaching the auditorium dent altogether. The stage is undivided through perforations in the risers of the from the auditorium except for a flight of continuous flight of steps which forms the * apron of the stage. This Certain of the newer European theatres, notably some of those designed by architect Max Littman, room is large enough to accommodate an resemble Mr. Geddes' in a bank of seats having single orchestra of the con- with a relatively steep slope, and longitudinal instead sixty musicians; but seats have a different of transverse aisles, the ductor commands a view of the stage relation to the stage, being in front of it (as is cus- tomary) instead of "around it". through a large periscope.
one hundred seventy-four CARJUAQE SXITJ
I
THEATRE NUMBER SIX*^NORMAN-E>EL
DRAWING REPR^^ENT^ A PUAH OIL HORJZONTAL N TAKEN JUJ^T ACOVH THE ^THET LEVEL A OURYED FOYEIL, 15O FEET LONQ bY 25 FEET WIPE HXTEHD? FROM ^TR^ET TO ^TRTF^. FROM HERE &RQAD EAAVTAIRWAY^ AttND TO THE AUD1TORJUM AbOVE THE ORCHESTRA PIT, AOOOMMODATINQ GO MU^ICIAN^ 1^ 1 LNVI^lbLE TO THE AUDIENCE, 5ELNQ ON THI.S \WESL LEVEL EACH OF THE 14 INDIVIPUAL DREEING ROOMc A ^HCMEIt-ANP HAJ1
one hundred seventy-five UPPER, PART OP AUDITOR UM
I
UPPER. PAR!I* C)F
'THEATRE HOR_MAN-bKL
DRAWING I^PRK^NTTAPLAN OIL HOR.IZOHTAL ION TAK&N THKOL1GH THE U3Q&1 AHP AEOV^ TKE /TACJE FLOOEL THAT folLTlOH OP THEVT/O^ IN- DICATED bV DOTTED tlNEif ACTNDtTFKOM ffe CA?FMENT 1 1 1 Ni^HERE ML THE JCE'NE'J ARE ^ET. THHR^ ART TVO OF THE^ FLEVATltSd PMTF'OmJ! AND THEY (M KE 1 1 ALTERNATE1Y ^0 THAT ONE ^1^ MAY BE JET ANcm-iEi^ v* bEiisq TLAYED: THAT PART OF THE DOMED
CEILING BEHIND AMP ACOVE THE A^OE . liqHTED TROK THE PIT ^LVK^ V A CVCOAMA
hundred sevent \-six NUMBER NQRMAN-5EL
DRAWING RHPRE^NTp1 A PLAN OR, HORIZONTAL SECTION TAXEN JUJT bacw THE; S'TA^: PIOOR^. IT OW' THE AUDITORIUM J^Tim AND THE APPROACH PROM THE TOYE^bFLCW THE CHAMbETL IMMEDIATELY 1 1 I^HINDTHETTA^: ^ELL LS A BAITING-PLACE FOIL PEI^ TOmERij. THRJEE ^TAIRMAW CJONNTCT THJJ* WITH THE? ^TAqg, AND OHK^ITH THS raz^iNQB^iinBEio^ BACK CF THI-S1 CHAMBER.. ADJAO^fT TO THE MML..O^tYClORAMA* I,? AXiqHTPrr* VHERH dOHCEALED LAMP? IL^UMINATS A? 1 MUC!H OR. M LlVrUA OFTHK DOME: A^ 1.S DE-ICED.
hundred seventy-seven A view of the basement, showing the stage platform midway between the basement floor, where the scenes are set, and the auditorium level, where they are enacted. Two of these platforms are used alternately, one being all ready to raise as the other descends. The entire basement area is available for the shifting and storage of scenery, instead of the constricted wing space as in the existing type of theatre.
one hundred seventy-eight REFK&^TIJS1 A PLAN OIL HORIZONTAL TAKEN JU?T A5OVE THH DA^MHNT FIQOIL 1 OP A E*QAD AhD , THHKK ARH ./Hopj IN THI? FtatM 1 GALlERy AND ADD1TIOHAL, PRJ^riNC^ RPOMJ
E:R mr/AtE TH^ J'TACJE (ALL ,JCT) TO rr*r PROPER. POSITION. THEfe J^TAC^ PLATFORk^ AR^TVD IN 1 NUM5ER. AND AR UM> AfeRMlHy BE ! Nq ROLLED OFF TO ONI^ MULE THEY Afe ii!ET ALL IN A PITUrt* ^IDE 1 THLfV TO &RINQ THE ^AOi TU3CX LEVEl WITH TH
one hundred seventy-nine THE ARCHITECTURAL RECORD.
The dressing rooms are also on this place for the stimulation and sublima- Hevel; they occupy the space underneath tion of the mind and emotions through the outside edges of the stage, which be- the senses preeminently through the ing adjacent to the streets gives each sense of sight. This is effected by means dressing room outside light and air. of dramatic representations which might Immediately behind and below the rear range through many countries, many of the stage is a passageway or ante-room styles, many periods even through the for actors connected with the stage proper Fourth Dimension and the Eternal Now. by means of three stairways, the wells of Each must be provided with its appropri- which are capable of being closed by ate mise-cn-scene the combination of electrically controlled traps. Behind this forms, objects, colors, which express it ante-room between it and the main wall best. Now the theatre auditorium is as it is a "light pit" wherein are concealed were the background to this mise-en-sccne lamps and projectors which reflect light just as it in turn is the background to upward upon the dome, for sky effects. the action. Being a background for so Below the individual dressing rooms on many and so various things, it should be the foyer level are others for the use of bare; no more littered with detail and supernumeraries and chorus. The base- ornament than the ear should be filled ment is one vast and lofty chamber with with sounds alien to the music it would a broad gallery midway in its height, on hear, or the eye with images other than all four sides. This is for use as a shop. the ones toward which it looks. All scene changes are made in the base- But because this theatre is bare it does ment, as has been said. Consequently it not mean that it is therefore lacking in is here, where there is plenty of room, beauty. Indeed its very bareness the that all scenery and properties are stored. unbroken sweep of its dome gives an The stage, when lowered, descends into unequalled opportunity for beauty of a a shallow pit which brings its floor level new and thrilling sort. The beauty of with the basement floor. There it is sub- changing colored light color-music if stituted for its fellow, all set ready for one chose to name it so that Art of the raising. The manner in which this sub- future of which Wilfred's Clavilux gave stitution is effected will be best under- us the first faint actual intimation, show- stood by referring to the basement plan. ing what colored light might become when The platforms are carried from their disassociated from all those ideas of cor- original position, at right angles to one sets, chewing-gum, automobile tires, et another, a distance equal to their diam- cetera, with which the zeal of the adver- eter, on tracks set in the floor of the pit. tiser has succeeded in linking it up. All this shifting and raising is under elec- And this brings me finally to the sub- trical control and is accomplished noise- ject of lighting. Mr. Geddes' lighting lessly and quickly (the entire transfer arrangements differ in important respects would occupy only twelve seconds) for from those in current use; for though the mechanical problems involved though the development of lighting has proceeded unusual are neither difficult nor new. more rapidly in the theatre than any- To the eye and mind accustomed to the where else, the equipment upon which candy-box style of theatre design and dec- this development in part depends has not oration a style inherited from a time kept pace with the advance. when theatre-going was an amusement In the dear old days when it was only of the court rather than the absorption of necessary, at the beginning of every act the populace the stark bareness and aus- of a play, to "throw on yer borders" and terity of Mr. Geddes' interior may come "throw on yer foots," after which the as something of a shock. But a moment's electrician was free to retire underneath reflection should convince the unpreju- the stage and play pinochle with the rest diced that Broadway is wrong and that of the crew, it was all very well to have he is right. the electrical switchboard looking like The theatre this theatre at least is a the engine room of an ocean liner where
one hundred eighty Effective representation is possible on this stage completely stripped of scenery. Both views of the stage are taken from the extreme side of the auditorium. There can be no bad seats in this theatre.
one hundred eighty-one THE ARCHITECTURAL RECORD. it commanded only a near and narrow ing" of the old-fashioned sort concealing view of the stage. But now that light is by means of curtains, flats, borders is coming to be recognized as an emotional no longer necessary; darkness can be language, like music, with power to in- made to obliterate and light to reveal duce and maintain moods of the soul whatever is desired. this will not do. Light must be made to In the theatre we do not want to feel pale or brighten, it must slowly trans- that we are at a play, but that we are in form itself from warm to cold, and from it "The work of dramatic art is lived." cold to warm, changing key and tempo Only great drama greatly acted can fully as it were, in sympathy with what is pass- arouse in consciousness this inner life, ing on the stage. To achieve these ef- but conditions could be made far more fects successfully and many others, more favorable to its induction than they are intricate by far it is imperative that the now. In Mr. Geddes' theatre, on his light operator should work from a com- stage, set and lighted as he or another pact keyboard, and in full view of the might set and light it, scene and actors auditorium and stage. might be made to seem a part of 'life or of These are the reasons why, in this thea- inner fantasy, perceived as though at the tre, the light control is located in a little other end of the optic nerve than that booth above the loges, behind and above which leads outward toward the world the heads of the spectators and concealed of every-day. from them, the projectors being on dis- Furthermore, such an arrangement of appearing carriages, hidden by a parapet stage and auditorium would promote that save when in actual use. Here the light feeling of rapport, participation, and con- operator sits, remote, unseen, like the or- duce to the generation of that indescriba- ganist in the choir-loft of a cathedral, ble common emotion which is perhaps a learning to master an art which may usher cosmic emotion under stress of which a the human spirit into realms at which dramatic representation becomes dynamic, music itself now beats in vain. poignant, rhythmic, exactly in proportion It should be stated that a theatre of as the spectators become responsive, this type with scene and actors thrust impressionable, enthusiastic, sensitive to forward into the auditorium instead of every emotional overtone. being kept behind a proscenium picture Those great primal orgiastic tides of frame is practicable and desirable thought and feeling, the arousing of largely by reason of the advancement in which was perhaps the very raison d'etre the use and control of artificial light. of the Greek theatre, are practically un- Nothing so distinguishes the most modern known in modern life our nearest ap- stagecraft from that of only a few years proach to them being the revival meet- back as the new uses to which light is ing, the prize fight, or the ball game. In put and the extraordinary functions it is them there dwells nevertheless some di- made to perform. Scene changes can be vine, dynamic quality, perilously poised made in utter darkness with the curtain between creation and destruction, diabol- up, or behind a "curtain of light", ob- ism and ecstasy. Of these great forces jects can be made to reveal themselves, we are either ignorant or afraid. But conceal themselves, transform themselves they are destined to re-enter life either by the combined use of light and pig- in the shape of mob-violence as a result ment, scientifically worked out. "Paint- of repression or through inspiration ing with light" is not simply a catchword, to creative effort, if they find a prepared but a phrase with an ever-expanding con- and natural channel such as the theatre tent. By the use of lenses light can be so cleaned of its accumulated ignorances and concentrated and controlled that "mask- abuses almost alone affords.
one hundred eighty-two PHI DELTA THETA FRATERNITY HOUSE CORNELL UNIVERSITY, C WILLIAM M LEISH DLfNTBAR, ARCHITECT
C hjbert C
of the fra- problem college social system as affected by fraternity THEternity house is becoming of con- domination. This, however, has been stantly increasing importance to most vehemently denied, and it has been practising architects in nearly all parts of pointed out that the donor was a devoted the Local conditions differ con- country. member of a well-established fraternity the siderably, but general uses and re- whose loyalty and constant helpfulness quirements are so nearly the same at most to the university are beyond question. educational centers that pretty definite Whatever may be the individual opinion types have been evolved. as to the desirability of the degree of In some places, as at Yale, the fra- fraternity strength attained at Cornell, ternity lodge is isolated, and so treated the practical problem of adequately hous- as to suggest mystery and well-guarded ing the student body has been largely as- rites, and no living quarters are provided. sumed and if not solved in its entirety In most cases, however, the provision of by the fraternities, at least so minimized dwellings for the students, and especially as to make the tardy development of uni- facilities for entertainment, quite equals versity dormitories possible. and often surpasses in importance the The beautiful surroundings and the chapter-room, which is frequently given availability of sites of considerable area, no external expression whatever. as well as other considerations, have en- At Cornell University, with its eighty- couraged the erection of fraternity houses two fraternities and associations, the of dignity and permanence and at times of building of fraternity and club-houses has real architectural merit. While the long been a question to occupy the atten- Cornell chapters of the various fraterni- tion of University authorities as well as ties perhaps may be justly accused of com- of students and alumni. A recent be- petitive building, this has not led to ex- quest by a distinguished alumnus to pro- travagance; the houses as a rule repre- vide "such thing or things as may con- sent a mode of living most rational, and duce to make Cornell a more human in detail particularly they are quite simple place," which is about to take the form of as compared with student quarters at a university union, has been thought by English universities and with many dor- certain individuals to reflect upon the mitories in this country. one hundred eighty-three rill DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY. ITHACA, N. Y. William McLeish Dunbar, Architect
The tendency in recent years has been The ground is very rugged, and streets to transfer the fraternity center to the or more properly roads extend on three north of the rather than build east. low campus to sides ; west, south and A point on the campus or in the region south and is at the junction of Thurston Avenue west, between the campus and the town, and Ridgewood Road, at the southeast, as in previous cases. and here the tennis court and entrance The Phi Delta Theta Fraternity, con- gate are to be placed. A gravel path forming to this custom, acquired a tract winds through the woods, ascending a rise some ten minutes' walk north of the main of seventy-five feet to the fore-court of University quadrangle. The way from the house. A drive at this level leads to the campus leads across a foot-bridge a point higher up on Ridgewood Road spanning Fall Creek, which flows through near the entrance to another fraternity one of those tree-filled gorges so charac- house beyond. teristic of the Finger Lakes Region, The Phi Delta Theta House has hollow Whether the gorge is more attractive in tile walls covered externally with salmon- winter when the stream is frozen and the colored stucco of unusually effective cliff-like sides are texture the is tile of a hung with gigantic ; roof-covering gen- or in eral tone into reds the icicles, spring and summer when pinkish deepening ; the holes between the rapids become pop- floors are of fireproof construction ular swimming resorts and the icicles give throughout. place to flowering shrubs, is open to ques- Before the main entrance door there tion, A short distance north of the gorge will be a terrace of flagstones and brick lie the road be- with shrubs that will trolley-line and motor ; planted evergreen yond them rises a wooded spur of land greatly heighten the effect of the mellow of about three acres in area, the site of stucco walls. Above the entrance arch the house. are the arms of the fraternity carved in Originally partly wooded, the tract was buff limestone. developed as an arboretum by a professor The plan is, on the whole, logically and of botany in the University. The later frankly expressed in the external massing, planting had been established about which lends itself readily to the style twenty years and has proven of inestima- adopted that of the Italian hill towns, ble value as a setting for the building. with a decided Tuscan flavor. Here one one hundred eighty-four PHI DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. WILLIAM McLEISH DUNBAR, ARCHITECT. one hundred eighty-five THE ARCHITECTURAL RECORD.
idea of great importance that each man be given a room where he can have absolute quiet to follow his own thoughts in study and reading." The chapter normally comprises about forty- five active members; the freshmen and generally several others room else- where but take their meals at the chapter- house. Provision is made for the housing of twen- ty-eight men in suites, each of which comprises a study and a bedroom that accommodate two men. The suites are grouped in four units, each of which is provided with a bath. All these comparatively small rooms are placed on three floors in the east- ern section of the house. The bedrooms are put at the angles of this part of the building and serve as buffers to the winds. Steam heat is taken to the studies only, the door between study and bed- room being tightly fitted and equipped with a DETAIL OF SMALL TOWER. threshold, as if on the exterior. feels that the present-day leaning toward The finish of the bedroom and study Italian precedent is justified by both the walls is a rough antique plaster giving a setting and function of the building. warm sunny effect, due to the yellow Little that is pedantic or affected is no- sand in its composition. This finish is in ticeable externally or in the interiors, but keeping with the general character of the much of genuine charm and logical ex- house and is economical in upkeep. The pression in a style the essence of which studies are kept free from the clutter and is thoroughly understood. over-decoration too frequent in students' The scheme adopted is that of the indi- rooms, but are made attractive by the in- vidual suite, rather than the "dormitory troduction of a limited number of framed system" whereby the studies are grouped pictures hung from the moulding, and es- in one part of the house and the beds are pecially by color in the form of small placed in one or more large chambers, tapestries and Navajo rugs hung upon the usually at the top of the house. "The walls. Figured or bright-colored curtains design of the new Phi Delta Theta of uniform tone are used at the windows. House," says the architect, "had for its If any question arises concerning the first consideration a simple fundamental successful solution of the problem in the
one hundred eighty-six THE ARCHITECTURAL RECORD. mind of the visitor to this delightful house, it is whether the private quarters have not been unduly limited to provide greater space and luxury in the rooms designed particularly for entertainment. This is due in part to the nature of the site. However, the studies and sleeping-rooms are convenient and comfortable in spite of a trace of that asceticism prevalent in the cells of the great mediaeval monas- teries. Indeed no small part of the charm of the whole house is due to this feeling of adequate restraint coupled with an evi- dent appreciation and intense love of the beautiful. If at times a slight trace of immaturity obtrudes itself, one soon for- gets this in admiration of the evident spontaneity and total avoidance of the commonplace. The architect explains and the visitor will agree that in the high entrance hall the note of the house has been struck. Somewhat dim, due to the light filtering through heavy glass, the room displays true Italian simplicity of effect. The ceiling beams are roughly adzed and show the cracks of time. The walls are of an ochre plaster with considerable variation of color, tinged slightly with black and rubbed smooth after the manner of Con- tinental plaster work. The lighting fix- tures are of wrought iron and a curving stair rail with handsome iron balusters and terminal scroll leads to an arched opening at the side. The black and white tesselated floor harmonizes with the gen- eral simplicity and yet adds a desirable richness to the room, which is further relieved by some rather sumptuous furni- ture a chair covered with scarlet great BALCONY OVERLOOKING VALLEY. velvet and a tooled screen in dark red and gold, surmounted by an old print. balcony and at the opposite end a gallery In a niche is a Chinese robe of scarlet reached by a spiral stair-case in the angle. satin heavily embroidered. On the end wall, below the gallery, is From the entrance hall one ascends the only wall decoration of the room a by nearly a dozen steps through a low handsome painted hanging having the es- arch to the living room, the large room sential qualities of a rich tapestry. Be- and in many respects the climax of the neath the hanging is a fine old refectory whole house. The room measures about table flanked by antique Spanish chairs. thirty-five by fifty feet and is covered by Midway on the north side of the room is an open timber roof, the trusses of which the chimney-piece with its high stone man- are some fourteen feet above the floor, tel, and about its raised hearth are which is of oak inlaid with a black wood. grouped some excellent pieces of furni- Over the entrance arch is a musicians' ture of Italian design. Brilliant color is one hundred eighty-seven LIBRARY PHI DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. WILLIAM McLEISH DUNBAR, ARCHITECT. one hundred eighty-eight SECTION AND DETAILS OF LIBRARY- PHI DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. WILLIAM McLEISH DUNBAR, ARCHITECT. one hundred eighty-nine PHI DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. William McLeish Dunbar, Architect.
PHI DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. William McLeish Dunbar, Architect.
one hundred ninety LIVING ROOM-PHI DELTA THETA FRATERNITY, HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. WILLIAM McLEISH DUNBAR, ARCHITECT. one hundred ninety-one STAIRS TO STUDY ROOMS. SECONDARY STAIRS TO GALLERY. introduced partly in beyond, the lake the upholstery of sweeping away to the furniture, but the north, and more especially in directly to the west the scarlet damask the pleasant farm window curtains lands, all of which that fall quite to the combine to recall floor. In contrast scenically the hill with the dim illumi- towns of Italy. nation of the en- From either end trance hall the ef- of the living-room fect of a flood of masonry stairs de- sunlight in the liv- scend to a stone col- ing room is particu- umned gallery larly noticeable. lighted by small- Beyond the living paned heavily lead- room is a "glass- ed windows of ery" or sun-parlor vari-colored glass. with heavily beam- The floor is of dull ed ceiling and a red tile laid irregu- rugged stone fire- larly and inter- place. From this spersed with heavy room one has an flags. At one end unsurpassed view are the alumni FIREPLACE IN THE LIVING ROOM of the broad valley rooms and the with the town in the foreground and the house office looking down a beauti- everchanging aspect of the distant hills fully planted swale to a vista of the
one hundred ninety-two ENTRANCE OF LIVING ROOM SHOWING MUSICIANS' BALCONY- PHI DELTA THETA HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. WILLIAM McLEISH DUNBAR, ARCHITECT. one hundred ninety-three LIVING ROOM, SHOWING GALLERY AND DOOR LEADING INTO GLASSERY PHI DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. WILLIAM McLEISH DUNBAR, ARCHITECT. one hundred ninety-four DINING ROOM PHI DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. WILLIAM McLEISH DUNBAR, ARCHITECT. one hundred ninety-five GALLERY LEADING TO DINING ROOM-PHI DELTA THETA FRATERNITY HOUSE, CORNELL UNIVERSITY, ITHACA, N. Y. William McLcish Dunbar, Architect.
lake with its twin light-houses in the height. The panelled woodwork, which distance. is much in evidence, is painted a dull Off the side of the gallery is the din- blue-green and heavily antiqued. With ing room with its great circular stone this color the muntins of the small-paned piers and vaulted ceiling, recalling the windows contrast, painted as they are the treatment of the refectory in an Italian same ivory white that is used throughout monastery. The U-shaped table and the the house. At the springing of the vault specially designed furniture still further and continuing above the book-cases there emphasize this resemblance, which is not is a narrow frieze of light blue edged a mere affectation but is founded upon the with green and decorated with illuminated fundamental similarity of requirements lettering in red and gold. A hooded fire- of the religious and the student brother- place occupies the center of the east side hood. The effect of sunlight and shadow of the room, while in the opposite wall on the rough walls and vaulted ceiling is are French doors leading to an open porch very attractive, and it is proposed to in- and steps to the garden. It is planned to troduce color by means of a limited num- close this vista with a small white-col- ber of well-placed wall hangings that will umned summer-house, the site of which, harmonize with the upholstery of the directly on the axis of the main house, is chairs. flanked by a pair of great sentinel pop- At the extreme west end of the house, lars. sufficiently isolated for quiet, is the The chapter-room is located in the library. This room also has roughly foundations beneath the dining-room. Its plastered groined vaulting of considerable external expression when one under-
onc hundred ninety-six THE ARCHITECTURAL RECORD. stands the arrangement is the simple un- there is evidence that the building will broken wall surface just above grade on "wear well" both in material and senti- the south side. ment, and as the passing years add the The kitchen, pantries, store-rooms, and charm of maturity and age and the pass- servants' quarters are at the east end of ing generations of students leave their the dining-room floor. marks of loyalty and affection, not only The house has been occupied less than will Phi Delta Theta be proud of its a year and something still remains to be home, but the University community will done in completing walks and approach recognize that it is the richer for the ad- and adding minor decorations and fur- dition of this fraternity house of real nishings. However, in this brief time distinction.
LOOKING INTO THE DINING ROOM.
one hundred ninety-seven NORTH DOOR-KENSINGTON SCHOOL, GREAT NECK, L. I. WESLEY SHERWOOD BESSELL, ARCHITECT.
one hundred ninety-eight KENSINGTON SCHOOL ~ GREATTSECK^. LO"Nc ISLATMD ~ WESLEY SHERWOOD BESSELL, ARCHITECT
Harold Donaldson Ebcrlein
Union Free School, Number 2, various parts. Throughout the establish- THEotherwise known as the Kensing- ment the appointments are of the most ton School, at Great Neck, Long approved modern character, as determined a Island, claims something more than by the State educational authorities, and of its in- passing notice first, by reason the details of heating, lighting, ventilation trinsic individual merit as a piece of and furnishing leave nothing to be school architecture modern ; secondly, by desired. Besides adequate provision for reason of the tendency and the aims of the daily welfare of the pupils the com- which it is a convincing embodiment. fort of the principal and of the teaching The architect, Wesley Sherwood staff has been fully considered. Bessell, has followed an obvious, straight- So much might truthfuly be said of any forward plan, but has incorporated with it modern public school building designed by certain features that the peculiar exigen- an architect of average common-sense and cies of the occasion called for. As may technical capacity, in accordance with the be seen, the accommodations for the standard requirements formulated by the kindergarten are so arranged that the State authorities. Indeed, it is all that small children in this department have could be said favorably of not a few such their own separate entrance and need not structures. But in the case of the Ken- come in contact with the rush of the older sington School there is something more pupils in entering or leaving the building. to be noted. This provision for the kindergarten serves A great many of our public schools are the present needs, but ultimately, when a distinctly repellant in their architectural separate building is erected for the use of aspect. Sometimes it seems almost a the youngest pupils, the quarters they derogatory misuse of the word "architec- now occupy will be converted to the pur- ture" to apply it to them at all. They are poses of the main school, a change that structures and products of engineering can be effected without making any rather than pieces of architecture. The alterations in the interior. The basement grace of the art of design has been alto- is well lighted and is equipped with ample gether omitted from their scheme. They locker rooms and play rooms for the boys painfully resemble factory buildings. They and girls, sufficient to answer all require- are dismally dull, and display not one ments when the weather is too bad to use iota of the blessed qualities of inventive the outdoor playground. At one end of imagination or originality. Not a few of the basement are the domestic science these deplorable examples have been, and kitchens, so arranged that they may easily are being, perpetrated by architects whose be converted into a cafeteria whenever ability is unquestioned and whose per- occasion arises. The general staircase is formances in other directions amply placed in the front of the building and testify to their capacity to uphold the at one side of the central corridor, where ideals of their noble art. it is in full view of the principal's office. Discouraged, doubtless, by the nature In all there are twelve large classrooms, of the numerous and seemingly arbitrary two of which at this time are devoted to requirements imposed upon them by the kindergarten department. In its school authorities, they often produce general arrangement the school admits a perfunctory and mechanical structures those and degree of ready flexibility in the use of its that embody requirements one hundred ninety-nine two hundred W W < ^ PQ ^ M fe O j
^ w" hundred one 'V. C * H e X ? II ^ ^ a ^ z . u> * o u * a w 2 two hundred t:co- THE ARCHITECTURAL RECORD. .nothing more. Such performances can but stupidly and without distinction," never be anything nor look like anything should prove a fillip to ingenuity and in- but pot-boiling "jobs". All too often our vention. It is by such surmounting of public school structures are very marvels obstacles that architecture vindicates its of bald, stupid, uncompromising ugliness. vitality. Then, too, a little diplomacy on This ought not so to be for several the part of the architect will smooth out reasons. In the first place, during their many a wrinkle and circumvent difficulties most impressionable years, children ought in the way of satisfactory design that not to be set in an unlovely environment at first glance might appear insuperable. ithat will inevitably tend to blunt their To take a case in point, the office of the future architectural sensibilities. Further- State Board of Education, at Albany, took more, the adults of a community have a exception to the form of the windows as !right to and should demand that public shown in the elevations for the east and for out of funds west sides of the School structures, paid public Kensington ; to which they are obliged to contribute round-headed windows were taboo. But - through taxation, shall',: in some, measure square headed windows would have at least, conduce to stimulate the spoiled the design, robbing it of all indi- : public architectural consciousness and elevate viduality and making it perfectly banal. the public architectural conscience. With- By diplomatic negotiation the architect out such demand it is futile to expect convinced the authorities that he would |that architectural consciousness and con- give them not only the lighting area pre- iscience with neither of which the ma- scribed in the stipulation for square- jority of the public at the present time headed windows, but also the additional iseem to be grievously overburdened will area contained in the round windowf be appreciably quickened. Last of all, heads. The upshot of it all was that h while no sane person would for a moment saved his design, got the round-topped belittle the importance of making public windows, with piers between them of i school buildings conform in every respect proper proportion and likewise satisfied to a definite set of physical, utilitarian all the physical demands of the occasion. requirements, standardized if you choose, Because the architect of the Kensington at the same time it is clear that such con- School has met successfully his dual re- formity does not and ought not to pre- sponsibility, toward phvsical character clude the equally important consideration and toward amenities of style alike, the of worthy design. Architecture is not building is pregnant with timely signifi- mere bricks and stone, concrete and steel cance. The design, reminiscent of Sir beams. They are necessary concomitants Christopher Wren and the Cathedral" to its existence, but unless their physical Close at Salisbury, is not onlv convinc- combination is informed by a due recog- ing and virile as a piece of composition, nition of the claims of beauty, the out- but the carefully studied details and the come- must needs be dead, soulless and satisfying texture of the walls call for barren. The designing of public school sincere commendation. buildings that shall comply with both The texture of the brickwork is not due physical and aesthetic standards is no less to the use of any special kind of brick, but an to opportunity than a responsibility laid accepting the average bricklayer as a- upon the architect. creature of ordinary intelligence actuated Neither need this uninspired condition by an honest impulse to do the right thing, the exist. The rigid but inevitable require- given proper direction. It is the fash- ments set by State and local educational ion to decry the indifferent attitude of the authorities may be, in a certain sense, a modern artisan toward his work and to lament the loss a handicap to the architect. Yet the pres- of true spirit of crafts- ence of an obstacle, whether in matters manship in our degenerate times. As a matter of architectural or anything else, instead of fact, the average workman of the has not a in- being taken as justification for shoving present day whit less through a "job," "as decentlv as may be, nate intelligence than his predecessor of two hundred three NORTH DOOR DETAIL-KENSINGTON SCHOOL, GREAT NECK, L. I. WESLEY SHERWOOD BESSELL, ARCHITECT. two hundred four tivo hundred five KINDERGARTEN SCHOOL-KENSINGTON SCHOOL, GREAT NECK, L. I. WESLEY SHERWOOD BESSELL, ARCHITECT. hundred sir GIRLS' ENTRANCE KENSINGTON SCHOOL, GREAT NECK, L. I. Wesley Sherwood Bessell, Architect, past centuries. His alleged lack of crafts- instructed clearly how to produce -it, they manship sense and of pride in achievement generally prove responsive and an esprit in which he differs, or is said to differ, dc corps is engendered that cannot fail of from his predecessor, is often attributable useful results. in reality to the absence or seeming ab- Whilst the Kensington School was sence of interest on the part of those who a-building, Mr. Bessell followed his usual employ him. This apparent absence of in- practice and made a point of personally terest is a thing that can be overcome in showing the foreman bricklayer exactly the routine course of superintendence. what he wished done and how to do it. Once the men see that their individual He also made a point of knowing each in- handiwork is a matter of interest and con- dividual bricklayer from the foreman cern to the architect once are shown created a cordial at- ; they down, and tactfully exactly what effect is desired and are mosphere. Some of the men, perhaps, tii'o hundred seven NORTHEAST ANGLE AND ARCADE-KENSINGTON SCHOOL, GREAT NECK, L. I. WESLEY SHERWOOD BESSELL, ARCHITECT. two hundred eight H H < 5 W W o < S Q W O W hundred nine - -fin- I i i i - Vl 101 FlLt E.SCIpOl OI5T LICI acit ' i ic,i- li ss < roMTY.l BLOCK PLAN* OF GROUP KENSINGTON SCHOOL, GREAT NECK, L. I. Wesley Sherwood Bessell. Architect. may not have gained an increased appre- quent increase in the number of pupils. ciation of the subtleties of texture, nor All of these buildings coincide in charac- have felt a freshened pride in their work, ter and are designed as a coherent compo- but at any rate they one and all conceived sition to surround two, or possibly three, a kindly feeling toward the architect, did sides of a quadrangle. The introduction their best to please him, and the object of the collegiate scheme into public school was achieved. architecture in America is a happy concep- It remains to call attention to the entire tion which, we believe, has not hitherto group of buildings proposed for future been employed. In many places it might erection to supplement the structure be carried out advantageously with refer- already completed. As the plot plan ence to both practical considerations and shows, there is provision for a separate the improvement of the tone of public kindergarten building, an assembly build- architecture. The aim embodied by the ing, and one or two more buildings con- architect is sound in theory, and in prac- taining classrooms to take care of subse- tice can be made thoroughly engaging. tu'o hundred ten two hundred eleven STREET FRONT - HOUSES ON RITTENHOUSE ST., PHILADELPHIA. STEWARDSON & PAGE, ARCHITECTS. two hundred twelve FRONT AND SIDE HOUSE ON RITTENHOUSE ST. PHILADELPHIA. STEWARDSON & PAGE, ARCHITECTS^ two hundred thirteen DOOR DETAIL -HOUSE ON RITTENHOUSE STREET, PHILADELPHIA. STEWARDSON & PAGE, ARCHITECTS. tzvo hundred fourteen EAST END HOUSE OF THE PENNSYLVANIA SOCIETY OF COLONIAL DAMES OF AMERICA, LATIMER ST., PHILADELPHIA. HOWELL LEWIS SHAY, ARCHITECT. two hundred fifteen 55 W < * B MM ^ s 55 < a o g o fa a Z O fa hundred sixteen u w 1- I J H d ^ ^ ^ o ... o IB- hundred seventeen DOOR DETAIL CHESTNUT HILL TRUST CO., CHESTNUT HILL, PHILADELPHIA. ARTHUR H. BROCKIE, ARCHITECT. two hundred eighteen WROUGHT IRON GRILLE RESIDENCE OF F. W. ROEBLING, ESQ., TRENTON, N. J. SPENCER ROBERTS, ARCHITECT. SAMUEL YELLIN, CRAFTSMAN. t^vo hundred nineteen WROUGHT IRON GRILLE RESIDENCE OF B. F. JONES, ESQ., SEWICKLEY, PA. HISS & WEEKS, ARCHITECTS. SAMUEL YELLIN, CRAFTSMAN. two hundred twenty DETAIL WOODEN SCREEN, COSMOPOLITAN CLUB, NEW YORK CITY. THOMAS H. ELLETT, ARCHITECT. two hundred twent \-one DETAIL WOODEN SCREEN, COSMOPOLITAN CLUB, NEW YORK CITY. THOMAS H. ELLETT, ARCHITECT. two hundred twcnt \-tivo two hundred twenty-three two hundred twenty-four PULPIT MEDIATOR CHAPEL OF HOLY TRINITY PARISH, PHILADELPHIA. THOMAS, KIRKPATRICK AND MARTIN, ARCHITECTS. hundred twenty-five ALTAR AND REREDOS MEDIATOR CHAPEL OF HOLY TRINITY PARISH, PHILADELPHIA. THOMAS, KIRKPATRICK AND MARTIN, ARCHITECTS. hundred tivcnty-si.v OLD HOUSE AT ALGONAC OLD HOUSES ^MICHIGAN is little suspected that states be- colonies. Even natives of the old North- the the Ohio ITyond Alleghenies and west; Territory themselves have scarcely contain old mansions of great dignity opened their eyes to the heritage of fine and beauty. "Some specimen of the Dark early dwellings which they possess, and Ages in the depths of the Middle West" to the precious local traditions which is what the jury of an American scholar- these embody. Along the century-old ship competition feared, when it was pro- National Highway through Ohio, in back- posed to have each contestant submit waters of Indiana, even in Wisconsin, drawings of a building in his own locality. are many taverns and houses which arrest Just how horrible many such specimens the eye by their sympathetic handling of really are is revealed by our own view of materials and their just proportions. the beautiful old house at Algonac, built None of these regions, however, compares about 1850. with Michigan in its wealth of interesting Only for the South has it been dis- buildings, very remarkable for unity and covered hitherto that the settlements of persistence of classic style. the first half of the nineteenth century The belief has been widespread that "have buildings comparable in artistic the passing of 'the Colonial and post- value to those of the original seaboard Colonial styles marked the end of healthy Ju r o hundred twenty-seven JUDGE SAMUEL DEXTER HOUSE, DEXTER. THE DORIC TEMPLE PORTICO, FULL SIZE COLUMNS IN WIDTH. development of traditional art as an out- The same philhellenism prevailed in in- growth of contemporary culture, and tellectual and artistic matters. Joel that the classic revival which succeeded it Barlow dreamed of a national epic. The was an exotic with no firm roots in Amer- initiative of amateurs and laymen, such ican civilization. It is overlooked that as Thomas Jefferson and Nicholas Biddle, the Revolutionary patriots the "Cincin- established the form of the classic temple nati" persistently, sophomorically identi- deep and narrow, with columns and fied themselves with the heroes of pediment at the front as a single un- the Roman republic, and that the leaders conditional ideal for all buildings. There of thought in the thirties had a conscious- is a rich variety of examples to our ness of solidarity with ancient Greece hand. The Virginia Capitol at Rich- which touched every department of life. mond, designed by Jefferson in 1785, was At the time of the war of Greek inde- a model of the Maison Carree the ; pendence, as Mr. John Bassett Moore United States Bank in Philadelphia, built has pointed out, American sympathy was in 1819 to 1826, a model of the Par- so great that a gentleman from western thenon; the Connecticut Capitol at New New York declared he could furnish, Haven, 1829, a model of the Theseum; from his sparsely settled region, "five the French chapel in New York, a model hundred men six feet high, with sinewy of the Temple of the Wingless Victory. arms and case-hardened constitutions, Dwellings, even, followed the same ex- bold spirits and daring adventurers who amples. Jefferson, in 1819 to 1825, would travel upon a bushel of corn and a housed the professors at the University gallon of whiskey per man from the far of Virginia in little temples, and Biddle end of the earth to Constantinople." showed his devotion to the classic ideal two hundred twenty-eight DOORWAY-DEXTER HOUSE. two hundred twenty-nine ' ^ 19 ' - ' "; . * f ..<*. SMITH HOUSE, GRASS LAKE. NORMAL TYPE WITH TWO WINGS. by building a wing to his residence, in Arbor, Jackson and Marshall to St. 1834, on the pattern of the Theseum, Joseph they still stand with their simple peristyle and all. lines and classic detail as memorials of When the wave of Eastern emigration a bygone era, almost of a vanished of the thirties swept out along the newly civilization. opened Erie canal and across the lakes, It was the men of solidity and culture it brought with it this ruling ideal. In who took the lead in building fine houses, Michigan, Greek enthusiasm was parti- the governors, the judges, such as Samuel cularly strong. The names of towns Dexter, whose patriarchal mansion over- Ypsilanti and Byron, Ionia and Scio looking the town which bears his name perpetuate famous personalities and is perhaps the amplest and most imposing places in the Greek struggle for freedom. of all the houses in the state. In the Judge Woodward in his first sketch for absence of professional architects, but the organization of the state university, with the aid of popular handbooks of the preferred for it a Greek title, the Greek orders, and of carpenters and Catholcpistcmiad! When the institution masons who had learned their trades in came actually into being, its several de- New England and New York, they built partments were housed in as many in the wilderness houses for which there porticoed temples of the Muses. Little was no need to blush before their most after the log cabins of the first settlers, cultivated guests from the East. side by side with them in many instances, The house of the period, with few ex- rose ambitious dwellings in the form of ceptions, had its main mass in the pro- the temple. Along the old stage roads of portions of a temple: rectangular, deep Detroit the and its to the street in 1840 from Chicago Road narrow, gable ; through Saline, Tecumseh and Coldwater, contrast with the Colonial house which the Grand River Road to Lansing, the turned its broad side, with level eaves, Territorial Road through Ypsilanti, Ann to the front. Sometimes this main block two hundred thirty JUDGE WILSON HOUSE, ANN ARBOR. PUREST IN GREEK DETAIL OF THE MICHIGAN HOUSES. alone constituted the entire house. More the house proper was fronted by a por- frequently there was a subordinate wing tico of its full width, most commonly on one side, or on both. Ordinarily such with a single order rising through the a wing was also gabled, its ridge at right full heights, as in the temple, although angles to the main house, and was fronted sometimes with an order but one story by a narrow, pillared porch with hori- in height, or two orders superposed. zontal cornice. Where means permitted, In the most ambitious houses the tzvo hundred thirty-one HOUSE ON THE ROCHESTER-PONTIAC ROAD. NORMAL TYPE IN BRICK. THE BENNETT (KEMPF) HOUSE, ANN ARBOR. THE TEMPLE IN VERNACULAR. THE ANTA CAPITALS ARE PROFILED ENTIRELY WITH PLAIN CHAMFERS AND FILLETS. two hundred thirty-two ... SMITH HOUSE, GRASS LAKE. DETAIL OF CENTRAL PORTICO AND DOORWAY. two hundred thirty-three HOUSE ON THE RIVER ROAD BETWEEN ANN ARBOR AND YPSILANTI. GLACIAL PEBBLES IN LEVEL COURSES AND HERRING-BONE PATTERN. Greek orders were reproduced with great more slender and a smaller order, like- literalness from the admirable plates of wise Ionic, fronts one-story wings on the handbooks, with circular fluted either side. In the Dexter house the great columns and finely profiled bases and order is a slender Doric, unique in Michi- capitals. Nowhere were proportions and gan in being six columns wide, with details followed more closely than in the subordinate Doric porches running back house of Judge Robert S. Wilson at Ann along both sides of the main mass. Mrs. Arbor, seat of the University, who Julia Dexter Stannard writes. "It was purchased the lot in 1836. Here there built between 1840 and 1843. The plans are four tall columns of the Ionic order were made by my father and mother, rising through two stories. There are modelled somewhat after my father's old no wings it is the "Temple of the home on Beacon Street, Boston." Wingless Victory". In the Village Farm Circular columns of correct detail were at Grass Lake, owned by Mr. John S. sometimes, but rarely, used in smaller Fields of Chicago, the main columns are dwellings. The finest example, before two hundred thirty-four JOHNSON HOUSE, BATTLE CREEK. THE TEMPLE SCHEME IN SEAM-FACED RUBBLE. its remodelling, was the one story central married in 1843 and sold the house in portico of the little house on the Pontiac 1845. In the Chapel house, eight miles Road in Ann Arbor built by Thompson west of Jackson, on the Territorial Road, Sinclair, who came to the town in 1840, with its stone lintel inscribed "Caleb M. hvo hundred thirty-five THE ARCHITECTURAL RECORD. house at Grass Lake erected for Sidney Smith in 1840. His son, who still owns and occupies it, testifies to the date as well as the names of the workmen : Silas Win- chester, head carpenter, Levi Babbitt, mason. In number and position its supports correspond ex- actly with those of the Village Farm close by, although wing is multi- plied beyond wing as in no other house. A house just west of Lansing on the Grand River Road, likewise with symmetri- cal wings, has the main portico of square antae superposed in two stories in less am- ; many bitious examples it is completely omitted, the porches running only along the wings. This scheme, with antae and but a single wing, is in- deed the commonest of all. FRONTISPIECE OF MINARD LAFEVER'S "THE MODERN Other liberties were BUILDERS' GUIDE," 1883. THE PROTOTYPE OF THE SMITH taken with the classical HOUSE AT GRASS LAKE. forms as the Greek style passed, like the Colonial Chapel, June 1850," the wings only were before it, into vernacular use. In some fronted, until 1918, with porches of cir- cases the proportions were radically cular Doric columns. modified, with results nowhere more Much more often, at just the same piquant than in the little house in Ann period, the order was modified to suit Arbor occupied in the middle of the lesser means and lesser pretentions. last century by H. D. Bennett, Secretary Square piers were substituted for the of the University. Instead of two full columns, the anta capital was used to stories below the cornice, the house has crown them, with results of surprising its upper story in the roof, with small artistic merit. The device was no mere "frieze windows" all too near the floor screened delicate iron makeshift of the frontier : the frontispiece by gratings of Minard Lafever's "Modern Builder's designed on the motive of the Greek anthemion. Sometimes, the antae Guide," published in 1833, shows the again, were made more slender than the classic metamorphosis already accomplished, and proportion, as in the house at Algonac. houses illustrating it be found with- may Elsewhere it was the horizontal divisions in a few miles of New York for City, of the temple which were varied. It was instance one at It can Rahway. scarcely not always assumed that there must be be doubted that this of very plate Lafever an even number of piers and an odd num- was in the hands of the builders of the ber of openings to the gabled facade. Hvo hundred thirty-six THE ARCHITECTURAL RECORD. peated here like so many other traits of the region from which the settlers came. Just east of Battle Creek a quarry of stratified ledge stone was responsible for some fine rubble walls. The John- son house there, built in 1840 by a mason named Lawson, has little to lose in com- parison with the finest work of the kind in Pennsylvania. In the Chapel house near Jackson, regular coursed ashlar was ambitiously adopted, coupled with some crude attempts at decorative relief sculp- FRONT ELEVATIO'N WEBSTER-BREAKEY ture. With such a range of materials, HOUSE, ANN ARBOR, MICH. even when used merely in ringing the changes on but one basic theme, the Since the main block generally had a number of permutations was infinite. As width of but one room beside the hall- a matter of fact, among all the similar way, the main door was at one side of houses, no two are alike. the front, and there could be a portico Aside from the scheme of the temple, of two bays, with three antae one in with its longitudinal axis, classicists the the centre as in small houses at Dex- world over preferred a centrally balanced ter and elsewhere. These reverted, arrangement about a vertical axis. Such quite unconsciously, to the scheme of the a scheme most highly developed, with a primitive Greek temple. Finally, in many dome, in Palladio's Villa Rotunda minor houses, there was a total absence found its homelier expression in America of any curved mouldings, the subtle ef- in the octagonal house. The vogue of fects of Greek profiles being approximated this form here, goes back, like that of remarkably well by ingenious use of mere the temple, to the initiative of Jefferson, square fillets and sloping chamfers. Thus who, in his little known plantation of the classic revival by no means meant "Poplar Forest," realized, during the death to local and individual freedom. years following 1806, the paper projects Further possibilities for variety, even of Italian and English academic theorists. within the temple type, lay in the choice Few old Michigan towns failed to contain of materials, several of which were often one or more houses which were octagonal. available in a single locality. Wood was Ann Arbor had one until a few years the most common but by no means uni- ago, built by Alexander Winchell, pro- versal. Brick was frequently used, either fessor of geology from 1854 to 1872, by itself or covered with warm stucco. Stone was employed in m a ny different ways, co n f o r m i ng partly to local condi- tions. Thus small rounded glacial stone was laid up in thick mortar, like brick, and also in herringbone pattern the opus spi- catum of the Romans, if the builders but knew it . This is a SIDE ELEVATION WEBSTER-BREAKEY HOUSE local manner of work ANN ARBOR, MICH. found also in central From measured drawing by John B. Jewell. Note the "contrast between its windows.'' New York, and re- its grave regularity and the fantastic wooden grilles of frieze two hundred thirty-seven or- Tit*- FLOOR PLANS THE THOMPSON SINCLAIR HOUSE, ANN ARBOR, MICH. and others still stand, as in Ypsilanti, lowed. Instead of the imposing gable Concord, and Otsego even on obscure to the street, the eaves were occasionally outlying farms. Strange as it seems, turned that way, as in colonial days. the interiors of many such houses, so far Thus one got a form like a glorified wing from being inconvenient, were made to of the ordinary temple-mansion, for ex- offer novel facilities by ingenious plan- ample the very homelike and intimate ning, which also disguised almost house at Otsego. Again, the roof slopes completely the unusual shape of the ex- gently from all four directions. This terior. In crude examples of the fashion was specially common in the region about there was a single central chimney with the head of Lake St. Clair. The one rooms about it, arranged very like so story house near Mt. Clemens, with its many pieces of pie. Some of the best recessed portico and restful lines, might octagonal houses have suffered destruc- well be a lesson in repose to many a. tion or remodelling, but enough remain modern "bungalow". The little Webster- to show the variety which was given them Breakey house at Ann Arbor so small in it a also : by an exterior peristyle the lower that has been twice moved gained or in the upper story, by recessed and special flavor from the contrast between projecting porticoes. The finest example its grave regularity and the fantastic still standing would seem to be the wooden grilles of its frieze windows. Hamilton house in St. Joseph, with its The detail of the doors and windows tall pillars all about. lacks the delicacy of the Colonial or Adam Sometimes less pretentious schemes proportions and carving, and no doubt than the temple and the octagon were fol- a consideration of its harmony with the two hundred thirty-eight DETAIL OF DOORWAY THE THOMPSON SINCLAIR HOUSE, ANN ARBOR, MICH., 1843- two hundred thirty-nine FRONT ELEVATIONS THE THOMPSON SINCLAIR HOUSE, ANN ARBOR, MICH., 1843. whole is necessary for appreciation of near Concord was actually built as late such amplitude and severity as that of as 1857. There was no other architect the great doorway, in antis, of the Dexter than the owner and the builders, Hough- house. In the McCollum house, on the ton Butler and Son. In elaboration of other hand, the windows have moulded porticoes it is one of the most interest- panels below, the doorway has a rich ing of all the temple-dwellings, whether treatment of Ionic colonnettes of great viewed from front or rear. Its date is purity of form, with leaded side-lights betrayed only by the wave motive of the and transom recalling the doorways of parapet and the lank scrolls of the gable lower New York. innocent early products of the bandsaw. In the interior, monumental scale and It was not until the eve of the Civil War detail are retained. The great rooms of that classicism finally succumbed to the the Dexter house gain much impressive- Gothic revival. Even then the types of ness from their height, their heavily massing which classicism had established moulded plaster cornices, and their vast lingered on long after Greek detail was doorways. In minor houses the mantels, abandoned. on a pair of little Doric columns or antae, Adherence to local tradition in the de- ^vere almost the only ornamental features. sign of modern buildings is a principle Pride was taken in painting woodwork brilliantly exemplified in such revivals as in a manner we condemn unseen grain- the Harvard brick and the ledge-stone ing! Those who suppose it an abomina- architecture of Pennsylvania. So little tion should remember that it was much has it been sometimes understood, how- admired in Colonial days, and then ever, that carloads of the Pennsylvania should see the rooms of the Smith house stone have been transported to Michigan at Grass Lake. to erect a house alien to the region. The The classic types and details in old colonies and the newer states have Michigan persisted to an astonishingly each their own artistic heritage. Artists late period. The St. Clair Bean house and public may enter on it if they will. two hundred forty ^ARCHITECT ^ ^ FACTOR IN THE CONSTRUCTION BUSINESS - BY THOMASS. HOLDER "Jhe F W. Dodge Company Statistical Department of the built by contractors, $55,140; of projects THEF. W. Dodge Company has com- planned by architects and built without a. of all piled some interesting figures that general contractor, $49,823 ; proj- define or measure the importance of the ects planned by architects, $50,804. The architectural profession as a business average cost of projects planned without factor in construction. The results of architects and built by general contractors the compilation are shown in the accom- is $23,049; of projects built without archi- chart and of panying tables, which require tects or general contractors, $13,285 ; but little explanation. The territory cov- all projects planned without architects, ered by the figures includes about three- $19,679. The average value of the fourths of the total construction activity architect-planned project is two-and-half of the country. times the value of the average project During the first six months of this built without an architect. year construction was started in the In the six districts into which the Dodge twenty-seven Northeastern States on 52,- Company's territory is divided, there are 447 projects, amounting to $1,690.984,- variations in the per capita volume of 200. Of these projects 21,169, amount- construction and in the percentage of ing to $1,075,466,000, were planned by work planned by architects, which are architects. Thus, architects planned 40.4 worth noting. per cent, of the total number of projects, In the New England States, the per which amounted to 63.6 per cent, of the capita construction for the first half of total cost. These percentages are slight- 1922 was $23.67; 61.3 per cent, of the ly higher than those of other recent total work was planned by architects. In years. New York State and Northern New Jer- The classification "Public Works and sey, where the per capita construction was Utilities" is largely made up of engi- $37.37, work planned by architects was neering projects, such as streets, roads, 78.6 per cent, of the total. In the Mid- bridges and sewers. Aside from this dle Atlantic States (Eastern Pennsyl- classification, 43.9 per cent, of the proj- vania, Southern New Jersey, Delaware, ects were planned by architects, amount- Maryland, District of Columbia, Virginia ing to 74.9 per cent, of the cost. and the Carolinas) the per capita construc- The tables show, in addition, the rela- tion was $17.51 and the percentage tion of the architects to the contracting planned by architects was 53.5. In the business. Of the 21,169 projects planned Pittsburgh District (Western Pennsyl- by architects, 14,685, or about two-thirds, vania, West Virginia, Ohio, Kentucky were built by general contractors. Of and Tennessee) the per capita construc- the $1,075,466,000 worth of construction tion was $16.92, the percentage planned planned by architects, $809,736,800, or by architects, 56.0. In the Central West four-fifths, was built by general con- (Illinois, Indiana, Iowa, Wisconsin, tractors. Southern Michigan, Missouri and East- A comparison of the average cost per ern Kansas) the per capita construction, project for each of the groups shown in $21.14, the percentage planned by archi- TABLE I is of interest. The average tects 60.3. In the Northwest (Minne- cost of all projects reported is $32,223; sota, the Dakotas and Northern Michi- of projects planned by architects and gan) the per capita construction, $11.86, two hundred forty-one r Percentage of Construct ion \ Planned byArchitects First Six Months 1922 (27 NORTHEASTERN STATES) TOTAL CONSTRUCTION * 1,690,984,200 PLANNED by ARCHITECTS 4 1,075,466, OOO Analysis of Construction by Classes Black Areas Show Percentage Planned by Architects O ft IOO.OOO.OOOIOOOOOI Z 6 4 70O.OOO.OOO Residential Business Industrial All Others FIGURES TABULATED FROM DODGE CONSTRUCTION REPORTS 1922 THE ARCHITECTURAL RECORD two hundred forty- two ?'//' ARCHITECTURAL RECORD. SOO O O O H tO OO CO ON co .^ ^-< O oaSO c-CfTr*?!-^! r u ^-i CM O 2 CQ vd '2 $2 fijjg O *> o o oo a => O S O rt O WUj5 10 CM >O t*5 8 O ^ J Q O 00 O_O^r<5 O. "^ P^ *O 1 ^2 CM .H.C PH o^ o 2u TT , C 0^2 Os Tt VO 0* * ^ - i< o \ -! O\ 2 CO rtl CO v C o ' N O CN O ^ 2-C H rvi *! CO -4- d *O t^j Ov OO O W , .2 bo co i IN. f- CM vq 4-. O vq ! o oo' c> o 10 s U ^2 o CM 10 CM CM Tf r-1 ^H VO vq vq *5 Tf 5 O fO c V OO O vo OJ CM < J J ffi 00 O\ * Ov llil 80 U"J t-x OO O vo O oo ^ so" Oio CM Tf r^ 09, CM CM CM General s t* J O CC CM <*5 CM 00 S Contracto o" o W 2 i- be rM Q\ d^* " O 3 ^ - J5 U two hundred forty-three THE ARCHITECTURAL RECORD. and the percentage planned by architects, population; in the Pittsburgh District, 50.1. In the entire territory, where the 932, or 1 architect per 16,553 of popula- percentage planned by architects was tion; in the Central West, 2,112, or 1 per 63.6, the per capita construction was 10,547; in the Northwest, 210 architects, $22.08. or 1 per 19,044. The total number of The Dodge Company has also just architects in the entire territory under made an enumeration of the architects in consideration is 6,653, or 1 architectural its It for various districts. . shows New firm per 11,509 of population. England States 642 architectural firms, or . If detailed study is made of the figures 1 for each 11,526 of population; in New given in the attached tables, it is well York State and Northern New Jersey, to bear in mind that from 50 to 60 per 1,925 architects, or 1 per 6,679 of popu- cent, of the total construction cost repre- lation; in the Middle Atlantic States, sents the material cost, the remainder: be- 832 architects, or 1 for each 17.557 of ing the labor cost of construction. PORCH OF PARISH CHURCH OF BENFLEET, ESSEX, ENGLAND. two hundred forty-four con- are A Resume of As data are gathered Though his notes upon Gothic polychromy Viollet le Due's cerning the manner in very sparse, they give a very accurate impres- Observations and which the color problem in sion of the extent to which custom controlled Deductions on architecture was handled the color treatment of ornamentation and the Mediaeval in by-gone days, astonish- arrangement of colors in groups, during the XII, Architectural ment increases with ac- XIII and XIV centuries. The general prin- Polychromy quaintance, at the extent to ciples which determined the architectural loca- which the tested method ruled practice : this tion of colored decoration parallels those adopted applies to the Gothic expression as much as by the Greeks, in that ornamental items were it does to the Greek. Our predecessors valued regarded as appropriate for color effect, and safety in procedure as highly as some of the main structural features as unfitting. The our contemporaries prize the most volatile principal difference in general plan of loca- impulses, as the most desirable means of pro- tion was accounted for by those contrasts in ducing artistic results. The unanimity with structural design which exist between Greek which the standard solution was adopted is and Gothic buildings; the Greeks concentrated .accounted for, in the first place, by the spirit color upon the upper part of the building, of the age, which regarded art expression of which the Gothic designers left comparatively greater importance than the revelation of the free of color, though the roof was elaborately individual's temperament. There was a peculiar decorated : these differences however, do not vitality given to shop-practice in the middle imply opposite views on the part of Greeks and it which that the mediaeval on the ages ; possessed a human impulse workers; contrary, they deadly term does not convey in its current sig- demonstrate the wide range of adaptability nificance. When we bear in mind the intimate of the basic principle of color location in its contact of master and apprentice and the pres- relation to the structural properties of archi- tige which the social order must have imparted tectural items. to the former in the consideration of the lat- Viollet le Due found numerous remains of ter, there is no occasion to feel surprised that coloring of the fagades of the cathedrals of the younger generations should have accepted Notre Dame, Rheims, Amiens and others, in artistic principles in practice, the value of sufficient completeness to enable him to formu- which they saw demonstrated daily in the late a definite idea of their original condition : work of the master. Any addition made to he was further able to observe that the quality technical or artistic experience was regarded of color effect varied by district, and that a as a valuable possession, to be transmitted to decided change occurred during the XIII cen- their in successors the craft for perpetuation ; tury, when the layman superseded the clergy a vivid contrast to the modern attitude, which as designer. is generally most concerned with patent law The Gothic palette was divided into two protection. classes of color: the simple and the composite. It is much to be regretted that Viollet le The simple colors were the primaries according to the obsolete classification and Due has not left a more complete record of ; yellow, red, the extensive investigations which he made blue. The composite included certain tones ob- of those color remains still discernible upon tained by the mixture of the three simple col- many famous Gothic structures in his day, ors, such as green, purple, orange, grey, etc. which have been since obliterated through the Certain color combinations prevailed in orna- pollution of city atmospheres. mental treatment; these form three typical two hundred forty-five THE ARCHITECTURAL RECORD. groups. The first typical coloring consisted of minated with a simple color for the least sig- yellow and red, with a small proportion of nificant detail. The color sequence most fre- black and white. The second, of red, yellow quently noted was arranged as follows: and blue, with their compound tones, green, 1. Blue (simple). purple and orange. The third was composed 2. Green (or purple). (Composite.) as the second with the difference that gold 3. Vermilion (simple). takes the place of white as the highest toned 4. Purple (or green). (Composite.) color. 5. Yellow: followed by rose, light blue, A systematic procedure apparently dictated turquoise-green, straw-color, and shades of the grouping of color upon ornamentation. The light grey or tones of white. details of an ornamental composition were, The Gothic polychromists in their creation according to Viollet le Due, considered on the of effect reveal an intimate knowledge of those basis of their relative decorative importance phenomena peculiar to brilliant color, or con- and their respective areas: the colors, in the trasting tone values, which produce certain order of their radiant properties. A systematic optical illusions in their decorative application. relationship was established between orna- They utilized these with excellent judgment mental values, areas, and color quality. He re- and foresight, deliberately taking advantage constructs a system whereby the values of the of, and compensating for, those illusions which simple colors were designated by ciphers as fol- affect the apparent dimension of a detail when : 1 lows yellow, ; red, 2; blue, 3. When red was colored with tints of varying intensities, or when mixed with yellow to produce an orange, the placed upon backgrounds of contrasting tone number designating that tone was 3, the pro- values. They took evident pleasure in playing duct of yellow 1, plus red 2. Similarly when tricks with the apparent size of solids, which they red was mixed with blue to produce a purple, widened or narrowed at will by the character its number was 5, the product of red 2, plus of the ornamentation with which they covered blue 3. The arrangement of colors upon them. They discovered that the sense of dis- ornamentation was determined on the follow- tance was subject in a great measure to the ing plan: in many of the XIII century orna- manipulation of color quality, tone values, and mentations, colored principally in red and yel- ornamental scale. Effects created were not low, the areas of motif to field is approximately the result of hazard, but of deliberate cal- 1 to 2: the color of the lesser degree of culation, based upon an accurate observation radiance, yellow, is chosen for the larger area, of all factors involved, estimated with a pre- and the red for the smaller, reversing their cision which might almost be termed scientific numerical order in relation to the size of the were it not so essentially artistic. spaces to be covered. By thorough investi- As the capacity for artistic expression became gation of a series of examples, Viollet le Due more fluent with the fuller development of found this system of apportionment to have the Gothic manner, and the taste for sumptuous been consistently followed for over two cen- effect more fastidious, the increased use of turies. To summarize, if one detail were five gold is very noticeable. They appreciated to times the area of another, yellow (1) might the fullest extent its great value as a harmoniz- be used on the larger, and purple (5) on the ing element in ornamentation combined wtiith smaller. In his analysis of the data which he brilliant and contrasting colors. The manner in evidently accumulated in considerable quantity, which they utilized their observation of the and with great earnestness, Viollet le Due made peculiar decorative properties of gold in orna- another observation which is of considerable mentation, is a remarkable demonstration of interest, as evidence of the strong inclination their deep knowledge of inherent artistic pos- of the mediaeval decorator of buildings for sibilities existing in materials used for the systematic procedure in polychromy. In addi- creation of effect. In the color treatment of tion to the order in which ornamental values, the vaulting, gold played a very important areas, and color qualities were considered, he and useful part. Blue was adopted as the discovered that colors were arranged upon the conventional color for the vaulting or ceilings, items of the decorative motif in a certain se- either because of its relation to the color of the it quence : and that, following the order of orna- sky, or because gave an impression of height mental importance of those items, the colors which could not be equalled with any other color. were taken alternately from the simple and The then available pigment was crude in its the composite groups. Pursuing this observa- brilliancy, to such an extent that it must have tion, he found that the detail of major impor- been difficult to establish a harmonious color tance was invariably a simple color : in no relation between so large a mass of aggressively instance did he find a composite heading the bright pigment, and colors of lesser radiance list: and, in no color scheme was the list ter- massed in much smaller proportions through two hundred forty-six THE ARCHITECTURAL RECORD. the other parts of the building. To neutralize in Civilization" striking the keynote of this, and to establish the requisite tonal rela- those that follow: "Towns and Civiliza- tionship, delicate red and green patterns were tion," he says, "are two words for nearly scattered over the blue field outlined with gold; one thing: the City is the manifestation of the gold incorporated the red and green with the spirit of its population and the larger the blue, thereby modifying the aggressiveness body it builds for its soul." Our cities and of that color; this objection was further de- our 'buildings are mirrors which reflect our veloped by the sprinkling of gold diapers over conscious ideas of beauty and of art. Since the blue ground. In course of time, as the architecture may be called the totality of all Gothic color sense became more acute, they the arts, it most truthfully reflects. It there- modified the crude blue by introducing a fore is not merely a visible accumulation of light yellow in the pigment, giving it a structural ideas, a matter of appearances, greenish cast, thus introducing a common color but a matter of metaphysics. factor of yellow between the ochre red, Professor Lethaby is entirely right in green and blue. This method of establishing dwelling so persistently on the thought that harmonious color relations by means of the art, and more specifically the art of archi- common color factor was much resorted to by tecture, is one of the most sustaining aspects the Gothic colorists throughout the greater part of human existence. The right kind of of the three centuries. Other color conven- architecture in a community buildings which tions prevailed, in connection with the combina- are suited to their function in the com- : tion of certain colors : when yellow was used munity are an inspiration to the people with green, the yellow was of an orange cast; Without inspiration people cease to love and if a pure yellow was desired for a specific without love they cease to live. effect, the yellow was high in tone and the We do not have to be urged to admit green low. All purple found on ancient that our cities with their unbelievable con- buildings inclined to the madder, never to the ditions of unkemptness and lack of order, violet. should be and could be changed into places They developed a certain technique in outlin- of order and cleanliness where a reasonable ing ornamentation, the description of which measure of happiness would be within the must be deferred to a future number these ; reach of everyone. (After all, what is living methods assumed an importance in the de- but the science of being happy?) What is of to that which out- velopment effects, equal needed to change this picture of ugliness line in the archi- technique assumed Greek is action the action that follows a change tectural polychromy. of concept of ideas, whose manifestation LEON V. SOLON. can only be cities of beauty and order where the affairs of men move with rhythm; where work is justly productive; where it is art. There is a distinct Such is the "city that lieth four-square" Some of flavor of Chesterton in where the impossible is brought to fulfil- W. R. Lethaby's Professor Lethaby's ment. Essays writings. He often Elsewhere we read: "A town, then, is a Reprinted seems on the point of work of art according to its quality as a achieving the famous in- dwelling-place for men. Its art is its ser- verted paradox, and on almost every page vice and stimulus to life." This was true some keen, incisive, flashing phrase lights of the beginning of art in primitive life, up his theme from an unexpected angle. particularly with regard to Music, which This little group of collected essays and ad- was not only a social diversion but was dresses* is a mine of clear, stimulating used deliberately as a stimulus to nervous on the art of for on festal cele- thought things architectural, energy ; such as, example, living, housing problems, the arts and handi- brations and before battles. Every act of crafts and other pertinent matters. There life was a ceremony, with music or some is an astonishing array of workable ideas art an inseparable part of it. Confucius which in action would contribute much to said: "If you would know a people rightly, definite form in living. As if to emphasize examine into the nature of its music." the importance of arrangement and order Art, if it is to become a vibrant, na- in our lives, and the fundamental relation tional attribute, moving us to sincere and of all art to living, Professor Lethaby puts noble expression, cannot remain "fine" in first the essay entitled "Architecture as Form the sense that it is unattainable by large numbers. "Art," says Professor Lethaby, *"Form in Civilization," by W. R. Lethaby. Ox- of that ford University Press, London, 1922. "is not only a question high genius; tii'o hundred forty-seven THE ARCHITECTURAL RECORD. is only the crest of a great wave rising from July 13, 1922. gifted peoples, and without the flood of com- The Architectural Record Company, mon art you cannot have the crest of Gentlemen : genius. This common art, which is the I am pleased to note the four pictures of thing of importance (as the other will form the Lincoln school building which appear on itself out of it) is concerned with all the pages sixty-five to sixty-eight of your July routine things of life laying the breakfast issue. table and cleaning the door-steps of our May I call your attention to an error in the houses, tidying up our railway stations, and name of the building which is misleading to lighting the High Streets of our towns." the public? This is not a high school building Art has been too much relegated to jour- alone, but is a combination of elementary, nalism; it has fallen into the mesh of special- high school and educational research institution. I cannot how the error ization, where it has acquired so nebulous imagine occurred or how this name was furnished as it is a collection of terms that ordinary people you ; of course, the architects and builders are aware give it gratefully "into the hands of the that that is not the proper name. specialists who say they know all about it." It is true that the public is spending more Renamed and redeemed from this bondage money for building high schools than is spent a element in the it would become competent proportionately in building elementary school lives of the common people. Here we would buildings, and because of that fact the pictures find the essence of art and from this source might have more of an immediate appeal to would flow an art which would be the out- people who are interested in high schools, but that is immediate and since it is an error ward and visible form of the spirit of unity. only, I think that it might be well to call attention With this, as Professor Lethaby suggests, to that fact if it meets your approval. who need worry about genius? Sincerely yours, MOYCAH BRANDOW. OTIS W. CALDWELL. NOTRE DAME, PARIS Etching by DeWitt K. Feaaenden. two hundred forty-eight