VOL. XX. No. 3. SEPTEMBER, 1906 WHOLE No. 96. mulinn

The Work of Messrs. McKIM, MEAD & WHITE Illustrated 153 HENRY W. DESMOND, HERBERT CROLY

Notes and Comments Illustrated 247

Resolutions on the Death of Stanford White

The Church and the Architect

Planning the Church Yard

A Restoration

Enthusiasm and Good Sense

Public Art League

New York's Big Buildings

Effective Building Sites in New York

An Extraordinary Record

Ecclesiastical Architecture

Social Service in Small Parks

C. W. SWEET, Publisher E.W. REINHOLD, Business Mgr. H.W. DESMOND, Editor H. D. CROLY, Associate Editor

Subscription (Yearly), $3.00 Published Monthly

OF PUBLICATION: Nos. 14 and 16 VESEY STREET, NEW YORK CITY WESTERN OFFICE: 511 IVONAONOCK BLOC., CHICAGO, ILL. Cbe

Vol. XX SEPTEMBER, 19O6 No. 3.

The Work of Messrs. McKim, Mead & White

In the about eleven of year 1895, just ume the work testified sufficiently to years an entire number of the its ago, popularity, if, indeed, popularity can Architectural Record was devoted to be asserted of any of the embodiments the work of Messrs. McKim, Mead & of an art which in this country evokes White. that At time the firm had been so little genuine popular understanding in active for some fifteen or practice years ; general popular appreciation. At all and its work was already distinguished events their names were more frequent- among that of contemporary American ly than that of any other firm in the

THE NEW PENNSYLVANIA RAILROAD STATION BIRD'S-EYE VIEW.

Seventh to Ninth Avenues, 31st to 33d Streets, New York. architectural firms at once for its va- mouths of people who had no commer- riety, its volume, and for a certain dis- cial or technical interest in architec- tinctive character. the three ture and certain Although ; buildings which they members of the firm were still compara- had designed had excited an unusual tively young men, they had won a place amount of interest among an unusually in their profession which could fairly large number of people. Moreover, this be called pre-eminent ; and no matter popularity had not been obtained at the from what point of view this pre-emi- expense of their professional standing. nence was tested, their title to it could Their work was for the most part cor- be pronounced valid. The mere vol- dially admired and approved by their Copyright, 1906, by "THE ARCHITECTURAL RECORD COMPANY." All rights reserved. Entered May 22, 1902, as second-class matter, Post Office at New York, N. Y., Act of Congress of March 3d, 1879. THE ARCHITECTURAL RECORD. 154 THE WORK OF McKIM, MEAD 6- WHITE.

fellow-architects ; and this admiration their success, by the conspicuousness and was free from approval singularly of their position; and there were few and It was bestow- qualification envy. architectural firms whose work both in ed them almost as much archi- upon by its general tendency and its details had whose tendencies tects, own of design less to fear from such a test. were as architects who on if dissimilar, by But their work provoked and re-

THE FIRST METHODIST CHURCH. Baltimore, Md. the whole accepted the same traditions paid criticism in 1895, how much more and believed in the same ideas. Even does it provoke and repay criticism to- in 1895, conseqently, their work invited day? It is true that during the eleven to an altogether peculiar extent a can- years which have supervened, their po- did and careful critical estimate. They sition in relation to their colleagues and provoked criticism by the greatness of the public has not essentially altered. 156 THE ARCHITECTURAL RECORD.

American architecture has in the mean- tain distinctive quality. They have time come to attract the attention of a during these years manifestly confirmee much larger number of people. Its op- their leading position, and by tl portunities have been multiplied and mere fact of having maintained an< enlarged. Its practitioners have in- confirmed it under such altered circum- creased considerably in numbers and stances, they once again challenge th< have been bringing to their work difficult, but we trust, useful test of crit- a higher technical equipment. But ical examination. For in the meantime, in the midst of these larger oppor- while their eminence has rather in- tunities and this severer competi- creased than diminished in the eyes of

THE NEWPORT CASINO. Newport, R. I. (Photo by Alman & Co.) tion, the firm of McKim, Mead & their colleagues and the public, theii White has more than held its own. Its work and its significance has assumec work still evokes the most cordial and from the point of view of the critic on the of inter- and it i< general approval part somewhat new complexion ; ested amateurs, and the leading mem- necessary to explain at the outset whj bers of their profession are still ready and in what respect they demand a to acknowledge their pre-eminence. critical estimate. Certain other architects have become In 1895 the several members of th< more distinguished for special kinds of firm of McKim, Mead & White were work, but McKim, Mead & White re- all comparatively young men. The] main conspicuous for the number and had been working together for fifteei of their and for a cer- but these fifteen variety buildings years ; during yean THE WORK OF McKIM, MEAD & WHITE. 157 their work had necessarily been more could conform or from which it could or less experimental. Between 1880 revolt. The genius of Richardson had, and 1895 the conditions under which indeed, provoked a "Romanesque Re*- the art of architecture in this country vival;" but it was only a spasm, which was practiced had been changing con- the imitators of Richardson soon dis- tinually; and the buildings which they credited and which was less influential had designed during the first half of in New York than it was in Boston and their term of partnership differed con- Chicago. Under such conditions a new siderably in cost and character from the firm was obliged to feel its way; and it buildings which they designed during was not until the end of the first fifteen

THE NEWPORT CASINO.

ewport, R. I. (Photo by Alman & Co.)

that there became lie second half. Not only, however, years of its practice in the work of McKim, vas there a change taking place in the recognizable a dominant conomic conditions underlying archi- Meade & White tendency. time no one could tell whether ectural practice, but the ideas which At that con- letermined the forms used in Ameri- this tendency would or would not It was an architecture were also undergoing tinue to pervade their designs. several other experi- nodification. During the eighties no only one among which either be super- ne tendency of design, no single choice ments might or else modified recogni- f style had been adopted by any large seded beyond is no the lumber of architects. A firm begin- tion. Such, however, longer and tendencies in iing practice in that decade found no case. The aspects which were have pecific technical tradition, to which it their work, embryonic, THE ARCHITECTURAL RECORD. 158

reached a mature growth, and what- pected that they will do anything hen ever there was which was hazy and un- after which will alter the general stam certain in their point of view has become ing and significance of their worl definite and consistent. They stand What they stand for now they wil for the use of certain stand for until the end and it pre-eminently ; should architectural forms and for a certain possible at the present time to make specific intellectual attitude towards more conclusive appraisal of their worl the fundamental problems of American and of their point of view than it and if the Amer- in We have the architecture ; younger 1895. essentially same ican architects of the present day have material before us for criticism as wil a more tangible tradition either to ac- the historian of American architecture it in cept, to modify or to reject, they owe 1950 and while we cannot sun

THE HORSESHOE NEWPORT CASINO. Newport, R. I. (Photo by Alman & Co.) more than to any other single influence this material from so safe a distance to Messrs. McKim, Mead & White. Their can the future historian, we can at leas example and success have helped to es- enable him the better to judge how th( tablish the popularity of one group of work of McKim, Mead & White in its architectural forms and t( ; they could not large and general aspects appealed at the present time start off upon a their contemporaries. wholly new tack without an impossible And in the beginning we cannot se- self-stultification. The consequence is lect a more significant point of depar- that while we may expect from their ture for such an appraisal than the plaii draughting-boards many new and in- fact that the work of McKim, Mea< teresting buildings many even like the & White has obtained such a larj new Madison Square Presbyterian measure of popular and professional Church or the Woman's Athletic Club, success. It has pleased the people which contain novelties in design or in whom it was important and necessary the of use materials it is not to be ex- to please. Their clients have been satis- THE WORK OF McKIM, MEAD & WHITE. 159

THE TIFFANY RESIDENCE. Madison Avenue and 72d Street, New York. (Photo by J. H. Symmons.) fied, as far as the race of clients can be not attempt to say; but at all events satisfied. The public have admired. the frequent repetition of such a charge Their colleagues have approved. And implies that their success has not been this result has been obtained, not by based merely on the spirit of accommo- carelessly accommodating their designs dation. It has been earned by the pos- to the ideas and tastes of their clients itive quality possessed by their work. or by capitulating to any vulgar prevail- It has triumphed in spite of some ing standard, but by the persistent as- reasons why it should not have sertion of their own aesthetic point of triumphed, and it has triumphed also, view. They have been accused, for in- in spite of an ever increasing number stance, of ignoring or evading the ideas of professional competitors, who were of their clients more than they should, trying to travel to the same goal along and of sacrificing the convenient inter- what appeared to be the same road. nal the for- arrangement of a building, in which Their success has been merely a client would naturally be most keenly tunate and deserved result, not the ob- interested, to the effectiveness of its ject at which they have consciously public appearance. How far this charge aimed; and in order to ascertain its into may or may not be justified, we shall cause we must look more closely RECORD. i6o THE ARCHITECTURAL

THE VILLARD HOUSES. Madison Avenue, 50th and 51st Streets, New York. (Photo by J. H. Symmons.) the nature of their work and into the widely pervasive, or in provoking intel- conditions which it was obliged to sat- ligent and fruitful imitation. McKii isfy. Mead & White, on the other hand, have Can it not be proclaimed at the out- succeeded in making their influence set that McKim, Mead & White have widely pervasive and .in provoking imi- been the leaders in the contemporary tation which has been both intelligent American architectural movement, be- and edifying. In them the modern cause their aesthetic point of view was American architectural movement first so intelligently and so wholesomely rep- began to find itself, and to become con- resentative? Before their influence be- scious that one group of architectural came important, there had been much forms and one species of architectural brilliant and conscientious individual expression promised to be more fertile achievement in American architecture; than another. No doubt, during the but its authors had not obtained period of their successful practice there much more than a personal suc- have been many other architects at cess. These brilliant or conscientious work who have escaped the range individual performers had not suc- of their influence, and whose methods ceeded in making their influence very of design have remained essentially the THE WORK OF McKIM, MEAD & WHITE.

THE NEW YORK LIFE INSURANCE COMPANY'S BUILDING. Kansas City, Mo. 162 THE ARCHITECTURAL RECORD. THE WORK OF McKIM, MEAD & WHITE. 163

THE INTERIOR COURTYARD BOSTON PUBLIC LIBRARY. Boston, Mass. ARCHITECTURAL RECORD. 164 THE

THE ENTRANCE VESTIBULE BOSTON PUBLIC LIBRARY. Boston, Mass. THE WORK OF McKIM, MEAD & WHITE.

BUILDING ERECTED FOR THE GOELET ESTATE.

Broadway and 20th Street, New York. RECORD. i66 THE ARCHITECTURAL

n

THE MADISON SQUARE GARDEN. Madison Avenue, 26th Street, Fourth Avenue and 27th Street, New York. THE WORK OF McKIM, MEAD & WHITE. 167 RECORD. 1 68 THE ARCHITECTURAL THE WORK OF McKIM, MEAD & WHITE 169 THE ARCHITECTURAL RECORD. 170 THE WORK OF McKIM, MEAD & WHITE.

THE CENTURY ASSOCIATION BUILDING. West 43d Street, New York. (Photo by Aug. Patzig.) RECORD. 172 THE ARCHITECTURAL

THE JUDGE BUILDING. Fifth Avenue and 16th Street, New York. THE WORK OF McKIM, MEAD &> WHITE. 173 THE ARCHITECTURAL RECORD. 174

THE CABLE BUILDING.

Broadway and Houston Street, New York. THE WORK OF McKIM, MEAD &> WHITE. 175

THE BOWERY SAVINGS BANK. Grand Street and Bowery, New York. same as they would have been, even if definite tendency and principle into the firm of McKim, Mead & White had American architecture, not by preach- never been formed. But the fact re- ing, but by the force of a compelling ex- mains that the its the next work of McKim, Mead ample ; and history during & White is representative, pervasive two generations will be a tale of the and formative, while the work of these way in which that tendency and princi- other architects either has not been so ple is accepted, transformed and per- at all, or has been so to a much smaller haps in the end superseded. extent. They have made the rule; the The work of McKim, Mead & White others have constituted the exceptions. has been representative and formative, They have established a tradition; the partly because of certain negative qual- others have not done much more than ities it possesses, and partly because of to In make a name. They have a loyal certain correlative positive qualities. following among the younger archi- the world of art and letters there are tects all over the country men who powerful personalities, whose work are content generally to follow in may be stimulating to many genera- their foot-steps; the others can tions of subsequent admirers without count their adherents on the fingers at the same time ever provoking any of one hand. They have introduced a fruitful imitation. Their plays or their THE ARCHITECTURAL RECORD. 176

to paintings are so individual that they tion general literature, was base< are at the same, time fortunately or un- upon communicable tradition, and haj fortunately inimitable. The unique served to inform and to build up th( national dramatic literature of poetic genius of Shakespeare, for in- Franc< stance, has provoked many attempts at It is not difficult to apply this analog} imitation on the part of subsequent to the facts of modern American archi- English and even continental play- tecture. A powerful personality likt writers, but these attempts have never that of Richardson, which found had any success. Profound as have best expression in certain rugge< been the effect of Shakespeare's plays Romanesque architectural forms, mad<

THE RESIDENCE OP JOHN F. ANDREW, ESQ. Commonwealth Avenue, Boston, Mass. upon the culture of the English speak- little or no permanent impression upon ing peoples, they have overshadowed the course of 'American architectural rather than informed the later English development, while McKim, Mead & drama. Products as they were of a White, whose work was less individual, powerful and humorous individual gen- but whose spirit has been more supple ius, they were not based upon any con- and communicable, have had a wide- scious technical tradition which was spread formative influence. capable of transmission. On the other In premising, however, that the hand, the classic French drama of work of McKim, Mead & White has Corneille, and particularly of Racine, al- not been highly individual, we must though itself a less valuable contribu- guard against a possible misunderstand- THE WORK OF McKIM, MEAD & WHITE. 177

nil mm ,

THE STABLES, TENNIS COURT AND POOL AT "FERNCLIFFE," MR. J. J. ASTOR'S ESTATE. Rhinebeck, N. Y.

Its lack of individu- influence ing. comparative must be ascribed largely to is not either to ality equivalent the lack sheer personal influence and power. of distinction or to the lack, within lim- They have helped to raise the standard its, of originality. McKim, Mead & of professional practice in this country White have undoubtedly stamped a by insisting that the architect is very lively positive character on their build- much more than a technical agency for ings; and in certain ways they certainly the carrying out of a client's ideas by have been innovators. But it remains insisting, that is, on having his own none the less true that the members of way when he believes the idea of a the firm have not attempted to impose client to be wrong. It is all the more special and arbitary personal prefer- remarkable, consequently, that the vigor ences upon American architectural of personal self-assertion in one direc- practice. Their individualities have tion should be combined with personal been subordinated to a persistent at- self-subordination in another; and it tempt to utilize in American architec- becomes peculiarly appropriate that these ture a new and more intelligent use of three architects make their public appear- the forms of the Rennaissance, while at ance under the impersonal vagueness of the same time establishing a higher a corporate name. Inasmuch as during technical standard is their ; and there some- twenty-six years of professional thing about the forms of the Rennais- association, they must have been con- sance which demands impersonal ex- fronted with radical differences of pression. A Gothic or Romanesque opinion and preference, it is highly revival affords an opportunity for the creditable to them that they should vigorous expression of personal pecul- none the less have held firmly to- iarities; but the forms of the Renais- gether and that the fruits of their co- sance must be infused with something operation should exhibit so much con- of the classic spirit and a modern ver- sistency. The essential unity of the trio' sion of the classic spirit must be in has rightly been called the most com- some measure impersonal. plete example of association in the his- No one who knows certain members tory of professional practice. Doubtless- of the firm of McKim, Mead & White other partnerships among American ar- will attribute the comparative lack of chitects have lasted for as many years ; individuality in their work unto any de- but in these other cases the result was ficiency on their part in personal vigor in general either the domination of one and initiative. On the contrary much personality or else, on the whole, a much of the prestige of the firm and much less highly colored achievement. The of its success in obtaining its present firm name of McKim, Mead & White,. THE ARCHITECTURAL RECORD. on the other hand, stands neither for a bers of the firm, but in he work whicl colorless achievement nor for a single they have succeeded in making their as- sistants achieve. one personality. All three of them have Every knows that contributed to the prestige and success in an office which turns out as many the contribution as does that of of the firm ; and special buildings McKim, Mead of each member is in a large way not to & White, a great deal of responsibilit be distinguished from that of his part- in the carrying out of designs must ners. No doubt one who has followed entrusted to the leading draughtsmen, their work carefully can pick certain and consequently much of the ability of buildings as in general the work of the firm to endow its designs with Charles McKim, and certain other high standard of excellence and a con- buildings as in general the work of sistent character must depend upon th< Stanford White or William Mead. Nev- extent to which these assistants can b< ertheless, such special attributions do imbued with the proper spirit and point not affect the fact that the work of the of view. The contribution which th(

I I

COLUMBIA UNIVERSITY BIRD'S-EYE VIEW. Morningside Heights, New York. firm has from the beginning possessed members of the firm make to the differ- genuine consistency, and that its three ent designs will vary according to the members stand together for a single importance of the building, but, on the achievement whose influence upon the whole, their share of the work must be architectural public of this country has that of initiation, supervision and criti- been of one kind and along one line. cism, and unless their subordinates are The only qualification which should be able to make really useful contributions made is that consistent as the work and to the complete working out of an idea the influence of the firm has been, it certain parts of the firm's work are cannot properly be called individual. It bound to become colorless, thin and mere- is the consistency of a purpose and a ly correct. But one of the distinctive char- point of view, almost of a style, but not acteristics of the firm of McKim, Mead of a personality. & White has been their ability to infuse It should be added that this consist- their own spirit and ideas into their ency of purpose and point of view has subordinates, and the consequence has been realized, not only through the self- been not only an uncommon consist- subordination of the individual mem- ency of achievement but the education THE WORK OF McKIM, MEAD &> WHITE. 179 i8o THE ARCHITECTURAL RECORD.

THE HARVARD CLUB, 44TH STREET ELEVATION. West 44th and 45th Streets, New York. THE WORK OF McKIM, MEAD & WHITE. 181

THE HARVARD CLUB 45TH STREET ELEVATION. West 44th and 45th Streets, New York. 182 THE ARCHITECTURAL RECORD. in their office of a very large number of results can only be obtained by co- competent designers. Their office has operation, and in order to make effect- been a veritable atelier, and very much ive co-operation possible, an individual the most influential one of the present architect must not indulge too much in generation. We could mention a dozen arbitrary personal preferences. He is of the most prominent and best of the not in a position to make his own likes younger architects now practicing on and dislikes as sacred as can a painter their own account who have received or writer, because he thereby condemns their training and formed their ideas in his own work to partial sterility. Unless the office of McKim, Mead & White, he has behind him some tradition or and no better illustration could be de- style with a logic, a discipline, and a sired of the fecundity of the personal in- communicable force of its own, and un-

THE LIBRARY OF THE UNIVERSITY OF THE CITY OF NEW YORK. University Heights, New York. fluence of the members of the firm. less this tradition of good form is adapt- Their point of view has proved to be ed tcr the temper of his time, his work most formative and communicable in its will never amount in the eyes of his effect upon the men who have learned countrymen to more than an architect- to know it best, and it is through the ural curiosity. He needs to be carried graduates from their office, as well as on a wave of architectural impulse more through the force of the work itself, that powerful and inclusive than any little their influence has become so pervasive. current which can originate within him- self, and it is consequently far better for It should be clearly understood and him to accept a prevailing convention of loudly proclaimed that the less Amer- design, which has some merit and prom- ican architects worship at the altar of ise, and to mould it as well as he can Individuality, the better it will be for into his service than to seek some ve- American architecture. Architecture is hicle of expression, which is more orig- essentially a social art, in which the best inal but less familiar and communicable. THE WORK OF McKIM, MEAD & WHITE.

The transition from a low to a almost a higher complete absence of any of architectural gen- stage development is erally accepted convention in the use never the result of a revolution. It must of architectural forms; there was, on be about the slow accretion brought by the whole, a very low standard of tech- of small and the nical improvements, part execution; and there was a dis- that one man can in the any play proc- heartening lack of any interest in ar- ess is never the of a "star" part per- chitecture even on the part of educated former. The best work that can be and wealthy people. During the twen- achieved by an architect who is con- ty-six years which have since elapsed, a fronted conditions which marked by partially improvement has taken place in sterilize his own of achievement all power these respects, and for this improve-

THE HALL OF FAME AND THE LIBRARY UNIVERSITY OF THE CITY OF NEW YORK. University Heights, New York. is to make sure that his successors have ment Messrs. McKim, Mead & White as a consequence of his interference a are entitled to a large share of credit. to fairer opportunity; and if they, in their Their work was precisely adapted a turn, make good use of this better op- effecting, under current conditions, It soon portunity, a judicious historian will maximum amount of good. grant him credit not only for the good came to possess a definite tendency that resides in his own work, but also which was of a kind to attract and to for an effectual contribution to the work hold popular attention, and it was dis- of his successors. tinguished by a high level of technical com- When McKim, Mead & White began excellence, which both stimulated and educat- to practice in 1880, American architect- petition, inspired emulation it attracted. Its ef- ure was suffering from several different ed the public which has been unmis- complaints. There was in the first place fect upon public taste THE ARCHITECTURAL RECORD. 1 84

takable and important. Where others cess. Whether he knew it or not, who had similar opportunities failed, must either sacrifice a rigorous inte McKim, Mead & White succeeded, in rity of design to the popular effective Leigh Hunt's phrase, "in insidiously ness of his work, or he must sacrifice the effectiveness optimizing" American architecture and popular of his work t( American architectural taste, and it is a rigorous integrity of design. Sue this intimate and edifying relation be- was the choice which an architect coi tween their work and the general con- sciously or unconsciously was oblige dition of architecture in this country to make, and it seems to us that arcl

THE HALL OP LANGUAGES UNIVERSITY OF THE CITY OF NEW YORK. University Heights, New York. which makes it so completely and so tects like McKim, Mead & White chose beneficially representative. what was at the time the better part It goes almost without saying that a Under prevailing conditions it was more body of architectural work which was important that an architect shoulc so representative in character as well make an impression by establishing a as so ameliorating in its result, must series of ameliorating architectura have certain grave limitations. Under precedents than that he should affon the conditions which have prevailed an example of neglected integrity of de during the last quarter of a century in sign. The best that can be said for the this country, an architect could not be work of McKim, Mead & White (and scrupulously logical and realistic in his it is very high praise) is that it is as methods of design and at the same time good as it could be, consistent with achieve of suc- a but there any large degree popular making great impression ; THE WORK OF McKIM, MEAD & WHITE. 185 can be no doubt that much was sacri- other architects whose work was shaped ficed in order to make the necessary im- bv different ideas have failed to accom- Dression. Not only was any intimate plish results, which have combined on -elation between the structure and form the whole so much merit with so much a building sacrificed, but also any influence. Is it not a fair inference that fruitful relation between function and the achievement of McKim, Mead & orm. Architecture became almost en- White has been just about as good as it irely a matter of making those parts of could be? which were look a building exposed Objection has been taken to their and Whatever else leasing- interesting. work, because in designing their build- was to be or to it must a building do, ings they have attached more impor- of all make a brave show. It first big, tance to the use of a certain group of nust on the of Amer- appear highway historical architectural forms than they and and can life, compel recognition have to the realistic development of a admiration. American architecture design out of the special conditions could be rescued from indifference only which a particular building ought to and effectual self-advertise- persistent satisfy. But here again may we not nent, and to this task everything must rather discover an illustration of their the formal sacrificed, except pro- good sense? Was there any other or uriety of the result. better way to provoke on behalf of In defending the foregoing concep- their buildings the interest of an indif- ;ion of the best work which an Amer- ferent public, and perhaps of an ig- can architect can perform under con- norant client, than to make them first of ;emporary conditions, it is not neces- all reminiscent of memorable examples sary to be apologetic. Of course, it of European architecture? To the eaves room for improvement, but so enormous majority even of well-educat- does every stage in the national develop- ed Americans good architecture means nent of an art except the stage of con- merely the architecture with which they summate achievement. In an art like have been more or less familiarized by which is so cir- their travels and a architecture, completely European ; building cumscribed by stubborn economic, so- erected in this country, no matter how cial and intellectual conditions, the pos- well designed it might be, which failed ible and effective improvement at any somewhat explicitly to suggest these one time is confined to certain narrow familiar forms, would also fail at the imits and no matter time to re- ; how disinterested, present awaken any popular competent and aspiring contemporary sponse. This has been a condition architects may be, they cannot overstep which American architects have been those limits. It is the great distinction obliged to face ever since Americans McKim, Mead & White that they have been much given to European realized more clearly than any one else travel. As often as not they become at- ust what these limits were, and along tached while abroad to particular build- what lines they must press in order to ings, which they insist upon having re- do their best work. It is open to any produced when they return to this coun- sceptic to object that if they had tried try and wish to build a house of their could in their idea of they have done better, but such own ; but any event, an objection cannot remain anything architecture is the reproduction in this more than an assertion. On the other country of certain architectural forms hand, we know that the conditions were which have received a European his- wholly bad except in the mere volume torical sanction. American buildings, of available opportunities for building; when they are erected to please people we know that McKim, Mead & White possessed by such ideas and memories, were conscientious, well-trained and must necessarily be reminiscent and gifted designers who tried, and made all imitative in character, and no matter their subordinates try, to do the best how much an architect may wish to work they could. And we know that make the forms of his building spring RECORD. 186 THE ARCHITECTURAL THE WORK OF McKIM, MEAD & WHITE. 187

from the special conditions which it count; have even they tried to justify to he cannot this ought satisfy, escape it. Many of their most successful and necessity of surrounding his buildings imposing buildings are frankly derived with an historical and atmosphere sug- from specific French or Italian struc- The necessity is more tures and in gestion. easily ; adapting these models to evaded in business than it is American buildings uses they have not sought to in residences and in edifices, but or obscure public deny their origin. They have even then a certain of selected in penalty neglect certain instances particular attaches to its evasion. Architecture European buildings as their models, be-

THE CORNELL MEDICAL SCHOOL.

First Avenue and 28th Street, New York. (Photo by J. H. Symmons.) means primarily, even to the American cause these buildings produced the sort of education, not integrity of design, of an effect for which they were seeking. effectiveness of mass, beauty of propor- When, for instance, they were asked to tion, or of detail it a store on Fifth Avenue propriety ; means design jewelry buildings overlaid with the glamor of for the Tiffany Company, they adapted historical associations. an Italian palace, because they wanted McKim, Mead & White have not and their client wanted the building to tried to evade this condition. They have be sumptuous and imposing, rather and the tried to turn it to the best possible ac- than businesslike and severe; THE ARCHITECTURAL RECORD.

.1?. THE WORK Of McKIM, MEAD & WHITE. 189 THE ARCHITECTURAL RECORD. T90 THE WORK OF McKIM, MEAD 6- WHITE. 191

LOUIS SHERRY'S.

Fifth Avenue and 44th Street, New York. THE ARCHITECTURAL RECORD. T92

THE UNIVERSITY CLUB. Fifth Avenue and 54th Street, New York. (Photo by J. H. Symmons.) THE WORK OF McKIM, MEAD & WHITE. 193

THE ENTRANCE TO THE UNIVERSITY CLUB.

Fifth Avenue and 54th Street, New York. THE ARCHITECTURAL RECORD. 194

THE DINING ROOM OP THE UNIVERSITY CLUB. Fifth Avenue and 54th Street, New York. THE WORK OF McKIM, MEAD & WHITE. 196 THE ARCHITECTURAL RECORD. THE WORK OF McKIM, MEAD & WHITE. 197

MAIN STAIRWAY IN "HARBOR HILL," THE RESIDENCE OF Roslyn, L. I. CLARENCE H. MACKAY, ESQ. THE ARCHITECTURAL RECORD. 198 THE WORK OF McKIM, MEAD & WHITE. 199 2OO THE ARCHITECTURAL RECORD. THE WORK OF McKIM, MEAD 6- WHITE. 201 RECORD. 202 THE ARCHITECTURAL

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THE CONGREGATIONAL CHURCH. Naugatuck, Conn. THE WORK OF McKIM, MEAD & WHITE. 203

THE BANK OF MONTREAL. Montreal, P. Q. THE ARCHITECTURAL RECORD.

_ i

\ THE WORK OF McKIM, MEAD & WHITE. 205 THE ARCHITECTURAL RECORD. THE WORK OF McKIM, MEAD & WHITE. 207

THE RESIDENCE OF CHARLES DANA GIBSON, ESQ. East 73d Street, New York. 208 THE ARCHITECTURAL RECORD.

LOUNGING ROOM OF THE STABLES, TENNIS COURT AND POOL AT "FERNCLIFFE, Rhinebeck, N. Y. Mr. J. J. ASTOR'S ESTATE. THE WORK OF McKIM, MEAD &> WHITE. 209 210 THE ARCHITECTURAL RECORD.

THE B. W. ARNOLD HOUSE. Albany, N. Y. THE WORK OF McKIM, MEAD 6- WHITE. 211

H ,2 W ^ 212 THE ARCHITECTURAL RECORD.

THE PULITZER RESIDENCE. (Photo by Aug. Patzig.) East 73d Street, New York. THE WORK OF McKIM, MEAD & WHITE. 213 214 THE ARCHITECTURAL RECORD.

THE GORHAM MFG. CO.'S BUILDING. Fifth Avenue and 36th Street, New York. THE WORK OF McKIM, MEAD & WHITE. 215

M

^ js 2l6 THE ARCHITECTURAL RECORD.

AN ATTRACTIVE COLONIAL RESIDENCE. Boston, Mass. THE WORK OF McKIM, MEAD & WHITE. 217 which has chorus of approval been be- spacious effect of its original. And it is stowed upon Tiffany's store by people something of this kind which McKim both of good and bad taste indicates Mead & White are generally trying to how well what be do. Mr. they pleased may McKim likes to quote that sen- the Fifth Avenue The tence called public. of Thomas Jefferson's in which building has been and may be criticised the of reproduction European buildings in certain details, but how can such in this country is explicitly advocated criticism avail when the itself as a means of building educating American pub-

ROCKEFELLER INSTITUTE FOR MEDICAL RESEARCH, BROWN UNIVERSITY. Providence, R. I. produces such a powerful, such a per- lie taste in architecture, and has not re- vasive and such a beneficial effect? cent American architectural history Whatever that is is need- may be said against it, the proved he right? What Tiffany Building will under certain con- ed in the United States, as a condition ditions make for better architecture in of better architecture, is just a higher New York, because it speaks an ar- and more general feeling for architect- chitectural language which people can ural form, and buildings which fail to matter understand, and because it has pre- awaken a popular response, no served without either attenuation or ex- how well designed, cannot serve this aggeration the sumptuous, yet fine and important end. 218 THE ARCHITECTURAL RECORD.

It is because McKim, Mead & White product either, on the one hand, of have been consciously seeking to nat- and happy conditions, or on the other uralize certain European architectural strenuous scientific training, than tl forms in this country that they placed ideal of scrupulous honesty of expn their work in vital connection with the sion. Americans had no architecture their and were one living American architectural tra- own, they lacking entii dition. The only habit of thought ly in the intellectual culture, in the sht which Americans have had in relation power of abstraction, which might enabled them to derive the forms their buildings from the real basis plan, structure and function. On tl other hand they are an impressionabl alert people, overconscious of their o> artistic deficiencies, and eager to cat at any shred of tradition which will lieve their intellectual poverty and tion their aesthetic preferences, course their architecture became simi a matter of imitating whatever could find to imitate, and as they wealthy and more travelled, the area possible imitation became wider wider, until it embraced practically whole miscellaneous mass of historic architectural forms. In the beginnii they borrowed these forms carelessl indiscriminately, and without knowledj or proper appreciation. Then came period of copying, which was equally ir discriminate but more careful and act. Architectural libraries had be to improve, and the more import* draughting rooms frequently became spacious annex to these libraries, course this tendency was not univers Some architects there were, like Ri<

ardson, to whom the use of a si group of architectural forms was mere the best available means of expressii a powerful individual preference. Oth( there were like Babb, Cook and Willai with an admirable preference for n istic and idiomatic design. Still th< can be no doubt that on the whole tl THE HOLLINS RESIDENCE. of Americ 12 West 56th Street, New York. general popular tendency architecture in the looked to architecture is that of imitation, and eighties the direction of replacing the old, cai it can be fairly argued that this was un- of Eui der the circumstances the most whole- less, indiscriminate imitation forms with an imitation which some habit of thought they could pos- pean indiscriminate, but more sess. It would have been very praise- equally Such was the condition which fac< worthy on their part, if they had insisted Mead & White when they immediately that their buildings should McKim, to be the honest and careful expression of gan practice. structure, function and social usage; As we have said, they accepted ai but nothing is less natural, or more the even proclaimed the idea that the Hi THE WORK OF McKIM, MEAD & WHITE. 2I 9

TIFFANY & CO.'S BUILDING.

Fifth Avenue and 37th Street, New York. 220 THE ARCHITECTURAL RECORD.

\

A TYPICAL INTERIOR VIEW IN TIFFANY & CO.'S BUILDING. Fifth Avenue and 37th Street, New York. THE WORK OF McKIM, MEAD & WHITE. 221

American architectural advance liar of lay influence and success has been due primarily in the direction of reproduc- m any measure to the fact of this pref- the forms and the effect of good Eu- erence and the ng manner in which it was ropean architecture, but at the same exercised. the time they immensely improved prac- The architecture of the Renaissance tice of this idea and out its includes brought many different varieties of eccle- ormative significance. They borrowed, siastical, domestic and public buildings ; did not borrow either indis- and it nit they assumed during the years when criminately, carelessly or the renascent pedantically, spirit possessed high and thus their came to have borrowing vitality many different phases. It

i to make a consistent effect, pervasive originated in the attempts of the Italian The from which moression. period architects of the Fifteenth Century to

THE HUGE GUASTAVINO VAULT ON THE TOP FLOOR OF TIFFANY & CO.'S BUILDING. th Avenue and 37th Street, New York.

hey derived their forms must be de- revive the use of the ornamental forms ribed as in general that of the Renais- which had belonged to Roman archi- sance it is ; and absolutely essential to tecture, and in the Sixteenth Century he appraisal of their work that the the domestic buildings of France and neaning of this selection should be fully England, particularly in their ornament, understood. Given the prevalent point were much influenced by this Italian re- )f view, it was open to them to look for vival of Roman practice. In all of these heir sources either to Gothic, Roman- countries the borrowing was in the be- esque or even to modern French ginning very free and independent in its urces, but they preferred the Renais- methods, and many buildings were de- ance. We must try to understand in signed which were essentially a com- he beginning why they preferred the bination of the more familiar mediaeval ^.enaissance, and whether their pecu- forms with a larger or smaller amount 222 THE ARCHITECTURAL RECORD.

of well-rendered and applied Roman to give their buildings the beauty whi< detail. But this early innocent phase resides in the well-balanced compositu of the revival did not last very long. of the classic ornamental forms. Tfa Everywhere it was succeeded by a more did not wholly succeed, partly becaus conscious and consistent attempt to re- they were incapable of appreciating tl vive the entire body of Roman archi- economy of the classic spirit, and pai tectural the use of these forms because were over-influenced practice ; they by tl constantly tended to become more exact Roman version of classic architectui and more academic. A good deal was But they brought out the fact that tl lost in this transition to academic meth- Roman forms had a logic and an e< but also was of their the of ods ; something gained. omy own, mastery wl The architects of the Seventeenth Cen- might be an indispensable part of tl tury really tried to revive what they training of a modern architect. conceived to be the logic and spirit of Given the situation as it was and in this cannot a Roman architecture ; they really tried country, very stroi

THE LAMBS CLUB. TIFFANY & CO.'S STABLES. West 44th Street, New York. East 41st Street, Xew Yoik. THE WORK OF McKIM, MEAD & WHITE. 223

THE HARMONIE CLUB. West 60th Street, New York. 224 THE ARCHITECTURAL RECORD.

THE MADISON SQUARE PRESBYTERIAN CHURCH. Madison Avenue and 24th Street, New York.

(Photo by J. H. Symmons.) THE WORK OF McKIM, MEAD & WHITE. 22$

case be made in favor of a conscious, aesthetic variety. They were from to the archi- persistent attempt adapt every utilitarian point of view much the tecture of the Renaissance to Amer- most available group of architectural ican uses ? As a source of available ar- forms, which were endowed with the ne- chitectural forms they were and are well cessary historical sanction and glamor. to our needs. were famil- adapted They The value of the architecture of the traveler and iar to the educated Amer- Renaissance to the modern American ican and to the some- public, appealed architect is, however, more than a mat- what florid American taste. ter of popular mere availability. Can we not claim They were, comparatively speaking, with the Renaissance an inti-

THE NAUGATUCK HIGH SCHOOL. Naugatuck, Conn. modern buildings, which, while erected mate intellectual kinship? The word to meet a set of conditions very different Renaissance stands for a group of po- from those which prevail in contem- litical, social and educational ideas, porary America, were capable of being which although profoundly modified by more easily modified to suit the taste the historical experience of the last four and needs of our day and country. They hundred years, have not yet spent their had assumed during the best years of force. Intellectually it was based on a the Renaissance many different prac- renewed faith in mankind and in the tical types and aesthetic forms, and this power of men to act and think for them- is an enormous advantage, considering selves, and the return to classical an- the complexity of modern American tiquity which marked its earlier phases life and our popular preference for was the outcome of an attempt to find 226 THE ARCHITECTURAL RECORD. an historical basis and sanction for this moral and political ideals by assimilat- humanism. The movement still consti- ing what we can of the culture and art tutes the most active ferment in Euro- both of the Renaissance and of Greece for pean life, but it has been reserved and Rome. This does not mean that to national the Middle are our own country found po- Ages to be entirely litical and social institutions unre- ignored, but it does mean that we are servedly on this renewed faith in man- bound by much closer spiritual ties to kind and in the power of men to act the Renaissance than we are to the and think for themselves. The Ren- Age of Feudalism and Militant Cath- aissance as a philosophical and moral olicism. Of all modern peoples we are ideal is receiving its most sincere and most completely the children of the

HE WOMEN'S BUILDING UNIVERSITY OF ILLINOIS. Urbana, 111. thorough-going expression in the Unit- Renaissance; and it would be fatal fc ed States. A democratic nation must us to deny our parentage. be necessarily humanistic, and must seek In our architectural practice the traditional sanction for its human- should in the beginning expressly ism in those historical periods in which firm this parentage, rather than evad- the humanistic ideal as prevailed. Just or deny it. The architects of the Ren the first children of the Renaissance aissance were the first architects of ini to enrich and sought strengthen their portance who found themselves oblige< own faith in mankind by assimilating or tempted to choose one group of ar the culture and the art of classical an- chitectural forms rather than anothei so must we tiquity, keep in touch with and the modern American architect i the traditional source of our intellectual, his descendant in this as in many othe THE WORK OF McKIM, MEAD & WHITE. 227

He must make a choice respects. also, architect finds himself. Gothic is at bot- he should reach the same choice tom and inimitable and special. The archi- somewhat the same reasons. The for tecture of this Renaissance, like so forms of Romanesque and Gothic archi- many other creations of the Latin due to a much tecture were more pecu- Spirit, is essentially imitable and univer- liar group of intellectual and social con- sal. We cannot and should not break than were the forms of the archi- ditions away from it, until we have created for tecture of the Renaissance, and the ourselves some sort of a national archi- attempt to put any vitality in their re- tectural tradition. production requires a much more rare No doubt American architects can- and special intellectual and emotional not consciously derive their architecture

MRS. ELLIOTT F. SHEPARD'S HOUSE. Scarborough, N. Y.

quality. They possessed at one time a from any one source without incurring living tradition and a communicable a serious penalty. In accepting the tra- technical discipline, but the revival of dition of the Renaissance, they must this tradition demands in the twentieth accept the bad with the good. The century an effort of the imagination of architects of the Renaissance necessar- which very few men are capable. In- ily abandoned the earlier innocent and deed, it can almost be said that there is realistic methods of design, and applied something antagonistic between the certain classical forms to their build- state of mind necessary for the success- ings, because they had something other ful reproduction of Gothic forms and than strictly architectural reasons for the intellectually imitative state of preferring such forms. Design came to mind in which the modern American mean from their point of view simply 228 THE ARCHITECTURAL RECORD.

THE DELANCEY KANE HOUSE.

Fifth Avenue and 49th Street, New York.

(Photo by J. H. Symmons.) THE WORK OF McKIM, MEAD & WHITE. 229 THE ARCHITECTURAL RECORD. 230

I

H o B B " EH THE WORK OF McKIM, MEAD & WHITE. 231

the effectual composition and ornamen- of this plication theory of design. Their all of a tation of those parts building use of their sources has been marked show; and in the tra- the which accepting by utmost suppleness and intelli- dition of the Renaissance American it has gence ; neither been too exact nor must at least in the too architects beginning free. Their range of selection has much the same of accept theory design. included on the one hand the earliest have certain They, too, reasons, which phase of the Italian Renaissance or are intellectual and educational in char- even of Florentine Romanesque, and it acter rather than strictly architectural, has included on the other hand the one of architectural for preferring group last phase of English Georgian. More- forms rather than another, and what- over, inasmuch as the Renaissance

THE FORMAL GARDEN THE E. D. MORGAN HOUSE.

Westbury, L. I. (Photo by Alman & Co.)

ever the plan and structure of their itself was so dependent upon Roman buildings, design must mean for them architecture, they have naturally, when primarily the effective composition and the occasion served, returned to the ornamentation of these forms. original Roman sources. In selecting Such is the consequence of any at- the model of any particular building tempt to make architectural practice in from any particular period, they have this a sense country matter chiefly of the skil- shown the utmost tact and good ; ful adaptation of the buildings of the and from the Century Clubhouse and Renaissance; and we find embodied in the Judson Memorial Church down to the work of McKim, Mead & White the Knickerbocker Trust Company, the not only a thorough-going but an ex- Gorham and Tiffany buildings, and the traordinarily clever and successful ap- Madison Square Presbyterian Church, THE ARCHITECTURAL RECORD. 2 32

MR. T. JEFFERSON COOLIDGE'S HOUSE. Magnolia, Mass. (Photo by T. E. Marr.)

H f

1

THE CENTRAL WING MR. T. JEFFERSON COOLIDGE'S HOUSE. Magnolia. Mass. (Photo by T. E. Marr.) THE ll'ORK OF McKIM, MEAD & WHITE. 233

they have created a series of buildings not so much certain forms as a certain in admirable traditional materials effect. which The imitation is never lifeless, have been given a novel emphasis. In as it has been with so many other certain of these one American buildings scarcely architects ; and it is never whether it is the knows transmitted dig- meaningless. They have shown a genu- of an historical architectural ine nity sympathy with the spirit of the achievement which strikes one more Renaissance. The Renaissance was the forcibly, or stimulating novelty of not a period of intensive thought, of their intrusion upon the streets of an logical construction, and of rigorous in- but in both of their American city ; spite tellectual and moral economy. It was a

THE LOGGIA MR. T. JEFFERSON COOLIDGE'S HOUSE. Magnolia, Mass. (Photo by T. E. Marr.) large style and of their peculiar origin- period of fertile suggestions, of curious ality, they are generally in some way experiment, in which the buoyancy of appropriate. The conditions forbid, of a new life was strangely mingled with course, that they have the highest form the attempted revival of the thoughts of propriety, but they possess neverthe- and usages of an old world. McKim, less a general congruity with their sur- Mead & White have shown in their roundings and with their public position work a similar temper. They have been which makes them on the whole unique suggestive and experimental in the re- in American architecture. vival of traditional architectural mate- At it bottom all comes to this : that rial. They have returned with the buoy- McKim, Mead & White are borrowing, ancy of youth to the renewal of a world THE ARCHITECTURAL RECORD. 234

which may have looked dead to the the consequence is that we can bridge the emotional between eyes of older men, and in so doing they gulf ourselves have shown the better wisdom. The and the Renaissance with much less fanciful effort than can a spiritual kinship which it is not contemporary English- to trace between the Renaissance and man or Frenchman. Like the men of modern America may not merely be a the Renaissance, the modern Amer- matter of intellectual and moral point ican is fundamentally a sentimental it also be a matter of feel- traveller, a of view ; may passionate pilgrim, among the relics of an old world and he ing. A suggestive historian of Amer- ; can ican literature, Professor Barret Wen- put as much enthusiasm into the dis-

LOOKING OUT ON THE SEA FROM THE LOGGIA MR. T. JEFFERSON COOLIDGE'S HOUS Magnolia, Mass. (Photo by T. E. Marr.)

173- dell, has tried to show that American coveries of ancient cities as the Eliza- men of letters come naturally by some- bethan Englishman could into a journey thing of the spontaneity and enthusiasm toward the land of Cathay. McKim, of the Elizabethan that have a freer ex- Englishman ; is, Mead & White given of the Englishman of the Renaissance. pression to this spontaneous delight in The spontaneity and freshness of feel- the relics of an old world than have any ing, which hardened into a definite ex- other contemporary American archi- pression in the Englishmen of the sev- tects. They have been the aesthetic ad- enteenth and eighteenth centuries was venturers of their generation, and their preserved in Colonial America by our adventures have been none the less national intellectual inexperience, and dramatic because the scenery has been OF THE WORK McKIM, MEAD & WHITE. 235

iiUlI

THE ARMY WAR COLLEGE. Washington, D. C.

THE ARMY WAR COLLEGE. Washington, D. C. THE ARCHITECTURAL RECORD. 236 THE WORK OF McKIM, MEAD & WHITE. 237

that of a definite historical period rath- lumbia College, must indeed rank of an uncharted er than that wilderness. among their greatest successes; and While, however, their feeling has one can detect throughout the course to that of the Re- of been analogous early their work a gradually increas- their naissance, intellectual point of ing elimination of superfluous or- has rather to that view approximated nament and a more insistent pro- of a later period. The architecture of cess of simplification. Nevertheless the Renaissance finally became, as we they have not pushed their relish an have noted, attempt consciously to for classical economy much beyond the revive what was conceived to be the stage which it reached in the later sev- classic ideal in the composition and or- enteenth and in the eighteenth centu- namentation of a and no mod- ries. building ; As we have said, they belong in ern American architect who looks in their manner to the eighteenth century, the direction of the Renaissance for as just they belong in their feeling to and can remain suggestion inspiration the sixteenth and seventeenth century. uninfluenced by this later phase of its Their work is above all characterized architectural development. As soon as by that urbanity, by that pervasive, but

AS THE NEW BELLEVUE WILL LOOK FROM THE EAST RIVER. Foot of East 26th Street, New York. any revival of the forms of the archi- at times artificial sense of good form tecture of the Renaissance passes be- which we associate with the Age of Rea- yond the stage of delighted discovery, it son. The gentlemen of that period were must necessarily, by the logic of its somewhat overconscious of their public, choice, seek also to assimilate and mas- as McKim, Mead & White have been ter the classic this to be. realized that spirit ; and obviously obliged They they is a task of much greater difficulty. For occupied a prominent social position the architecture of classical antiquity, and they must behave so as to offer les- particularly in its purer Grecian phase, sons in good deportment to their in- was the result not of a diverted and feriors, and something of the same con- lavish, but of a highly economical use of sciousness resides in such buildings as the architectural intelligence. A man the University Clubhouse and the Tif- who seeks its mastery must undergo a fany store. They are all written in an much more strenuous intellectual and easy, flowing, readable style, but it is moral discipline. In the case of McKim, the prose of Addison rather than that of Mead & White it cannot be said that Newman or Thackeray. they pushed this adventure beyond a The analogy of their work to that of certain point. Some of their Romanized the eighteenth century may be pushed buildings, such as the Library of CO- still further. That century became indi- THE ARCHITECTURAL RECORD.

II 1 """ r "~ >- -< P^*i HETj p*j- -i H"

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. J THE WORK OF MEAD McKIM, & WHITE. 239 vidualistic and revolutionary only to- work has been in some respects a com- wards its close. In its typical phases it promise, it has fulfilled the conditions of was rather a period of good common a profitable and desirable compromise. sense and at bottom no better sum- It has been a ; compromise informed by a mary can be given of the work of Mc- practicable idea and justified by a suf- Kim, Mead & White than that they ficient measure of success. applied common sense to the aesthetic If McKim, Mead & White showed problems of American architecture. Com- their common sense in preferring the mon sense is, after all, only a synonym for Renaissance as a source of architect- sound culture for the ability to grasp ural forms to the Middle Ages, they a situation in all its relations and at have an ; given equally emphatic illustra- the present time it is more valuable in tion of it by their attitude toward the this country than the excesses of aber- modern French influence upon Amer- : genius. By reason of their com- ican architecture. They have profited 1011 sense McKim, Mead & White hit by that influence without succumbing to ipon a virtuous middle path which it. Although the several members of somehow connected itself with the mis- the firm all received more or less train- sllaneous imitative traditions of our ing in Paris, they have consistently re-

PERSPECTIVE VIEW FROM 35TH STREET AND 8TH AVENUE. The new Pennsylvania Railroad Station. Seventh to Ninth Avenues, 31st to 33d Streets, New York.

American architectural past, while at fused to sanction or to further the the same time preparing the way for a spread in this country of mere Beaux- better future.' From this virtuous mid- Artism. American architectural stu- dle path they have never strayed. They dents have gone to school at the Beaux- have not been extremists and specialists Arts, because they believed they could any more than they have been revolu- obtain in that school the best of avail- tionists. Amid the conflicting tenden- able technical training; and McKim, cies which have pulled American archi- Mead & White have encouraged this tects of to-day first in one direction and practice by employing many graduates then in another, they have held a dis- from the Beaux-Arts. But in their creet and admirable balance. They have work and in their oral advice, they have neither been impracticable nor merce- wisely and carefully discriminated be- nary; they have neither been too rig- tween the Beaux-Arts as a source of orously inflexible nor too easily accom- technical methods and training and the modating; they have neither been arch- Beaux-Arts as the source of an archi- aeologists nor proselytes of a new art; tectural manner. The predisposition they have been, in the old phrase, nei- which so many American graduates of ther bizarre nor Beaux Arts. In short the Beaux-Arts acquire to Parisianize have their if architecture is not to they kept heads ; and their American one be THE ARCHITECTURAL RECORD. 240

encouraged. We may profitably bor- lencl the weight of their authority to the row certain salient characteristics of spread of French influence (in its nar- Renaissance architecture, because we rower manifestations) over American are ourselves children of the Renais- architectural practice. Their own work, sance, and because the architectural however much it is the result of French were flexible and has never been Parisianized forms of that period training, ; by way of being universal. But we are and the graduates from the Beaux-Arts not children of modern France, and in who enter their office rarely leave it modern French architecture the tradi- without shedding what is from our point

PLAN AT THE WAITING-ROOM LEVEL. The new Pennsylvania Railroad Station. Seventh to Ninth Avenues, 31st to 33d Streets, New York. tion of the Renaissance has been pro- of view the modern French architecture foundly modified by the accident's and mannerism. circumstances of French national devel- Another illustration of the commc opment. If we accept the French in- sense of McKim, Mead & White is fluence too literally and too pedantic- be found in the attitude which they h ally, we shall be leaving the broad com- consistently adopted towards the archi- mon road for a special by-way, which tectural problem of the skyscraper. Aj will lead nowhere, and from the end of parently they have understood from th< which we shall be obliged to retrace start that the ideas and the theory ol our steps. It is extremely and fortu- design for which they have stood would nate consequently that McKim, Mead appear at its worst in relation to the & White have consistently refused to architecture of very tall buildings. In THE WORK OF MEAD & McKIM, WHITE. 241

such buildings utilitarian conditions and White have been disinclined to be close- some sort of functional expression can- ly identified with the design of such not be denied and evaded, and in buildings. They have probably hoped designing them neither the forms nor that the time would come when the laws the spirit of the architecture of the Re- would place restrictions on the sky- naissance are of very much assistance. scraping tendency of business struct- The consequence is that McKim, Mead ures, and they have consciously avoided & White have rather tended to avoid the design of facades whose height was than to seek opportunities to plan sky- badly proportioned to their frontages scrapers. They have, indeed, drawn and to the width of the streets on which the plans for many structures such as they were situated. Hence, large as the old Judge, the Sherry and the their contributions have been to the

PLAN OF THE STREET LEVEL. The new Pennsylvania Railroad Station. Seventh to Ninth Avenues, 31st to 33d Streets, New York.

Gorham buildings, which are higher current American way of designing than would be permitted on the streets other buildings, they have contributed of a European city, but the New York little or nothing to the better solution Life Buildings, in New York and in of this critical problem. The New York Kansas City, are almost the only ones Life Building in New York is indeed which can, according to American one of the interesting attempts which standards, properly be called sky- have been made to keep the height of a and the rather than to scrapers ; this, considering great skyscraper down empha- volume of their work, is a remarkable size it, but not in that direction does the fact. Almost all the leading architects solution reside. And if it lies in the di- of to-day can place a larger number of rection of emphasizing the height, they such buildings to their credit. The only have done well to avoid skyscrapers, explanation is that McKim, Mead & because their whole tendency of design THE ARCHITECTURAL RECORD. 242

either seeks the balance of lines, masses and scrapers without revolutionizing their of view, or else projections, rather than overwhelming point becoming or unfaithful to it. have chosen rath- predominance of any one dimension They series of lines. er to avoid it, and here again they have exhibited their This tendency on the part of McKim, most assuredly common Mead & White to dissociate themselves sense. The skyscraper may or may not as one of the characteristic with the big brutal fact of the modern persist prob- of American architectural American skyscraper may seem to be an lems design, in event the time has not illustration of a deficiency rather than but any yet for its solution. architect has of a merit, but in truth, while it brings come No out an obvious limitation in their ideas succeeded as yet in designing a rational which was at the same and methods, it also brings out both the skvscraper, time

PLAN AT THE EXIT CONCOURSE LEVEL. The new Pennsylvania Railroad Station. Seventh to Ninth Avenues, 31st to 33d Streets, New York.

soundness of their judgment and the in- beautiful, and the structures which, like have tegrity of their point of view. The de- the Blair Building, in New York, sign of the modern American sky- reached the highest propriety of effect, scraper is a compromise, but it is a have remained at bottom nothing more compromise which has been crowned than acceptable compromises. with only mediocre success. An No review of the work of McKim, architect does well either to avoid Mead & White would be complete with- con- it, as McKim, Mead & White have out some specific reference to the done, or else devote most of his tributions they have made to American time to it, as Louis Sullivan has done. domestic architecture, and this division The former could not have taken kindly of their work is all the more interesting and persistently to the design of sky- because of the different phases through THE WORK OF McKIM, MEAD & WHITE. 243

a ii_ji mrnrn 1'=!

THE RESTAURANT. The new Pennsylvania Railroad Station. Seventh to Ninth Avenues, 31st to 33d Streets, New York.

THE GENERAL WAITING-ROOM. The new Pennsylvania Railroad Station. Seventh to Ninth Avenues, 31st to 33d Streets, New York. THE ARCHITECTURAL RECORD. 244

bean French which it has passed and the questions garden fronts, chateaux, Florentine villas and man- which it raises. During their twenty- Georgian

their method of sions ; but Mead & White are six years of practice, McKim, has been more not of the number. have made designing country houses They has their their and have learn- completely transformed than experiments, they method of designing any other class of ed their lesson. In the beginning it was natural for reasons that buildings. Writing eleven years ago, many they and with their country houses almost should design picturesque country houses. These exclusively in mind, Mr. Russell Sturgis early dwellings were declared that "the picturesque side is generally villas, built on a small plot of of for the best side, after all, of the work land occupation during a few sum- In his mer months and the for Me Kim, Mead & White." opin- ; appropriations the their construction as a rule ion, "the irregular symmetry, gables were com- and turrets come out better than the paratively modest. No opportunity level cornice and the balanced uniform- seemed to be provided for the revival of better "because traditional and ity," and they were they any good forms; they were most independent of the past." may very well have been discouraged is the best from the of their Yet if the picturesque side application ordinary side of the work of McKim, Mead & theory by the manifest improperty of cer- tain White, it is evident that they themselves Newport palaces, which had been fact. It built on suburban lots. It was wholly failed to appreciate the natural, was about ten years ago that they consequently, for them to believe that the ceased to design picturesque country virtuous middle path so far as country houses, and during the last decade their houses were concerned consisted in domestic buildings of all kinds have avoiding such incongruities as palatial been moulded, inside and out, by the villas, and in giving a freer rein than same ideas that have given shape to they permitted themselves elsewhere, to their other work. Instead, that is, of the vivacity of their architectural feel- to be inde- the rejoicing in the opportunity ings. But when foregoing special pendent of the past, which the Amer- conditions passed away, it was equally ican country house afforded, they de- natural that they should seek to assim- liberately tied the exteriors of these ilate the forms of their country houses buildings to a particular domestic style, to those of their other buildings. The which was not at all picturesque; and time came when they had more money they have just as deliberated clothed to spend, when their clients demanded the walls of their more important rooms the use of brick and stone, when the with the trappings of old French and houses were residences attached to con- Italian palaces. It is still open for any siderable estates and occupied more or one to assert that the "picturesque side less during every month of the year. is the best side of the work of McKim, Country life of rich Americans was Mead & White," but if so its best side coming to resemble the country life of is the side which they have deliberately the rich Europeans, who built elaborate the whole formal houses no abandoned, which has had on and ; and there was comparatively little influence, and which impropriety in bestowing upon the bulks small in the total mass of their houses which were built to satisfy such achievement. a demand a more formal character. The truth is that they could not The majority of the country hous( have continued to design country erected by McKim, Mead & White dur- houses which were picturesque and in- ing the past ten years have belonged dependent of the past without hurt- the English Georgian period of domes ing the integrity of their own point of tic design, and this choice shows tl view. There are many American archi- usual good sense which has mark* tects who believe themselves fully equal what may be called the architecture to the task of designing indiscriminate- policy of the firm. The Georgian mai ly Elizabethan timbered houses, Jaco- sion and its Colonial equivalent h; THE U'ORK OF McKIM, MEAD & WHITE. 245 many limitations as an architectural mers and whose sole idea of interior model. Its forms were attenuated by decoration is to reproduce the letter of an excessive reticence and timidity, by one of the French styles. On the con- a middle-class fear of being anything trary they have stood resolutely for the but correct, and it is easy consequently idea that the design and even the fur- for the design of a Georgian house nishing of the interior of a house is a to become second-rate and tame. On part of the task of its architect, and the other hand, it had certain consider- whenever their clients have entrusted able advantages. It was the final Eng- such a task to them, they have handled lish embodiment of the tradition of the it in the same spirit which marks the it was the outcome of a rest of their work with the Renaissance ; and same genuine, if timid, striving for good success. They have frequently used spe- it associated with the cific or form ; and was English French styles, but never ne American architectural tradition of in a literal and lifeless way. They are any1 value. Architects such as McKim, as far from stylistic pedantry in their Mead & White, who have eschewed interiors as they are in their exteriors,

\\ to build a brick for torical this wish house ; and the glamor. To end they have mostn part McKim, Mead & White have used lavishly the mantel pieces and used brick. But in their adaptation of ceilings of old Italian, English and the taken French and have scoured Georgian forms, they have rooms ; they very advantage of their larger oppor- Europe for the tapestries, hangings tunities. Their handsomest Georgian and furniture they wanted. Yet these houses> at Manchester, Mass., and West- spoils were never merely unloaded on bury,b L. I., wear a much more posi- the rooms they designed. Their use tive and self-confident appearance than was always subordinated to a dominant oes much of the Georgian work of architectural idea, and in spite of its the 1 8th century. The refinement is magnificence, the effect was likely to be never weak, and the detail is applied genial and something like domestic. with vigor and originality. It is Geor- Even such a sumptuous residence as gian work, renovated by something of that of the late William C. Whitney is an earlier and fresher feeling. far from being an example of barren One of the best characteristics of the magnificence and grandeur. The ma- terials into these and other residences designed by McKim, Mead entering smaller rooms are selected and & White is they have retained for the arrang- ed with a and for most part a domestic atmosphere. genuine lively feeling their domestic and use. Other architects who have designed appropriate Thus have shown in their interiors houses for rich men have frequently they the same of histori- made them barren examples of formal spirit imaginative grandeur; and there are some of the cal adventure that they showed in their its has been houses of McKim, Mead & White, which exteriors, and effect and are too much by way of being empty equally pervasive ameliorating. have a of their palaces. But such is by no means the They way justifying by dominant character of their residential success many apparently equivocal which their and work. They have used, whenever they things, predecessors have tried to do and could, a style adapted to a gentleman's contemporaries residence, and they have as a rule car- failed to justifv. ried out a similar note in the design of We know of no more exact and com- the interiors. They have not turned prehensive description of the work of the rooms of their houses over to pro- McKim, Mead & White than to say fessional decorators, whose chief pur- that they have sought persistently, sin- pose is to unload a lot of expensive cerely, intelligently, skillfully and suc- furniture and trappings on their custo- cessfully to design really beautiful THE ARCHITECTURAL RECORD. 246 buildings. Whatever else they have and its edifying effect. Americans have been or failed to be, they have been ar- plenty of excellent ideas and good in- tists. An artist is primarily a man who tentions, but they are without a na- and make tional artistic are with- will undergo severe discipline experience ; they the necessary sacrifices, in order to ob- out any instinctive sense of good form tain a consummate mastery of his art any innocent and right-minded love and thereby to create beautiful things. of beauty for its own sake. It is this Some of the sacrifices which McKim, instinctive sense of good form which Mead & White were obliged to make they must acquire first, and the only were unfortunate, but in the moral way they can acquire it is to have ob- economy of an artist the end justifies jects which embody it placed liberally the means. He cannot control the con- and somewhat ostentatiously before ditions, yet he must somehow reach them. This is what McKim, Mead & the result. Better than any other White have started to do; and their American architects of their time they contemporaries and successors should have reached the result, and other arch- for a while continue to work along sim- itects, who were on the one hand more ilar lines. But whether the work is con- scrupulous, or on the other less single- tinued or not, the soundness and high minded, have, comparatively speaking, value of their contribution to it cannot failed. Americans of the next few gen- be denied. They have shown the way. erations will regard the best of their They have given us a new hope, and buildings, not as the relics of a super- one that is not to be despised, because seded architectural fashion, nor merely it is associated with so many fears. as the of the still better progenitors Henry W. Desmond. which we follow, buildings hope may Herbert but as architectural monuments, which Croly. satisfy a permanent and a normal sense of beautiful form. Postscript. The foregoing criticism Good architecture ought to be some- was written previous to the death of Mr. thing more than beautiful, but it cannot Stanford White, but we have not found be anything less. Without beauty, it any reason for modifying the article be- may possess many admirable qualities, cause of that deplorable event. Each but will none the less be dead. Beauty of us may have his opinion as to how is the child and the parent of artistic much Mr. White contributed to make vitality, and in a country such as the the work of the firm what it has been, United States, which was hopelessly de- but the fact remains that his special con- ficient in beautiful things, no artistic tribution is not to be definitely dis- progress was possible until some such tinguished from that of his two partners. plant was naturalized. McKim, Mead While his death must assuredly mean & White have started the process of that the work of the firm will be some- naturalizing in this country beautiful what different in the future from what buildings. They had to obtain them by it has* been in the past, that circumstance transplantation, but that does not di- cannot alter in any essential respect the minish the value of the achievement. meaning of the work that has already They have made beauty in things arch- been done. His achievements as an artist itectural more familiar to Americans, disappeared behind the firm name of and hereafter we shall the better be McKim, Mead & White, and all that able to distinguish between buildings mains distinct to his friends is the mer that are shapely and buildings that ory of a kind, generous, harding-woi are not. That is the essential task ing and very talented man. NOTES ^COMMENTS

The architectural societies mentioned be- logical Seminaries," by Professor Pratt. The low send us through Mr. John M. Carrere, first two articles are those of special in- treasurer of the Architectural League of terest to architects. Of these, Mr. Cram's is New Tork, a copy of resolutions passed by exceedingly general as, in its brevity, it their respective Executive Committees as had to be and he has since so elaborated his follows: theme that one will scarcely look here for "Resolved, That the Executive Committees much enlightenment. But it is interesting to of the New York Chapter of tire American observe that to his audience made up, not Institute of Architects, the Society of Beaux of professional architects, but of church Arts Architects, and the Architectural members representative of a broad range of League of New York, desire in the name of intellectual infterest and culture) he laid their respective societies to express their down these rules and dicta: "How weigh con- sense of the great loss which the profession flicting claims and decide as between architect and the art of architecture have sustained and architect or decorator and decorator? By in the death of Stanford White. a competition of schemes and a vote of a "His quick and generous appreciation of building committee, or a poll of the congre- all that is beautiful, even beyond the field gation? Never, under any circumstances of his immediate profession, was so genuine whatever. How then? Simply by recog- that the influence of his work will long con- nizing the fact that from the first moment tinue to be a stimulus to the artistic develop- of recorded history, and whether in Europe ment of this country. or Asia, the laws and principles of -good art "Only those of us who have been closely as- were absolutely the same, whether express- sociated with him professionally can fully ed in the lines of a Greek or Buddhist appreciate the love and enthusiasm with temple, a Roman basilica, or a Gothic which he devoted himself to art. cathedral, down to some ill-defined point in "His was a commanding personality, and the first half of the sixteenth century; and whatever he had the touch of that after that the laws were | produced entirely new,

I genius." and, except in music, literature and the drama, After much delay, Pro- just as 'entirely bad. This, then, is the bar fessor Waldo S. Pratt, of of justice before which any artist postulant THETH1 CHURCH Hartford, who is the for favor must plead. If in his words and AND THE Secretary of the Depart- work he shows that he understands, accepts ment of Art and Music of and tries to follow the pre-sixteenth century ARCHITECT the Religious Education laws, then he is the man to tie to. He may Association, has succeeded fail, and he will fail, to produce work that in obtaining the publica- will rival that of the great years; but he tion in pamphlet form of the papers pre- will not disgrace you, and through the em- sented at the convention in Boston in the ployment you give him, and the standards winter of 1905. While the delay, due to to which you hold him, he will go on to bet- no fault of his, may well have been annoy- ter and better things." He adds that fidelity ing, such are the subjects of the papers and to underlying laws and principles does not the conditions of ecclesiastical art, that the mean the copying of modes and forms. His pamphlet could not be other than welcome final word is, "Have some one man respon- at any period. The contents are as follows: sible for all that is added to a church. If "The Treatment of Church Interiors," by it is a new edifice, then retain the architect Ralph Adams Cram, of Boston; "The Treat- permanently to pass on every window, every ment of Church Exteriors," by James Stur- piece of decoration, every stick of furniture gis Pray, of Boston; "The Educative Power that is subsequently added. ... A true of Organ Music," by George A. Burdette, of church is never finished and it is unwise to Boston; "The Educative Power of the Great change horses in the middle of a river." Painters," by Rev. Henry G. Spaulding, of There are few good rules that are more in Brookline, and "Artistic Studies in Theo- need of publicity than is this. RECORD. 248 THE ARCHITECTURAL

Mr. Pray is a landscape built about 1640 "and burned in 1GTG, the ruined tower PLANNING architect, and his paper of which has long been the might have been more ac- most conspicuous and interesting monu- THE curately entitled "The Set- ment of the earliest settlement of English- CHURCH ting of the New England speaking peoples on this Continent." In YARD Village Church." Even so, order to preserve these foundations, several it is of interest to archi- courses of brick, taken from the old church, tects. He takes as an ex- had been run up and capped with cement, ample "the old New England meeting-house and then a temporary frame built over them, type, built of wood," and calls attention to as a protection from the weather. A brick its attractiveness seen at a distance, "domi- building, erected under the supervision of nating a little hamlet which nestles among the National Society of Colonial Dames and the hills." He thinks the structure most at the suggestion of the Association for the agreeable when painted white, with green Preservation of Virginia Antiquities, now re- blinds; and thinks that "near at hand it can places this temporary structure. The Bos- never suggest anything but the sterner faith ton "Transcript" says that a model for it of our sturdy forefathers, whether Pilgrim, was found in the seventeenth century brick Puritan, Quaker, or what not, and any at- church at Smithville, thirty miles down the tempt to soften its severity by painting with James River; and "The Outlook," remarking color, or much planting, even if the planting that "no church in America has more in- be chosen with restraint, is pretty apt merely teresting associations than this," finds its to weaken its old expression without ac- careful restoration illustrating "the wise way complishing a new one." As there is scarcely in which to commemorate a great event." any building more formal in its lines than this, he would have rigidity and devotion ex- The popular wave of pressed in a formal planting around it. He "improvement" enthusi- suggests a clipped hedge of privet, of arbor ENTHUSIASM asm, high as it has risen, vitae, or of box, around the base of the AND appears still to be a ris- and several feet out from tide. There can be no building it, with GOOD SENSE ing openings opposite basement windows. The doubt that it is going to boundaries of the lot may also have a for- leave a conspicuous mark mal clipped hedge, unless the grounds are of on the country. From St. such extent that, counting little in direct re- Louis comes the report that the local Civic lation to the lines of the building, informal League now has upwards of 4,000 members, border shrubbery may be used without an and the city has twenty-three other local artistic jar. In that case only would he be organizations. Henry Turner Bailey, re- glad to see it used. If the grounds are suffi- turning from a lecturing tour in Northwest- ciently large, formal rows of trees along the ern towns, has described with modest diffi- boundaries and leading up to the main en- dence, for the Improvement Department of trance, may be exceedingly effective. He the Framingham "Tribune," his experience presents certainly an interesting theory and in Helena. He spoke there each evening one very little put into practice. But would for a week, illustrating his talks with the effect of informal planting be so bad? stereopticon views of the best and worst We may recall that he found the little church features of the city, closing Saturday night very attractive as seen from a distance, with the topic "A More Beautiful Helena." dominating a hilly landscape that had noth- Beginning with an audience of nine hun- ing of formality about it. dred he ended the week with an audience of fourteen hundred. That evening twenty of While on the subject of the men who founded the city had reserved church architecture, it is seats near the platform, and the Mayor of to note that the were A interesting the city and the Governor of the State approach of the James- present. And he has since learned that his RESTORATION town ter-centennial cele- suggestions have been laid to heart. When bration has offered an oc- one considers the rawness of many of the casion for restoring the Western towns, and the consequent ease Burton Parish Church at with which they might be moulded into cities Williamsburg, Va. The restoration, now beautiful, the enthusiasm of which this is practically completed, has been carried out a type is most encouraging. Secretary with fidelity and with care for both past Flesner, of the St. Louis Civic League, to and present. Excavations brought to light return to that, laid down in his recent annual the foundations of the first brick church, address an ideal course of action for im- AND NOTES COMMENTS. 249

provement societies to follow. He said: "If term, barranca, should not be domesticated there is a clear case of neglect of duty on in referring to the canon like streets of New the part of a city official, we shall go after York. The word designates a ravine with him; if a bad ordinance is introduced we sloping V-shaped sides. The new building shall seek to defeat it. But in the main we regulations in Paris provide for such con- shall accomplish far more for civic better- formations in narrow streets, where it is ment by projecting well denned plans for permitted to erect high buildings if their improvement and by co-operation with city fronts be terraced back, so as to let the officials in securing their fulfillment." If sunlight reach to the pavements and the air the improvement societies, big and little, to circulate freely. In Massachusetts, also, would generally follow this course, the re- there has lately been strong agitation for suits of the movement would grow even a similar law to affect all the cities of the I itself. 1 faster than has the movement Commonwealth.

A recent article in "The One of the most remark- Outlook," by Sylvester AN able, and therefore most in- N~NEW YORK'S Baxter, on "The New teresting records made by EXTRA- BIG York," contained some an improvement organiza- happy architectural char- ORDINARY tion in the United States is BUILDINGS acterizations. Such, for in- RECORD that of the Park and Pleas- stance, was the description ure Drive Association in of certain of the apartment Madison. Wis. The asso- houses on that part of Broadway that is of ciation is so little of an advertiser as to be boulevard pretensions as having a "Floro- scarcely known to the general public, out- dora-hattish Mansardism!" He made use side of Wisconsin at any rate. Yet its an- of a new and apt figure, too, when in nual reports are among the best illustrated picturing the impression given by the sky- and most attractively prepared of all that scrapers of the lower city he likened it to come from park boards, while its financial that received from "organ tones," adding, chapters are a wonder tale of public spirit. "In the presence of this structural immen- The latest report includes an account of the sity the beholder would hardly marvel association's beginning. It appears that should the ValJialla-motiv suddenly peal out fourteen years ago a voluntary committee In mighty resonance above the din of traf- of citizens undertook the work of securing fic. One is even inclined to wonder if some parks and drives for Madison. Two years day the Valhalla comparison may not prove later, in 1894, the committee was reorganized something more than fanciful. Perhaps a into a corporation, and five years after that curse like that of the Rhinegold may be it became, without change of name, t'ne working its spell upon the scene, until some present association. During the whole of day brings the culmination of age-long ten- these fourteen years the members and dencies and the w'hole vainglorious fabric, friends of the association have subscribed with all the majesty of its long worshipped an average of more than twelve thousand gods, suddenly totters and crumbles into dollars a year for the creation and main- the abyss! Indeed, something demonaic tenance of the parks and drives, practically actually seems to brood over the scene, all this work being odne by voluntary, not overshadowing the sublimity of form that municipal, tax. This is certainly a remark- compels admiration for gigantic achieve- able evidence of public spirit when it is con- ment." But he is not blind to the scene's sidered that even now Madison has only picturesqueness. The great buildings "pile 25,000 population. Nor does this sum represent themselves together and one above another all that has come to the city, directly and as mountain masses range upward from indirectly, through the association, there not the plain. Again, they suggest weird cas- being included in these figures the value of tles inhabited by mysterious giant beings. lands owned and controlled by it in trust for Under manifold aspects of atmosphere, of the municipality, nor $10,000 contributed for ighting, changing with the varying hours the erection of a certain bridge, nor $56,000 and days and seasons, modifying and di- and more that has been contributed by the versifying themselves from moment to mo- railroads. The seeming ease with which the ment, there here should be endless resources money is secured is not less remarkable than for an artist. In such connection there come are the amount and its persistence, year to mind the work of men like Guerin, Pen- after year. During the present year six nell, Childe Hassam, and Shinn." It seems thousand dollars was subscribed in response pity, he says again, that another Spanish to a postal card notice, and by the way of 250 THE ARCHITECTURAL RECORD. showing the breadth of the response it To the general public, should be said that only nine of the sub- and hence no doubt to the scriptions exceeded $25, and that more PUBLIC average Congressman, the than a thousand persons subscribed in a ART Public Art League's re- total population of only 25,000. It is esti- newal this spring of a mated that during the fourteen years the LEAGUE, campaign to secure a Na- loss on subscriptions, through failure to pay tional Advisory Board on what was promised, has been under three- Civic Art was of less in- quarters of one per cent. After such a terest than it might have been, simply be- record as this, extending through many cause the Washington "expert commission" years, there is no need for an outsider to had done so well. The theory had been commend the use the association makes of that the result would be exactly the reverse. the money. It is worth while, however, to The Public Art League desisted from its note as a further merit the harmonious discussion of the subject when, in 1901, the relation that has always existed between the Senate appointed the commission to report association and the city. "Never," says the on the development of the City of Washing- president, "has the association asked any- ton. The Commission having now fully thing of the city government which has not demonstrated its worth, both sentimental been granted. Furthermore, the vote of the and practical, the League returned to the Council has been always either unanimous charge expecting to find a sympathetic pub- or practically so." lic. A bill was introduced (on the last day of March), and referred to the committees It is an ancient reproach on library, and there the public has seemed EFFECTIVE that New York has few lo- to be content that it should rest. Not cations where a building understanding the situation very well, the BUILDING can be seen in proper per- position seems to have been that the Com- SITES IN spective. This, Mr. Baxter mission satisfied all necessities. The officers NEW YORK thinks, is no longer as em- of the Public Art League are: President, phatically true as once. Richard Watson Gilder; Vice-Presidents, He speaks of the always Robert S. Peabody, Augustus St. Gaudens cited vista of Trinity Church up Wall Street, and John La Farge; Secretary, Glenn Brown; and rinds it "even enhanced" by the fram- Treasurer, Robert Stead. These are men ing of the facade and spire between the tall, who, when in earnest, are not easily diverted flanking structures. He refers to Grace from their purpose; and men whose opinion Church at the turning of Broadway, and dis- on art subjects the public respects and is covers in the great armory tower on Fourth likely to adopt at last if the expression be Avenue, at Thirty-fourth Street, an instance sufficiently clear, persistent and forcible. So of an essentially monumental building real- it is probable, if the officers really be in izing its best intent. He hopes there will be earnest, that the end is not yet and what permitted the intrusion of no skyscraping reason is there to doubt the officers' earnest- neighbors to dwarf this, as the twin spires ness? of St. Patrick's have now been so unfor- tunately dwarfed from certain view points. If not very certainly of a The site of the Custom House is worthy of ECCLESIAS- deep and hopeful signifi- that structure's deep significance. He notes cance, at least it is en- here, by the way, in the Produce Exchange TICAL couraging, that there and Washington buildings broad masses of ARCHITEC- should have lately de- red brick a reminiscence that seems to estab- TURE, veloped a wide discussion lish lineal connection between the Knicker- of the principles of ecclesi- bocker tradition and the city of to-day. The astical architecture in cir- striking vistas of the Times and Flatiron cles that are not architectural. There was buildings are not overlooked, in a considera- a synopsis here last month of the papers on tion merely of sites; and he finds yet an- this subject recently published by the Re- other impressive vista on a great thorough- ligious Education Association. To these fare in that of the masses of the two big may now be added a series of articles hotels that" confront each other upon Fifth printed in "The Church Economist," a non- Avenue to form a gigantic gateway. It sectarian paper devoted to the dynamics of surely is not a little instructive and interest- church organization. These articles are by ing thus to see the great changing city as it George Ashdown Audsley, LL.D. (and archi- seems to-day to the eye of an outsider of tect), and bear the general title "Some sympathetically artistic temperament. Earnest Wo^ds on Church Architecture and NOTES AND COMMENTS. 251

The writer Building." very properly lays The latest annual report on the essentialness of stress sincerity as SOCIAL of the South Park Commis- a factor in good ecclesiastical architecture. sioners of is the He says to his non-professional readers: SERVICE, Chicago first to make record "Look at the wall I have attempted to de- IN of the scribe, with its rudely worked stones, its results of that moral, civic, and its sanded SMALL unnecessary buttresses, wood and SOC i al service which window and see if it can be con- frames, PARKS the commissioners have sidered architectural. You will, perhaps, undertaken to in hesitate, for the wall bears a strong like- develop the small ness to specimens of church building with parks and squares. This they which you have long been familiar, and have done at such large expense and elabo- which have been led to con- you probably rate pains as to attract the attention of park sider architectural. I shall not hesitate, officials and sociological students in all parts however, to assure you that not only is such of the country, and there has been a work not architectural, but that it is a not a false and ignoble piece of building, 'hardly little curosity as to the adequacy of the re- fitted for the side of a country barn." This turns. Unfortunately, during the time cov- sounds like Ruskin, and the more such les- ered by this report, none of the parks and sons can be brought to the attention of squares has been running with every de- church building committees, the better it partment complete for a period of even six certainly will be for our ecclesiastical archi- months, and some of them had been thus tecture. The writer's second point is his in operation less than one month. The pres- description of the adequate church struc- ent statistics, therefore, are no more than ture as "a prayer." "Had the reader sat," an index, but as such they are interesting. he says, "as often as I have done at the If it be objected that the charm of novelty footstool of the old church builders; had may have swollen some figures, there should he studied, day by day and from year to be put over against that factor an ignorant year, their great and worthy works, until publ.c's unfamiliarity with the opportuni- their earnest faith, their fervent prayers, ties offered. The value of the well-planned and their devout aspirations became evi- field house in parks and squares in the dent to the mind in every touch of loving tenement district seems to be established, care and unselfish thought and labor be- the report showing that during the short stowed on each sculptured capital, each time these were in service 1,200,000 persons storied window, each carved and painted used them. Branch libraries and club rooms jeam of their noble churches, which have contributed much to this total. The popu- or so many centuries been the pride of larity of the indoor gymnasiums that of Christendom; had he done all this, time the outdoor was to be expected was in- fter time, through all the best years of his stantaneous, so that it immediately became .fe, he would not question that a church necessary to require formal application and ould become a prayer." Finally, lie gives to issue tickets of membership. When the orce and directness to his discussion by report was prepared, there were 14,403 such eriously asking these questions of those tickets in the possession of persons making rtio contemplate the erection of a church: systematic use of the gymnasiums, and the Do you realize any grave responsibility, applications were then at a greater rate of my pressing sense of duty, when you under- increase than earlier. In the basketball ake the erection of a church? Do the ma- league alone there were twenty teams erials to be employed in its construction, (about 200 players), furnishing their own he proper arrangement and proportions of uniforms, paying their own carfare, and ts essential parts, and the manner and de- playing before spectators who paid no ad- ails of its architectural adornements, give mission fee. One of these teams, which is r ou anxious and serious thought? Do you fairly typical, was composed of an Italian, a :lesire it to be a lasting record of higher Russian Jew, a Frenchman, a Swede and Aspirations and actions than the mere ex- an Irishman. All are working boys, co- >enditure of money in economical building? operating in an effort to accomplish a com- f not, then you have not grasped the true mon object and in honor of a common and full nature and gravity of your under- name, and subjecting themselves to proper taking." This is good, straight-out-from- authority, law and order. The civic as well :he-shoulder doctrine. as social service in this is obvious. THE ARCHITECTURAL RECORD. 252

In continuation of Mr. Freitag's article on "Or- namental Metal Work and Wire Glass" In the August issue of the Architectural Record, we show herewith a de- tail of iron and glass window construction de- signed and executed by the Hecla Iron Works of Brooklyn, New York City, for the Pennsyl- v a n i a Railroad Com- pany's new power house at Long Island City, "Westinghouse, Church,

Kerr & Co., New York, engineers. As pointed out in that article, more attention is being paid to the decorative treat- ment of fireproof en- closures in metal and wire glass. The notion that an elevator en- closure, a window or a marquise treated in metal and wire glass is necessarily an ugly, though useful, device, has been proved to be unfounded. The engi- neer and the architect have reached a satis- factory understanding on the rational treatment of such features, This was fully illustrated in Mr. Freitag's article which shows in figures 2, G, 8, and 9 a variety of fire- proof metal and wire glass decoratively treat- ed and executed by the Hecla Iron Works, credit for which was inadvert- IRON AND WIRE GLASS WINDOW DETAIL PENNSYLVANI RAILROAD COMPANY'S NEW POWER HOUSE. ently omitted in the Long Island City, N. Y. article. Westinghouse, Church, Kerr & Co., Engineers. The Hecla Iron Works, Contractor: Views of the Marb le Works OF The Robert C. Fisher Co.

139th to 140th Streets

Locust Avenue and East River NEW YORK CITY THE ARCHITECTURAL RECORD. 254 TECHNICAL DEPARTMENT. 255

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il si THE ARCHITECTURAL RECORD, TECHNICAL DEPARTMENT. 257 THE ARCHITECTURAL RECORIJ. TECHNICAL DEPARTMENT. 259 260 THE ARCHITECTURAL RECORD.

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ffi DO TECHNICAL DEPARTMENT. 261

I 2 si *3 262 THE ARCHITECTURAL RECORD. TECHNICAL DEPARTMENT. 263

tf 2 o fe ^ to H -9 J -^ m 5 tf o Well Merited Success

The man who improves and perfects a Naval Branch of the Y. M. C. A., Brooklyn; new material for building construction St. Bartholomew's Clinic Building, Babies' which will neither burn, crack, break nor Hospital and the New Day Nursery in bend, and yet possesses all the toughness Paterson, the Madison Square Church of hardwood, the solidity of stone, the non- House, the Garden City Hotel, L. I.; the absorbent qualities of tile, and a hundred New York Juvenile Asylum, the New York other qualifications of the choicest building Public Free Baths (3), and the New York Women's Hospital, the Edison Company's Lodge Rooms, the Dow School, the Will- amsburg Power House, B. R. T.; the Chapel at Columbia College, and the kitchens of the Commerical Cable Building. The celebrated Tiffany residence at Seventy-second Street and Madison Avenue, New York, was the first building in which Mr. Ronald Taylor first installed "Grano- lithic," under the direction of the famous firm of architects, McKim, Mead & White, and the Hamilton Hall (see illustrations), Columbia College, was the last. Mr. Taylor has made the subject of per- fect flooring a life-long study, and his ad- vice has been sought as well as his active interest, in the construction of concrete and other floors as well as those of "Grano- lithic" or "Taylorite," during the past twenty-five years. THE TIFFANY RESIDENCE, 1884. Forty years ago Matthew Taylor, Mr. products must be acknowledged a benefactor Ronald Taylor's father, was a prominent of mankind. member of the New York Stock Exchange, The products known as "Granolithic" and a banker and active member of the firm of "Taylorite" possess all the merits enume- Stokes, Taylor & Co. Soon after the civil rated. They have stood the tests of the war he became one of the active pioneers of laboratory and the tests of time, and are the asphalt business in America, and was practically acknowledged to be ideal as building material. The practical approval referred to is the acceptance by the Building Department of the City of New York for all fireproof build- ings, and the adoption and use by the great- est architects and building constructors of Manhattan and other cities. The noblest buildings, hotels and residences of the city are using "Granolithic" or "Taylorite," and they may be seen in various stages of ser- vice measured by years, and found to be more than was ever claimed for them. Among the hotels where "Granolithic" floor- ing is laid are The Waldorf-Astoria, Sherry's, the Delmonico, the Manhattan, the Holland House, the New Netherlands and the New Hotel Astor; among office buildings: The Stock Exchange, the Corn Exchange Bank, Kuhn-Loeb Building, the Commercial Cable Building, the Postal Telegraph Building, the Morton Building, the American Exchange National Bank HAMILTON HALL, 1906. Building, the Vincent Building, the Dun Building and the New Tribune Building. the first importer of Trinidad Lake pitch. "Taylorite" in flooring and base is laid in One of his first contracts was for the paving the Women's Hospital, the Babies' Hospital, of Pennsylvania Avenue in Washington from the Manhattan Ear and Throat Hospital, the Capitol to the Treasury, as well as the the Power House, B. R. T. Co.; the Car- paving of nearly all the public squares in negie residence, the Stokes residence, the the City of New York. TECHNICAL DEPARTMENT.

A Few Examples of Prominent Buildings Erected by

THE TIDE-WATER BUILDING COMPANY

25 West 26th Street, New York

Pres. A. M. NAPEIR, H. STEVENSON, Vice-Pres. J. P. RAINEY, Sec. and Treas.

HIGH SCHOOL, NAUGATUCK, CONN. McKim, Mead & White, Architects.

10 266 THE ARCHITECTURAL RECORD. THE TIDE-WATER BUILDING COMPANY

BUCKINGHAM BUILDING, WATERBURY, CONN. McKim, Mead & White, Architects.

Detail of Antique Fresco Treatment of Exterior of all Third and Fourth-Story Windows of Above Building. TECHNICAL DEPARTMENT. 267 THE TIDE-WATER BUILDING COMPANY \w^

* f rf^C^C \c* i^^^^^H

HARMONIE CLUB, 4-0-8 EAST

NEW PLANT OF THE UNDERWOOD TYPEWRITER COMPANY, HARTFORD, CONN. Completed and occupied within ten months from date of commencement. 268 THE ARCHITECTURAL RECORD.

BATTLE MONUMENT, WEST POINT, N. Y. McKim, Mead & White, Architect