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Vol. XLVII. No. 2 FEBRUARY, 1920 Serial No. 257
Editor: MICHAEL A. MIKKELSEN Contributing Editor: HERBERT CROLY Business Manager: ]. A. OAKLEY
COVER Design for Stained Glass Window FAGS By Burton Keeler
'
NOTABLE DECORATIVE SCULPTURES OF NEW YOKK BUILDINGS _/*' 99
.fiy Frank Owen Payne
WAK MEMORIALS. Part III. Monumental Memorials . . 119 By Charles Over Cornelius
SOME PRINCIPLES OF SMALL HOUSE DESIGN. Part IV. Planning (Continued) .... .133 By John Taylor Boyd, Jr.
ENGLISH ARCHITECTURAL DECORATION. Part XIII. . . 155 By Albert E. Bullock
PORTFOLIO OF CURRENT ARCHITECTURE . . . .169
ST. PHILIP'S CHURCH, Brunswick County, N. C. Text and Meas^
ured Drawings ...... 181 By N. C. Curtis
NOTES AND COMMENTS . . . .188
Yearly Subscription United States $3.00 Foreign $4.00 Single copies 35 cents. Entered May 22, 1902, as Second Class Matter, at New York, N. Y. Member Audit Bureau of Circulation.
PUBLISHED MONTHLY BY THE ARCHITECTURAL RECORD COMPANY
115-119 FOFvIlt I i I IStt I, NEWINCW YORKTUKN WEST FORTIETHM STREET, H v>^ E. S. M tlli . T. MILLER, Pres. W. D. HADSELL, Vice-Pres. J. W. FRANK, Sec'y-Treas. DODGE. Vice-Pre* ' "ri ti i~f n : ..YY '...:.. ri ..rr.. m. JT i:c..."fl ; TY tn _.puc_. ,;? ,v^ Trrr.^yjL...^ff. S**^ f rf < ; ?SIV5?'Mr ^7"jC^ te :';T:ii!5ft^'^"*TiS t ; J%WlSjl^*o'*
YORK CITY is peculiarly the masters whose works are on view in the art center of America. mu- NEW Her galleries of great museums. This dis- seums, both public and private, cussion has no reference to the decora- and her innumerable galleries where tive features of public parks, such as works of art are displayed, are among monuments and other memorials. her chief institutions. But art has not Lower Broadway presents a great made its abode alone within the confines number of imposing fagades, many of of the Metropolitan nor about the pur- which have been superbly decorated. lieus of millionaires' palaces. There are The Exchange Court Building has four works of distinguished merit to be found heroic statues of Hudson, Stuyvesant, here and there about the city, mere de- Wolfe and Clinton, the works of J. tails of the decoration of vast temples of Massey Rhind. The same artist has trade, which would be treasured as mas- given us the beautiful group of symboli- terpieces in the foremost art museums cal figures on the American Surety of the land. Building, which is one of the most It is the purpose of this paper to pre- splendid fagades in the city. Again on sent to the reader some of the more in- the domed towers of the Park Row teresting works which adorn our city's Building we see eight slender graceful business houses and private dwellings statues silhouetted high above the street. the of are not con- works really worth seeing and yet sel- But works Rhind dom seen in the crowded thoroughfares. find to business houses. There are the A mere list of the names of the artists north doors of Trinity Church which who have contributed to the decoration depict scenes from the Old Testament, of these edifices looks like a list of the and farther uptown, on the Church of Record All Reserved. Copyright, 1920, by The Architectural Company. Rights 99 THE ARCHITECTURAL RECORD.
St. Mary the Virgin in Forty-sixth street Paul Manship's unique art has become there are several fine examples of Rhind's a fad, especially in the realm of garden ecclesiastical art. sculpture. He is not known as the cre- Few if any sculptors have created a ator of the decorative features of build- larger number of decorative works on ings either public or private. Yet Man- New York buildings than Philip Martiny. ship's work may be found on the Fulton His works may be found in every part Street fagade of the Western Union of the city. The bronze doors of the Building, in a place where the marvelous Importers and Traders Bank at Warren technique of the sculptor may be studied street and Broadway present two excel- to advantage. lent illustrations of Martiny's work in Frederick MacMonnies is best known low relief. On the Chamber of Com- through his numerous monumental works merce one of the familiar groups is also about the city, especially in the bordugh from his hand. The lintel over the door of Brooklyn. We know of only two ex- of the old Mail and Express building emples of his purely decorative sculp- at Fulton street and Broadway represents tures on buildings. These are the span- the four continents. These figures still drels on the Bowery Savings Bank, works arouse our admiration in spite of the executed with a delicate touch which fact that two of them have been muti- unfortunately can not be seen to advan- lated to make way for the construction tage either from the opposite side of of a hideous show-window. Martiny's the street or from the platform of the most conspicuous work is to be found Third Avenue Elevated Railway. Mac- on the Hall of Records. The figures Monnies also made the two wall-foun- representing New York and Greater New tains which flank the main entrance of the York which grace the Park Row side of New York Public Library. The finished that edifice are presented here. Martiny works in marble have not yet been put also collaborated with French, Adams in place, but their representatives in and O'Connor in the faqade of St. Bar- plaster have been much admired. tholomew's Church, in Park Avenue. Of all New York's public buildings, The late Karl Bitter left many char- the Appellate Court House on the east acteristic examples of his art about the side of Madison Square is the most or- city. His are the three tremendous nate. Indeed, it has been declared to be titans which bear on their shoulders the greatly over decorated. It bears the lintel of the St. Paul Building at the works of many sculptors and some of corner of Broadway and Fulton Street. them seem to be rather out of scale. Over the entrance of the Chamber of Others are decidedly commonplace. But Commerce are two recumbent figures there are at least two works which re- suggestive of the similar works by deem this elaborately decorated struc- Michael Angelo. The great front doors ture and lift it high among the finest of Trinity Church show what Bitter sculptural features of the city. These could do in ecclesiastical art. The pri- are the pediment by Charles H. Niehaus vate residence of Mrs. Cornelius Vander- and the group which surmounts it by bilt, facing the plaza and the mansion of Daniel Chester French. Neither of these Mrs. Hungtington at F^ifth Avenue and artists has contributed much to the dec- Fifty-seventh Street, have charming il- oration of New York Buildings. The lustrations of Bitter's pleasing work. The pediment of the Court of Appeals and only sculptures hitherto placed on the the south doors of Trinity Church are Metropolitan Museum of Art are worthy the most noteworthy works by Niehaus. the great building which they so fittingly But there are several very fine and adorn, and the Tombs Angel in the characteristic examples of his art on the Criminal Courts building is full of tender fagade of the University Club on feeling. All these works illustrate the Fifth Avenue. These are the ideal por- great versatility of one of our foremost traits of the great leaders of the world's sculptors. thought carved on the keystones of the
100 THE ARCHITECTURAL RECORD.
arches of the windows. Few there be pendous work was executed by John who to these pause regard splendid ere- Quincy Adams Ward and Paul Bartlctt. ations the which among throngs pass To study it properly, one must ascend them to every day. the fifth floor of the Mills Building Mr. French has created several mas- on the opposite side of Broad Street, terpieces about the city. The symbolic where an excellent view of the work can which flank the entrance of the be groups had. At that point of vantage one Custom House at Green are Bowling discovers that there is very fine symbol-
PANEL IN ASTOR DOOR, TRINITY CHURCH. By Charles H. Niehaus. familiar to all. The beautiful groups ism in this great work. In the center which typify the boroughs of Manhat- stands the figure of Integrity, which tan and Brooklyn at the eastern ap- should dominate all business transactions. proach of the Manhattan Bridge, the At her left are Agriculture, represented great pediment of the Brooklyn Institute by a man bearing a sack of grain and a Building on the Eastern Parkway, and woman leading a ram. Farther to the Alma Mater, which dominates the ter- left are miners at work. At the right race before Columbia University Lib- of Integrity are two figures representing rary, are characteristic examples of Mr. Manufacturing and Electricity, while at French's art. In collaboration with the extreme right are reclining figures Adams, Martiny, and O'Connor, French representing Building and Constructive also designed the doors of St. Barthol- Design. To the writer there is nothing omew's Church recently removed from finer of the kind among the decorative Madison Avenue to Park Avenue. sculptures in America. Probably there is nothing finer in the As one advances further uptown, way of decorative sculpture in New there seems to be a region in which the York than the imposing pediment of the decorative features of buildings are for New York Stock Exchange. This stu- the greater part the work of foreign ar- 101 PANELS IN NORTH DOOR OF TRINITY CHURCH. BY J. MASSEY RHIND. MAIN DOOR AND TYMPANUM. TRJNITY CHURCH. BY KARL BITTER. THE ARCHITECTURAL RECORD.
statues of time. of the most of tists, chiefly Germans. The One noteworthy Franklin and Gutenberg which adorn all these decorative features belonged to the Staats-Zeitung Building are the the Arion Hall, now the Anderson Gal- works of Max Plassman, the same whose leries in Fifty-Ninth Street and Park statue of Franklin dominates Printing Avenue. The strong lamps at the en- House Square. It was Plassman also trance of that building are still to be who made the Indian which surmounts seen there, but the really interesting fig- Tammany Hall. The most pretentious ure of Arion which topped that edifice work is the pediment on the old New was taken down when the Arion Club York Central Freight Terminal in Hud- went out of existence. These sculptures
PEDIMENT OF MADISON SQUARE PRESBYTERIAN CHURCH. By Adolph Weinman, in Collaboration with Mowbray. After Designs by Louis Tiffany and Stanford White. son Street. This imposing work is not were the work of Alois Loeher. No. 6 easily seen except from the trains of the East Twenty-third Street bears a pleas- Ninth Avenue Elevated Railroad. ing figure representing Photography On the building which stands at the which is the work of one Hess, another south-west corner of Broadway and of the German artists already referred Fourteenth Street are some very decor- to. ative figures well worth study. These Isidore Konti has given us a superb are the work of W. Kuntz, who also relief in the faqade of the Gainsborough made several other sculptures of a sim- Building in Fifty-Ninth Street near ilar character on business buildings of the Broadway. Here we have a festival pro- better sort of fifty years ago. It is said cession, which takes up the entire front that Kuntz was not able to obtain enough of the second story. It is a most fitting work to support him and that he prac- decoration for a building which is de- tically died of starvation. Kuntz, like voted to art studios. Plassman, was one of a number of Augustus Saint Gaudens left many ex- sculptors of German and Austrian birth amples of his transcendent art in the who came to America. Their works may parks and museums of the city. But so be seen on many of the buildings of their far as we are able to ascertain, there 104 w
C/5 Q as THE ARCHITECTURAL RECORD.
is but one of his creations to be found to be preserved when the building on on a building in New York. That is the which it stands shall be razed. Diana which tops the Madison Square For the greater part the decorative Garden tower, known as the "Diana of features of New York buildings are the Tower." This was originally ex- either historical or allegorical in charac- ecuted much larger, but when it was ter. The churches very naturally fur- found to be too large for the place nish more or less excellent specimens of chosen for it, a reduced copy was sub- ecclesiastical art. Trinity, Grace, the stituted on the Gar- Paulist Church, St. den tower and the Patrick's Cathedral, larger original was and other houses of taken to Chicago, worship furnish good where it was the finial illustrations. L e'e on the Agricultural Laurie is the fore- Building of the most sculptor of such W o r 1 d's Columbian work. His reredos in Exposition in 1893. St. Thomas' Church is We believe that that now rapidly approach- work was destroyed ing completion. when the building Artists who have was burned after the devoted their time to close of the Fair. animals have little G u t s o n Borglum place in the decora- has not made any of tive sculptures o f the decorative fea- New York buildings. tures of New York's To view works of business houses. So animal sculpture, one far as we are in- must resort to the formed, his Beecher Zoological Garden in statue and his Lincoln Bronx Park, where tablet, which are on many excellent studies Plymouth Church, by Proctor, Knight Brooklyn, and the and Eli Harvey may Angel with a trumpet be seen. Potter's which crowns the FINIAL ON TOWER OF WESTERN lions are found before apse of the Cathedral UNION BUILDING IN FULTON STREET. the Public Library. of St. John the Divine By M. Evelyn Longman. Through the courtesy are all from his hand. of the New York No finer business house exists in New Zoological Society, we are permitted to York than that of the Gorham Company publish pictures of some of the houses in Fifth in the Garden one of these Avenue. Here one may see the Zoological ; delicate art of Andrew O'Connor dis- shows A. Phimister Proctor at work on played in the beautiful spandrels on the the elephants which adorn the Elephant two exposed sides of the building. These, House. The Lion House furnishes good together with the impressive sculptures examples of the work of Eli Harvey. on St. Bartholomew's Church, are the In ceramic art there are numerous in the only significant decorative works of beautiful examples to be found other ornamentations O'Connor in the city. encaustic tiles and Caspar Buberl is the author of the of the subway stations. Wall Street, charming figure of Puck which was the Fulton Street, Astor Place, Columbus furnish distinguishing feature of the building of Circle, and many other stations that name when "Puck" was the leading suggestions of some historical fact con- humorous periodical of the land. It is a nected with the immediate neighborhood. the late Olin War- good piece of work and it well deserves The delightful art of 106 ONE OF FOUR COLOSSAL GROUPS BEFORE NEW YORK CUSTOM HOUSE. By Daniel Chester French.
GROUP TYPIFYING BROOKLYN AT EAST APPROACH OF MANHATTAN BRIDGE. By Daniel Chester French. CENTRAL FIGURE IN PEDIMENT OF SUPREME COURT HOUSE, APPELLATE DIVISION. BY CHARLES H. NIEHAUS. SUPREME COURT HOUSE, APPELLATE DIVISION. SCULPTURES BY FRENCH, NIEHAUS, RUCKSTUHL AND OTHERS. SPANDRELS ON GORHAM BUILD- ING. BY ANDREW O'CONNOR. NEW YORK HERALD CLOCK. BY ANTONIN JEAN CARLfeS. VXP
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PEDIMENT OF STOCK EXCHANGE, BY J. Q. A. WARD, IN COLLABORATION WITH PAUL BARTLETT. DECORATIVE PANELS OF GAINSBOROUGH BUILDING. BY ISIDORE KONTI. A. PHIMISTER PROCTOR AT WORK ON SCULPTURES OF ELEPHANT HOUSE IN ZOOLOGICAL GARDEN.
DETAIL FROM ZOOLOGICAL GARDEN. By A. Phimiiter Proctor. 114 ELI HARVEY'S SCULPTURES ON LION HOUSE IN ZOOLOGICAL GARDEN. CARYATIDES ON THIRTY- FOURTH STREET FRONT OF MACY'S DEPART-
MENT STORE. BY J. MASSEY RHIND. THE ARCHITECTURAL RECORD. ner be seen in the medallions on the may French artists are not very largely rep- Long Island Historical Society Building resented by works of a decorative char- in there are excellent Brooklyn. Here acter in New York City. The most con- portraits of Franklin, Columbus and spicuous are the Herald Clock, which other celebrities. is the admiration of all who visit the of The creations Adolph Weinman vicinity of Herald Square at the begin- are among the finest art treasures of the ning of the hour. This most unique city. The most conspicuous of these are clock consists of a beautifully modelled the reliefs and finial of the Municiapl figure of Minerva, who presides over a Building. The Pennsylvania Terminal great bell at each side of which stands clock is wrought with masterly technique. a workman armed with a huge hammer. The pediment of the Madison Square In striking the hour, each of these men Presbyterian Church, which is soon to be swings around and smites the bell. The taken down, is a thing of great beauty. Herald Clock is the work of Antonin This was done in collaboration with Jean Carles of Paris. The bell was cast Mowbray after designs by Louis Tiffany in the famous bell-foundry at Troy, N. Y. and Stanford White. But the most ex- Another artistic clock may be seen on quisite of all the works of Weinman and, the Grand Central Passenger Terminal. as we think, about the finest decorative Here we have an imposing group sym- pieces of their kind in the city, are the bolizing the purposes of the railway. panels of the Morgan Library. These The design is the creation of Coupin, are charmingly expressive and dainty the famous French decorative sculp- creations. tor, and the carving was done by John In addition to the pediment of the Donnelly. Stock Exchange, which he did in col- Louis Richard is the author of the laboration with Ward, Paul Bartlett also simple and beautiful pediment sculp- carved the frieze sculptures on the Pub- tures on the Duveen Brothers' store in lic Library, about the only works worth Fifth avenue. This work fitly decorates mention on that ill-fated building. Miss the fagade of New York's foremost art M. Evelyn Longman is the creator of concern. the golden figure of Modern Zeus or the To one who looks for works of artistic Genius of Telegraphy which tops the merit about the thoroughfares of the tower of the Western Union Building metropolis, a walk in almost any direc- in Fulton street. tion will prove an inspiration. Daily we of marvels of There are also many good sculptural stand in the presence and art. How works about the city whose authorship architecture, engineering few of us take time to them. is not known. Among these are the regard is of the wonders of medallions on the Edison Building in Truly Gotham one the modern world. Whether we see it Read street, which portray the likenesses or mists, of Franklin, Edison, Morse and others. at rosy dawn, through pearly at or The house of Eimer and Amend in Third or tinged with golden light sunset, indeed the dark sky at avenue, at Eighteenth street, possesses projected against with all its asparkle good likenesses of Liebig, Darwin, evening myriad lights it is a marvel- Lavoisier and others, heroes of the like a huge constellation, world of science. ous thing of beauty.
117 f
SKETCH FOR FLAGPOLE BASE, CLERMONT, CAL. MYRON HUNT, ARCHITECT; HURT JOHNSON, SCULPTOR. WAFL MEMORIALS
PART III MONUMENTAL MEMORIALS BY CHARLES OVER CORNELIUS
preference as between a purely only, for the various forces that entered votive and a into THE utilitarian war the expression of past periods are memorial is largely a matter of variable quantities which may be, and temperament and a question of taste. In probably are, largely absent in our own view of the character of the recent war, scheme of life. Inspiration must be a struggle between autocracy and de- sought in our present day life and in the mocracy, little help in the way of inspira- emotional appeal of which we, as a peo- tion is to be gained from a study of the ple, are conscious. great memorials of the past. For these The utilitarian memorial does not ad- are as a rule products of social condi- dress itself so directly to the emotions as tions existing in autocratic governments, does the purely votive memorial. Its conditions whose roots laid in a is often or were appeal sociological economic , unified or, at least, a definitely classified and in equal measure as this is true come state of society; as yet our own demo- opportunities for diverting the real pur- cratic state is in a flux, the resolution of poses of the memorial, for subordinat- which belongs to the future. However, ing the commemorative idea to less although the usefulness of the great exalted ends, so that in the last analysis memorials of the past is merely nominal the work epitomizes the materialism of in one sense, it is all important in an- its living creators instead of the ideals other that of furnishing standards of of the dead whose honor it is supposed comparison for our own creations. to proclaim. There is danger of employ- Since these ancient monuments, which ing this commemorative impulse as a fit- vehicle to into innovations . we admire for their excellence and bring being ness for their purpose, originated in mo- making for the comfort and convenience tives so foreign to our commemorative of the public, innovations whose pres- impulse, we should view them mainly as ence that public may have every right a of sensitive to the to demand as its due without the intro- point departure ; a rea- evolutionary processes of artistic devel- duction of the memorial element as opment, we must create our own memo- son for their being. With the purely rials if we are to speak to future genera- votive memorial, expression is more di- tions of our own ideals and in our own rect, the language through which it is less obscure and better under- language. speaks in favor are The architectural expression of his- stood. The arguments its the ultimate toric periods in which mental outlook more intangible, yet expres- sion of its is to be under- and spiritual experience approximated purpose likely a much number of in- those of our own age, may offer sug- stood by greater observers. gestions to the designer, but suggestions terested 119 THE ARCHITECTURAL RECORD.
Let us consider dispassionately what terms in which to express the desire our own experience tells us of the actual of commemoration? to the emotions of certain appeal types To point out really successful votive of memorials which we know. Take, memorials, successful in the sense that for a such as a instance, building library, they carry their personal message of a or a settlement house erected dormitory deeds nobly done through beauty of con- in of some one whose intensest memory ception intrinsic in form and detail, we interest during life was associated with find our choice limited indeed. More the immediate fostered in activity the than half a century after the event, As we do not building. approach, we memorials to the personalities of our think of it first of all as a housing par- Civil War are beginning to take on a ticular activity? When we enter, if it is commensurate excellence of artistic dic- its are properly fulfilling function, we tion. It is probable that a nobler re- not primarily interested in the actual sult would have been achieved if at the of the whose home it operation activity time when poignant feeling was still cry- is? We have asked ourselves may ing for expression, artists of inspiration whether this is not a memorial building and training had been at hand ready to as our was attracted some detail eye by interpret. Today we find ourselves in- of decoration or some votive tablet. But finitely better placed in this respect and in the end our is attention occupied by with a glance at the very few results the purely physical organization and em- which have already shown themselves bodiment to the of exclusion any thought we may feel encouraged for the future. of the man or woman to whose memory The memorials which are shown in this of has been pile masonry dedicated. the accompanying illustrations all obvi- With the purely votive memorial this ously bear the mark of twentieth cen- is seldom true. Whether it be a digni- tury conception. In use of architec- fied outdoor monument or a window of tural form they are eclectic, while in glowing stained glass, the appeal is di- choice of subject and its presentation rect, attention is not distracted from its they mark a tendency toward generaliza- message. As in a medieval mass, the tion which is a characteristic of the time. employment of a combination of the arts They are all, however, an appeal direct unified by one impulse may heighten the to the emotions, an appeal never senti- emotional appeal and give pause to the mental, always dignified and frequently average man for a moment of serious rich in historical or dramatic sugges- thought of the dead thus commemorated, tion. a touch of sentiment re- introducing The larger group is composed of out- ferred to the and unes- directly single door monuments placed in positions of our capable object thought. chosen to heighten their effect, some- There must, however, be no presup- what aloof from the rush of city life. position that the utilitarian and com- Nothing could be simpler or finer than memorative ideas are in any way mutu- the memorial to Major Clarence T. Bar- exclusive but where both are rett ally ; pres- by Sherry Fry and the architectural ent the demand upon those to whom is setting by T. Sillett is original and bold. entrusted the expression of both elements The Albany memorial shows an adap- in terms of architecture is of such diffi- tation of the Renaissance sarcophagus culty as to call for a touch of genius in motif to a twentieth century usage. The addition to the well trained talents of effect of the combination of materials which we may presume the author to and the individual treatment of each is be possessed. And, in a country by no distinguished and rich. means notable for the dignity and quality In the flagstaff base the architecture of its memorial art, is it not well to by Cass Gilbert and the sculpture by choose in the earlier stages of the de- Paul Bartlett harmonize with rare per- velopment of that art the least com- fection. Seldom can we point to a work plicated and the more surelv excellent where the essential qualities of the ma-
120 MEMORIAL FLAGPOLE BASE. MINNEAPOLIS, MINN. CASS GILBERT, ARCHITECT; PAUL BARTLETT, SCULPTOR. LAFAYETTE MEMORIAL NINTH STREET ENTRANCE TO PROSPECT PARK, BROOKLYN. HENRY BACON, ARCHITECT; DANIEL C. FRENCH. SCULPTOR.
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MOSAIC PARAPET RAIL IN ST. THOMAS' CHURCH, NEW YORK CITY. BERTRAM G. GOODHUE, ARCHITECT. ** j, WINDOW IN MEMORY OF CAPTAIN NATHANIEL SIMPKINS, CHURCH OF ST. JOHN THE EVANGELIST. BEVERLY FARMS, MASS. BY CHARLES J. CONNICK. THE ARCHITECTURAL RECORD. terial this case Minnesota (in granite) America to the year 1919. On the left, have been so both perfectly preserved three panels present the church as a in and architectural treatment. sculptural refuge, a ship and a lighthouse. To the The confesses this bronze, too, apprecia- right we have the first settlement at tion of material on the of the part de- Jamestown in 1607, Independence Hall and a and bril- in signer possesses sparkle Philadelphia, and the Capitol at Wash- lost in similar work. liancy frequently ington. The two remaining scenes, which Three interior memorials are shown. flank the steps to the choir, introduce The the Memorial first, Vestibule which the World War, marking the end of one is erected in Nassau Prince- era being Hall, of church and state and the begin- ton marks the dedication of University, ning of a new. To the left the grain of room in a one most important position mustard seed has grown into a tree as a memorial to those who fell and where perch the eagle and the dove. served in those who the World War. Beneath it lie down in peace the lion and The in which it is in building placed is the lamb. The inscription, "League of no sense a memorial building. But the Nations 1919," may seem a trifle prema- whole of a memorial has impressiveness ture, but there it stands. To the right concentrated into been this marble room. of the steps the panel shows Rheims English in scale and feeling, it har- Cathedral, with the date 1915. monizes with the provincial tradition The colored marble is soft in tone and it follows which and finds a particular the values are kept so nearly equal that appropriateness in its location in a build- the surface is not disturbed. The mo- ing so closely identified with the saics, which are unusual in scale and struggle for American independence. technique, are successful decorative Related to this memorial is the ves- treatments, and the contrast with all the tibule at Yale University, part of which work which surrounds them is very fine. takes the form of a broad archway The various forms of these memo- flanked by Henry Hering's fine reliefs, rials of a votive nature, some of which and in which architecture, sculpture, by reason of their position as portions mosaics and metal-inlay unite in the of buildings may well be termed utili- final effect. The broad wall space treated tarian, suggest a few of the many ex- with lettering has a decorative quality pressions which the memorial impulse quite unexampled. may take. They are, first of all, com- Not the least interesting of the in- positions of few elements, so that their terior memorials is the Captain Simpkins message comes direct. They show the window by Charles J. Connick. Simple effect of modern intellectual approach in in its composition, powerful in its lead- the choice of subject and in the eclectic ing, resonant and symbolic in its color, nature of their detail. They express, these three lancets seem to answer all above all, the desire to commemorate of our demands for the appropriate war the ideals which inspired the heroic dead memorial direct and strong appeal to rather than the confused events of the the emotions, a suggestion of the sadness war itself. In these very facts we seem the of of early death, the glory of power and to see an attitude toward subject the beauty of sacrifice. The effect of memorial art different from that of cen- such a memorial is of course intensified turies preceding, an effort to render per- of individual sac- by its location in a dim and quiet church. manent an impression in contradis- A record, rather than a memorial, is rifice and personal ideals, of vic- seen in the mosaic parapet rail newly tinction to the commemoration and Our placed in St. Thomas' Church in New torious battles physical prowess. York. In the detail of the whole choir country is well equipped with artists and of out the is an abundance of suggestive imagery architects capable carrying while still the memories of the telling the story of the years of its erec- work fresh in and the tion. In this portion of the choir furni- war are mind; only additional factor is an intelli- ture, which separates the nave from the necessary and active interest. choir, is the story of church and state in gent public 131 ENTRANCE-RESIDENCE OF DR. T. J. ABBOTT, CORNWALL-ON-HUDSON, N. Y. PARKER MORSE HOOPER, ARCHITECT. SOME PRINCIPLES OF SMALL HOUSE DESIGN
r Py John Taylor Boyd,J
Part IV- PLANNING'- Continued
first three of this articles series arithmetic, the plight of the family of have dealt closely with the archi- "limited income" one year after the THEtectural side of the the design of troops stopped fighting in the Great War. small house. This is their purpose, for "Limited income" means professional they aim to set forth clearly certain prin- and salaried workers above the class, ciples of the household art. However, economically speaking, of skilled wage- there are several important features of earners and clerical employees. The cost and of construction that must be figures tell why homes are not being built briefly noted in so far as they influence extensively enough to relieve the unpre- planning and decoration. cedented shortage of homes throughout Taking up the economic side, the finan- the country. Thus the man who wishes cial problems of the American family to build finds himself blocked by world income, household expenses, service conditions. He realizes that the tre- were becoming more complicated before mendous forces of civilization have /fO' Vl&?x~V /"X BLOCK PLAN-RESIDENCE OF GEORGE WILLING, ESQ., CHESTNUT HILL, PHILADELPHIA, PA. Charles Willing, Architect. 134 RESIDENCE OF GEORGE WILLING, ESQ., CHESTNUT HILL, PHILADELPHIA, PA. Charles Willing, Architect. with the designer. One may well ask, Such is a brief summary of some of Is not all this mechanical equipment too the economic and mechanical features of complicated? If only a single agent the house, in their bearing on its design electricity or gas or oil did all the work in the broadest way. I have considered of heating, heating water, cooking and them only enough to show that they are lighting, one or more of the various sys- undergoing changes in this post-war tems of piping that are now required period, and that the 'results of this change in a house might be eliminated. Gas does cannot possibly be predicted. All that in a house be is that houses should much of the work needed ; may gathered and electricity can do more, with the be planned in restricted dimensions, and added advantage of using small motors, as simply as possible. Designers are be- nearly automatic, to operate labor-saving ing forced to eliminate some features devices. But, unfortunately, electric heat entirely, or else make them more sub- consumes a great amount of current. ordinate than was formerly thought de- in it is sirable. must be to Coal is a nuisance a home ; being They ready reclassify driven out of the kitchen by gas, and the essentials. no- we would like to see it put out of the With this short excursion into the and mechanical cellar, too. This may be done by using man's-land of economic features central power plants for groups of principles ended, more specific houses, but this method still leaves the of the architecture of house plans may in Here one is at complicated system of heating pipes be considered. writing in to un- the walls. Altogether, the most unsatis- a disadvantage. For, striving the of house- factory features of the mechanical equip- derstand adaptations plans one ment are the complicated pipe and duct required by post-war conditions, It is to must on illustrations drawn systems, and the use of coal. depend built before the few of be hoped that technical experts will find from houses war, how to eliminate those two defects of which meet existing conditions perfectly. and sizes household mechanics, and furnish us Thus a great variety of types not of houses in these with simpler devices which, even if appears pages, and the whole collection does so much cheaper in themselves, will at yet not as clear a of a least be cheaper to repair and to operate. give picture 135 RESIDENCE OF GEORGE WILLING, ESQ., CHESTNUT HILL, PHILADELPHIA, PA. CHARLES WILLING, ARCHITECT. SOUTHEAST FRONT-RESIDENCE OF GEORGE WILLING, ESQ., CHESTNUT HILL, PHILADELPHIA, PA. Charles Willing, Architect. small house as one might desire as clear prising that many houses built since the a picture as will be obtained two or war, in 1919, have been nine-room three years from now, after many houses houses; "nine rooms" meaning three or have been built under the new conditions. four rooms (including kitchen), on the To this extent the discussion has played first floor, and four or five bedrooms, around the small house rather than (including maid's room) above. Since centered in it. What is needed is a more one more bedroom is easily added on specific statement of the planning of the the third floor, or in a wing, many ten- small house, in order to make the ideal room houses have been built. If the first floor more vivid. is to be planned flexibly, in ways The first thing to be decided about I have described in the third article, this the small house is its size the number room standard may need to be differently of rooms. Here is a standard to which expressed. Where, for example, the din- we may repair with a little more confi- ing room or the reception room is dence than in the case of shifting costs. thrown into the living room, it may be Formerly, as we have seen, the "small better to measure the room standard by house" was permitted to contain many the number of bedrooms. Accordingly, of the features, even if reduced in scale, the average small house will have its of the great house. It was also allowed ground floor planned flexibly to suit the service wings with quarters for three individual family, and above will have servants if needed. But today such five bedrooms and probably two baths, for one room and a bath for the space it is almost impossible to pay including sur- maid. Small families of adults be and to operate. Hence it is not mav 137 THE ARCHITECTURAL RECORD. content with fewer rooms, and larger at its disposal is hardly greater than that families may add more bedrooms, and which the wage earner's family in the baths. Still another way of arriving at economic class just below possesses in the standard of the small house is to its higher standard house. realize that the five-bedroom house, or Thus it may be said that five and six the nine-room house as it is better known, bedrooms are a fair index of the size of is a house that is only a little larger the small house, a standard which eco- than the five and six room house of nomic conditions, construction costs and skilled mechanics and of the better class costs of service, maintenance and opera- of clerks. In this latter type of house tion, all tend to fix for the "average" one room is often both dining and living family. It is a house a little larger and room, leaving three or four rooms for somewhat finer than the house that is bedrooms. These skilled wage earners' coming to be the standard for the skilled houses are operated without maids, and employee. And since the "average" fam- it will be seen that they are only a lit- ily is not always average, the small house tle smaller than the small houses of the may slightly vary from this figure, above professional man and salaried worker. or below, according to the size of the Their rooms are not much smaller in family and its income and the economics dimensions and are only one or two less of the neighborhood. in the main- the size of the small more number ; and where family With house tains a maid the actual bedroom space definitelv decided, materials must be con- SECOND FLOOR PLAN. FIRST FLOOR PLAN. RESIDENCE OF DR. T. J. ABBOTT, CORNWALL-ON-HUDSON, N. Y. Parker Morse Hooper, Architect. 138 RESIDENCE OF DR. T. J. ABBOTT, CORNWALL-ON-HUDSON, N. Y. Parker Morse Hooper, Architect. sidered. Building costs vary all over City Council, that brick has a "life" of the country, and at present relative costs from eighty to one hundred years and of different materials even in frame to in any locality thirty-three forty years ; that are not easy to establish. Before the the better class of residences brick has no war, all-wood construction was cheapest depreciation during the first five years in most localities. Wooden houses with and one per cent yearly after that. Mr. exterior stucco or brick walls came next Hall quotes a canvass of twenty-two in- in figure. But now the supremacy of surance companies, agents, builders and wood and brick are threatened by high architects, advising that brick dwellings labor costs. Wood is becoming scarce, have an average depreciation of one and although, with good forestry regulations, one-half per cent and wood two and one- the United States should have a suffici- half per cent. Some estimates ran as ent supply of good building lumber. high as five per cent for wood. Mr. Wood may be high-priced for some years. Hall concludes that wood depreciates Another drawback of wood that is com- two to three times as rapidly as brick. ing to be better understood is its high He prepared his figures before the war, maintenance cost. Wood construction and it is possible that today wood may deteriorates rapidly after five or six compare more unfavorably, because wood years. Mr. Prescott F. Hall has gath- must be repainted every few years, and ered some figures on depreciation of painting is now very high in comparison brick and wood buildings. He quotes with the cost of other items in building. houses the report of the Lloyd Thomas Co., a Altogether, it would seem that and more of stucco firm of appraisers, made to the Chicago will be built more 139 THE ARCHITECTURAL RECORD. or brick for exterior walls, except in the house, the matter of location, ac- those fortunate regions like Philadelphia, cording to compass points, exposure, where a beautiful, easily worked, local topography of the site and outlook, is stone is available. Stucco is particu- important. While some of these fac- larly acceptable to designers because of tors are apt to be conflicting, they may its possibilities of treatment for texture usually be reconciled. color with to it is far In the eastern of the the and ; respect color, part country preferable to brick in our hot American north is the least desirable exposure. Here sunshine, in which ordinary brick is out are located kitchens and as much as of key. Many designers understand the possible of entrance, service and minor color limitation of brick and some of features, such as halls, bathrooms, our keenest architects have painted or closets, etc. The east and also the whitewashed the walls of their buildings south is a good place for the dining in light colors, with striking success. room because daylight meals of Coming now to the acual planning of breakfast and lunch are favored by sun- RESIDENCE OF DR. T. J. ABBOTT, CORNWALL-ON-HUDSON, N. Y. Parker Morse Hooper, Architect. 140 RESIDENCE OF DR. T. J. ABBOTT, CORNWALL-ON-HUDSON, N. Y. Parker Morse Hooper, Architect. light. The living room goes well on the of an east and west street and made the south, southwest, or west, with a porch or most of the opportunity. On a lot on awning on the most exposed south or the opposite side of the street from Mr. west side to alleviate the heat and glare Colby's the kitchen may be east. If it of light. After spaces for living and is to the rear, northeast, it runs into dining rooms have been arranged on the the garden. This may not be desirable; plan, other rooms, such as the study, the kitchen may come towards the street, reception rooms, etc., take what is left, as in the admirable plan shown on page usually on the north or northwest, but 359 (fig. 79), of the October Architec- often on the east. It is usually not diffi- tural Record. The dining room should cult to harmonize these requirements have some east light, and the living room with the best direction of outlook. In should be well lit on the west. this connection, one regrets that so many Where the lot is on the west side of Americans still place the best part of a north and south street, the kitchen the on the north but in order house the dining and living portion comes easily ; downstairs and the best bedrooms up- to place the dining room on the garden stairs along the street front, instead of and at the same time give it east light, overlooking the garden, where, if the it must run through the house from east garden is presentable, they certainly be- to west. This might cause it to be too long. The plan of Mr. Colby's house large, besides adding other complications, in the first article of this series is a fine a situation which would naturally favor example of accurate orientation. He had the dining room as an alcove, opening the advantage of a lot on the south side east off a living room that runs north 141 -MH/UJL/ i apt Tr ->-. v '"'"' 'Dl\*x SECOND FLOOR PLAN. : FIRST FLOOR PLAN. RESIDENCE OF FRED LAVIS, ESQ.. HARTSDALE, N. Y. PARKER MORSE HOOPER, ARCHITECT. RESIDENCE OF FRED LAVIS, ESQ., HARTSDALE, N. Y. Parker Morse Hooper, Architect. RESIDENCE OF FRED LAVIS, ESQ., HARTSDALE, N. Y. Parker Morie Hooper, Architect. 143 HOUSE NO. 1 FOR HOME COMMUNITY CORPORATION, BALDWIN, L. I. POLHEMUS, MACKENZIE & COFFIN, ARCHITECTS. HOUSE NO. 1 FOR HOME COMMUNITY CORPORATION, BALDWIN, L. I. Polhemus, Mackenzie & Coffin, Architects. and south. The living room is easily After exposure is well in mind, the placed on such a lot. In the case of an matter of entrances is to be settled. At east lot on a north and south street, there this point the automobile threatens the is a fine location for a dining room small house. It demands either a turn southeast on the garden, with a long seventy feet or more in diameter or else living room running north and south. It a roadway in the shape of a semicircle. is evident that this location favors a These features are expensive to con- dining room continuous with the living struct and to maintain, and they ruin room. On a north and south street, of the expanse of the lawn of small lots. Mr. course, kitchen and garage offer no diffi- Colby was careful to maintain the breadth culty. This situation an east lot in a of his hundred-foot wide lawn by north and south street is the best sit- keeping it unbroken by either path or uation for the "stock" plan, considered road, using instead dull-colored stones in the third article, since the dining room set in the greensward, two rows to the may have south and east exposure on the garage, as tracks for his car. -These garden, with a little breakfast porch or great spaces for automobiles are out of estates. A cir- loggia opening off it. The stock plan place in any but large goes well on the south side of an east cular turnaround is particularly obnoxi- and west street. Its weakness on the ous, for its seventy-foot expanse pre- of an average small suburban lot is that the sents the somewhat comic effect a house that is than living room usually runs along the end entrance to bigger various ex- of the house and thus not along the the house itself. There are the charm- garden. cellent substitutes, particularly 145 SECOND FLOOR PLAN FIRST FLOOR PLAN. HOUSE NO. 2 FOR COMMUNITY HOME CORPORATION, BALDWIN, L. I. POLHEMUS, MACKENZIE & COFFIN, ARCHITECTS. HOUSE NO. 2 FOR HOME COMMUNITY CORPORATION, BALDWIN, L. I. Polhemus, Mackenzie & Coffin, Architects. covered to ing way garage from front a separate little house in itself, connected door illustrated in the third article. One to the main house only by the pantry should not hesitate to back and turn a between the kitchen and the dining room. car in a narrow roadway on one's own This is of course an excellent arrange- lot just as one does on the public street. ment, particularly for two maids or more, One also may construct little parking and it should be retained so far as pos- or switch spaces tracks at right angles sible in the future. It may be practicable to the garage roadway which will allow to place the maid's room so near the the car to be turned with a single back- family that it may be occupied by the ing. family if no maid is to be had. Also, All these matters of orientation, out- in many cases the secondary service look, entrances, etc., are, of course, bound stair from kitchen to maids' bedrooms, up with lot planning, which precedes and is being eliminated. In the elevations, reacts on the planning of the house. The any distinction between the main house division of the house into family and and the wing need not be made if the service portions is next to be considered. house is already so small that its appear- Some time ago the practice of placing ance would suffer if it were cut into two the maids' bedrooms on the third floor pieces. Some people may wish to elim- came to be thought undesirable in many inate the pantry between kitchen and cases. It brought the maids too much in dining room as unnecessary, where there contact with the family, caused them is no maid, but this is a radical step that much stairclimbing, and on the exterior should be well considered, for it might made the house look top-heavy. As a hurt what is called the "real estate value" result there was developed the service of the house. wing, where kitchen and maids' rooms The other aspects of the arrangement were set apart in a unit which was really of the first floor plan have been covered 147 ir BV< lo'-i'- l~"T;CH&MDeR* I n^6'*tr: 6* I CtlAMECRl HOUSE AT SCARSDALE, N. Y. EUGENE J. LANG, ARCHITECT. HOUSE AT SCARSDALE, N. Y. Eugene J. Lang, Architect. in the third article of the series. Therein try, porch, etc. These features are not the of a possibilities flexible subdivision so necessary where there are only one or into principal rooms and minor spaces two maids and their expense may be too were described; how simplification and great. Their effect may be gained by combination might make plans not only ingenuity in planning. For instance, to more practical and more economical to a small kitchen, say nine or ten feet by build and to operate, but also, on the twelve or fourteen feet, might be added creative side of household art, would a small alcove for the meal table, which render the plan a more perfect symbol would preclude the impression of din- of the ideal of the in the American family ; how ing kitchen. Laundries are not imagination, cheerfulness and beauty of thought so desirable as formerly, par- decoration might be obtained in our ticularly in the basement. The above homes, outside in the plot of land, and considerations therefore leave the serv- inside as well, centering chiefly in the ice part of the house reduced to its room this lowest terms to consist of a living ; how living room might small kitch- be made larger in size and endowed with en, perhaps with alcove for a meal table, distinction in a way formerly thought a small pantry between it and the din- possible only in great houses. ing room, a stair down to the cellar, a From this alluring side of the ground- ,small porch or entrance loggia, a little floor plan it is but a step into the kitchen room for supplies and for the ice-box, and service. Their details will be con- which may be iced from the outside. And sidered later, but it may be said here then such features of garage, covered that elimination may take place in this ways, tool and garden sheds, as add to part of the house as well as elsewhere. the utility of the plan and the beauty Before the war, maids were being pro- of the elevations. vided with their own dining rooms, pan- Only the bedroom floor remains to be 149 RESIDENCE OF DR. EDMUND F. CURRY. FALL RIVER, MASS. PAR- KER MORSE HOOPER, ARCHITECT RESIDENCE OF DR. EDMUND F. CURRY, FALL RIVER, MASS. PARKER MORSE HOOPER, ARCHITECT. RESIDENCE OF DR. EDMUND F. CURRY, FALL RIVER, MASS. Parker Morse Hooper, Architect. considered in this summary of the typ- ish school of architecture. They are at ical small house of today. Not so very once dramatic works of art and livable much is to be said about it. In these American homes. I should like to con- days no one need be told how best to front with these houses those critics who subdivide a second floor into bedrooms, claim attention by crying out for Ameri- bathrooms, halls, closets, etc., in order to can art and should like to ask them if get maximum value of space, exposure, these houses are not works of art and cross ventilation, access, and of such de- American. tails as the proper placing of the furni- These houses portray the differences ture. Only one defect should be warned in style of New York and Philadelphia, against. That is the too-usual cramped the two regions where American house hallways, long and narrow tunnels. architecture is at its best. In Mr. Long three-foot wide halls with no open Willing's design are the strength and space at the head of the stairs give the harmony of Philadelphia, bold, strong bedroom floor an air of the staterooms capacity in massing, mastery of roof, on a steamer. ability to make landscape paintings out It is seldom that one may find a group of building materials, the modern free- of houses more inspired by the ideals of dom which somehow sticks to two cen- the small house than the examples that turies of tradition. In details, Mr. appear in this article. They are the Willing's house ranks with the best work of younger architects and display Philadelphia practice, which is often extraordinary artistry and imagination, heavy; for it has the delicate brilliancy boldness in decoration and color in sun- of mouldings of the early American light, yet they are tempered with all the work. His details give that touch of expert skill and perfection of detail that sparkle and gayety, and vividness so is the worth of the older and more book- characteristic of twentieth century 152 THE ARCHITECTURAL RECORD. America. It is well arranged on the lot, houses are about as small as even a on a sloping hillside, overlooking at the small house may be. rear a and its lovely valley solid walls Mr. Hooper's house at Fall River and and roof strong slopes make it seem built Mr. Lang's house at Scarsdale solve a into the landscape, an effect which is difficult problem that of a house on a aided the details and of out- by shapes narrow street front. In such cases it door terraces, walls and planting. Its may be advisable to turn the end of the It is for a small house plan repays study. toward the street. The gist of Mr. and much is allowed family space the Lang's compact plan is that the lot is on entrance, affording on a small scale that the east side of a north and south street air of and I openness hospitality that, as and the principal rooms are strung along pointed out in the previous article, are the south. The maid's suite is another so mirrored in the of the perfectly plans interesting point in this plan. These old Southern mansions. lengthened plans bring out the difference It is interesting to see how Mr. Hoop- as regards floor area between plans that er's three houses possess the same ex- are long and narrow and those that are traordinary qualities as Mr. Willing's, more nearly square. The squarish plan yet are entirely different in character. is thought to be more economical, be- Taken with Philadelphia houses, they il- cause more compact. This cannot be lustrate how personality may bring va- denied, but I think that its importance riety into art and yet follow the same is exaggerated. There is no great dif- traditions. The house at Cornwall-on- ference in the ground floor economy of the Hudson is a outdoor sit- two if splendid house, types, particularly the longer plan uated on the famous Storm King Moun- is planned freely. Upstairs, in the longer tain, with entrance on the west. Its plan plans there is apt to be more length of is lengthened out, most of it on the ground corridor than in the square plans, where floor, home-like and perfect for enter- nearly all the rooms open off the head taining. As will be seen, its arrangement of the stairs. Still this waste may be ex- is flexible. Mr. Hooper has a fondness aggerated, for supposing an extreme case for changes in level, which add so much of twenty extra feet of corridor three in this the feet six inches wide in the to the charm of a house ; case long plan, living room, on the lower level, is all this is a cubage of only about 700, cost- the more quaint because of its low ceil- ing $350 at a liberal allowance under ing. On the exterior, the house has a present prices. There are people who will splendid bold massing, high, vertical cen- always be willing to pay a few hundred tre part and tower-like chimneys balanced dollars more in a small house when this against low wings with horizontal ac- expenditure yields charm and personality cents. It reveals both the painter's eye and artistry in the final effect. for mass and color and the sculptor's Mr. Hooper's plan shows the added on the feeling for strong modelling in places complication of business quarters and relief of surfaces, combined with ground floor, in this case a physician's this house built perfection of details. Note the perfect suite. Incidentally, was of proportioning of the windows, the ex- at a very low cost. The elevations these houses are excellent. Mr. quisite scale and oblong shape of the win- both and fine in dow panes, which are not too square. Lang's simple, vigorous scale, decorative Mr. Hooper's house at Hartsdale shows and Mr. Hooper's bold in the and another characteristic, free plan, "L"- modelling of walls in planes pro- detail of the front of Mr. shaped, with entrance in the angle and jection. The house shows that this with change of level, in this case up to Hooper's modelling is not a whim but is connected the dining room. intimately allows on the first Two charming little houses to be built with the plan. It and on the at Baldwin, Long Island, prove that floor the fine bay window, not second floor, four feet to be added to tiny dimensions and compact plan do These the bedroom above. of necessity forbid imagination. 153 Photo by F. R. Taylor. DOORWAY LEADING TO MAIN STAIRCASE, ASHBURNHAM HOUSE. English Architectural Decoration Text and Measured Dtaw- mas by Albert E. Bullock, Part XIII. of carved pine wood be- periods, when the bolection molding was came common INTERIORS about the middle of in vogue. The moldings of the example the eighteenth century. Of these the in question are enriched, and the whole Victoria and Albert Museum at South room is a complete scheme in simple vein Kensington possesses two excellent ex- embracing elements of much refinement. amples removed from old houses in There are two instances of William London. One is from No. 27 Hatton and Mary rooms at Westbury Court near Garden, a street rich in good panelled Newnham-onfSevern, Gloucestershire. and the interiors, other from No. 5 One is the interior of the classic pavilion Great George Street, Westminster. The on the boundary wall of this charming former is a work of quite exceptional garden, at the end of a long narrow lake merit, possessing many features of in- lined with low broad yew hedges; the terest, not the least of which are the bold other is a room on the first floor of the carved cartouches to the overdoors. The older portion of the house formerly cov- chimneypiece design is reminiscent of ering a loggia to an earlier mansion. The work by Inigo Jones, having female house is owned by Mr. Colchester heads crowning the flanking pilasters Wemyss, but is tenanted at the moment (similar to those in one of the rooms by Mr. Backhouse, whose interest in the of the Queen's House, Greenwich), while garden and house is quite keen. on either side are sunk niches with scroll The small but lofty room, which is pediments. about fourteen feet high, is similar in The general effect is rich, although character to work of the same period at the original painting is now pickled down Hampton Court Palace. The windows to the ordinary wood surface, giving a have heavy bars and small panes, while cold effect. Owing to the lapse of years the mirror over the marble architrave is these carved pine rooms usually have so divided into two bevelled squares sepa- many successive coats of paint applied rated by a narrow strip of glass of Vene- that the enriched moldings become tian design, cut and bevelled with a series choked with the color mastic, and much of floral patterns chased on the surface; of the sharpness of the cutting is lost. the panelling is bolection molded. The adjoining room, which is similarly The pavilion was evidently erected at treated, is of later date, towards the close the same time, as the character of the of the reign of George the Third. In moldings of the interior panelling is this there are several features character- similar but of simpler nature, the stiles istic of the period, notably the Greek fret being sunk with ovolo moldings and in pattern to the dado rail, the carving of fielded panels. The exterior is stone, the friezes to the overdoors and the gen- the entrance door being flanked by eral nature of the smaller panel molds Corinthian pilasters. of this house is comprising the walling. The overmantel About two miles west of the chimneypiece is flanked by boldly the residence of Lady Paget, known as The carved pendant drops, which are a salient Unlawater, Newnhamn-on-Severn. feature contrasting well with the quieter house is small but of early foundation, tone of the other decorations. Both facing the north bank of the river. these rooms have sunk moldings, differ- Additions from time to time have altered nature of the interior. In entiating from the earlier practice of the the plan and William and Marv or James the Second the hall, of late Georgian date, one gets 155 THE ARCHITECTURAL RECORD. a glimpse at one side of the chimney- King John. It was repaired in the six- piece of a portion of a carved stone teenth century, and is incised with the lintel the date Jacobean ; and between columns and a description. is seen an Adam period leaded fanlight Cirencester House, the residence of the which was over the original entrance but Earl of Bathurst, has an eighteenth-cen- now forms the entrance to the combined tury staircase of some interest in the library and drawing room built out hall, which is long and narrow and con- towards the river front. The painted tains four large marble columns carved decorations to this room are by Lady with Corinthian capitals, probably placed Paget, who, having spent some thirty-six in their present position by the preceding years in Italy, is imbued with the spirit Earl. The history surrounding their in- of that warmer clime. Another of her troduction is obscure, but they were/ Ladyship's painted rooms is entered from doubtless brought over from Italy about the hall, the scheme of which is blue and the time of the Elgin marbles. white, with Austrian silver candelabra There are some recently discovered and embossed silver mirror to the over- simple panelled rooms, both Jacobean mantel. The staircase is a particularly and Georgian, on the bedroom floor; but fine example of mid-Georgian character, there are not any reception rooms of being molded through to the wall strings antiquity. Such additions as have been on the soffit of each tread, as in examples made are comparatively modern. at the Victoria Hotel, Newnham, and at Two good chimneypieces, which the No. 5 Clifford Street. Bond Street, Lon- present Earl found in an outhouse, have don, of which I hope to treat in my ar- been incorporated in the interior, the one ticles upon staircases. in the large dining room being a good Before leaving this house mention must example of late Georgian design. The be made of a small angle chimneypiece ceiling of the dining room has been raised on the landing of the first floor. It is at the expense of the comfort of the ornamented by large flanking carved rooms above. The carved woodwork scrolls, past which a flight of steps leads has been brought from another old house to a small room utilized as a chapel and and adapted to the room. The mahogany having a beamed ceiling painted in imita- veneered doors look well in their white tion of that from Santa Cruz. deal enriched architraves. The Victoria Hotel at Newnham con- The charm of the exterior lies in the tains, besides the staircase mentioned, great park and in the fine circular yew several panelled rooms, some of which hedge, enclosing the principal front, were painted by the former owner in which has a height exceeding twenty-five the Badminton Hunt colors French feet in a continuous sweep, horseshoe blue, white and brown. The large dining fashion, the classic stone front of the room on the garden front has a vaulted mansion joining the extremities. Com- or coved ceiling, a fine chimneypiece and pared with many another English ex- windows with thick bars and mid-Geor- ample, there are few large yew hedges gian carved scrolls to the architraves as fine and in as good condition as this where they meet the dado rail. This one at Cirencester House. room was formerly a Catholic chapel, The decorations at Byfield House, probably part of the house before it Painswick, are of the mid-eighteenth became a residential hotel. century. The ceilings and wall adorn- After visiting this hotel I went on a ments are important, since many houses mile, and up a steep incline, to the resi- of the period were without ceiling adorn- dence of Lieutenant Kerr, but found little ment. On the wall of the rear passage of architectural interest. The view over communicating between the main and the Severn from this altitude is particu- servants' staircases the panelled decora- larly fine, and the house contains some tions are worked on the plaster, and the good furniture and a great sword said to small shell pattern is notable for its have been carried by the Bishop before originality of design. 156 CARVED DOOR HEAD FROM NO. 27 HATTON GARDEN, LONDON. IN VICTORIA AND ALBERT MUSEUM. DETAIL OF DOOR PEDIMENT DETAIL OF DOOR PEDIMENT NO. 27 HATTON GARDEN, LONDON. IN VICTORIA AND ALBERT MUSEUM. SCALE OF FEET. DETAIL OF DOOR CASING-NO. 27 HATTON GARDEN, LONDON. IN VICTORIA AND ALBERT MUSEUM. SCAL.E OF D.E T A I L OF DA D O NO. 27 HATTON GARDEN, LONDON. IN VICTORIA AND ALBERT MUSEUM. * e r-f . t I GARDEN HOUSE, WESTBURY COURT, GLOUCESTERSHIRE. WESTBVBY COVRT: GLO5-. WILLIAM OS MARY ROOM I'TFLOOC.. 6ca/V ' f'. f . f j- ^ ? f f f i MADE IN CiDWR. PAINTED WHITE-. / WILLIAM AND MARY ROOM ON FIRST FLOOR, WESTBURY COURT, GLOUCESTERSHIRE. THE ARCHITECTURAL RECORD. Further, the staircase ceiling is de- pieces at the Bell Hotel which are, how- signed with an eagle crest in the center. ever, of coarse design and clumsily exe- The walls are typical of the Chippendale cuted. The wood street-front is the manner, and the hall ceiling is divided most interesting carved and panelled into squares with Doric soffit medallions Charles the First design I have seen, lining the staircase well edging. and in a good state of preservation. The original chimneypieces have un- A room usually shown to visitors, ex- fortunately been removed, but the plaster isting at Fisher's Restaurant, is pieced decorations to the overmantels remain, up from old panelled examples and lacks especially in the hall, which is typical continuity of design. The Georgian sash of work of the Chippendale era. The windows are probably the most genuine of adjoining passage is vaulted, having in- part the original room. These sho.w teresting ornament at the meeting of the rooms are usually inserted to attract and ribs. catch the eye of the unwary. They exist There are other rooms with ceiling in most towns. The Sparrow House, the ornament of equal merit on the ground Ipswich ; Treaty House, Uxbridge ; and first floors; and the cupboards and the Buttery, Dartmouth, etc., all have staircases furnish good examples of the undoubted elements of original antiquity, either bad restora- joinery and decoration of the period. but have suffered from In the town of Gloucester are some tion or additions of other periods out of interesting old houses, including the harmony with the first conception of the Conservative Club. The others have, place. unfortunately, suffered from the atten- Several of the houses above mentioned tions of an over-zealous restorator. will be reviewed further in my articles There are some late Jacobean chimney- upon staircases. CARVED CHIMNEYPIECE, SEVENTEENTH CENTURY. In Victoria and Albert Museum. 168 UNIVERSITY CLUB, SYRACUSE, N. Y. TAYLOR & BONTA, ARCHITECTS. MAIN ENTRANCE-UNIVERSITY CLUB, SYRA- CUSE, N. Y. TAYLOR & BONTA, ARCHITECTS. LOGGIA UNIVERSITY CLUB, SYRACUSE. N. Y. TAYLOR & BONTA, ARCHITECTS. LOBBY-UNIVERSITY CLUB, SYRACUSE, N. Y. Taylor & Bonta, Architects. LOUNGE-UNIVERSITY CLUB, SYRACUSE, N. Y. Taylor & Bonta, Architects. 172 C AR.D ROOM IS' X 38' SECOND FLOOR PLAN UNIVERSITY CLUB, SYRACUSE, N. Y. Taylor & Bonta, Architects. FIRST FLOOR PLAN-UNIVERSITY CLUB, SYRACUSE, N. Y. Taylor & Bonta, Architects. 173 HOTEL CLEVELAND, CLEVELAND, OHIO. Graham, Anderson, Probst & White, Architects. HOTEL CLEVELADJ1},; CLEVELAND, OHIO. Graham, Anderson, Probst & White, Architects. 174 - r - F ,- HOTEL CLEVELAND, CLEVELAND, OKI G. '-QiR^HiA M, ANDERSlbS < PROBST ^& ; *Wim E, ARCHITECTS. > H UJ 1 g w z < . c/} o ^ i* 6 <5 o . 2: u ai C/3 o ^ 4J On"Si. 1 83 H Bo p H H > H <"Z, 06 < oja UODA- PUN* tt tt mm. M 1 Oi-C | KlTCHtl 5' * 1*' COAT/ w a u as H Q 2; DOOR DETAIL-RESIDENCE OF DR. R. B. TAFT, BELMONT. MASS. GRAND- GENT & ELWELL, ARCHITECTS. ST. PHILIP'S CHVR.CH BRVNSWICK J Typical ColonialDeling Jfouse the South ^Atlantic (joasf of J*"* C^N^ Curtis in a pine forest near the age of close upon 190 years, and the fact west bank SITUATED of the lower Cape Fear that up to a few years ago it has been River about twelve miles below a totally neglected ruin, that much of Wilmington, North Carolina, adjacent to its walls would long since have crumbled the colonial plantation of Orton, may be to the earth. But the very opposite is seen the ruins of the ancient parish true, for apparently not a single brick church of St. Philip and in the adjoining has fallen or loosened from its bed. churchyard some historic tombs of a type Every vestige of woodwork has, of to the student of it interesting early course, disappeared ; but, even so, has American architecture. The curious and not been a difficult task to make a resto- romantic history of this old parish and ration of reasonable accuracy. In the ac- of the long abandoned town of Bruns- companying measured drawings I have wick, where were located the homes of attempted to suggest such restorations as the churchgoers, is a matter of record are warranted by the evidence, but the and has been set down in the annals of chief merits of the building must be dis- the lower Cape Fear by Dr. James covered in such features as proportion, Sprunt and others. To the studious quality of brickwork, etc., as there is disciple of architecture, the materials, little indication of any studied ornamen- workmanship and manner of design prac- tal detail. tised by our forefathers and acceptable The brickwork is beautiful and inter- to their taste are no less significant and esting in character. The face bricks, worthy of notice. which are laid in Flemish bond, are This church was built about 1730 with backed with an excellent quality of small bricks, which, it is said, were brought over common bricks laid with rather thin from England by the settlers of that re- mortar joints. The face bricks themselves gion. Although this assertion is often vary in shade from a rich, dark maroon made about a large majority of our co- to purplish red, and with the exception of lonial brick buildings when there is lit- the surface, which is hard and smooth, resemble the tle evidence to support it, in this par- though uneven, very closely ticular instance there can hardly be any variegated bricks now manufactured. The doubt, since the superior quality and pe- most interesting thing about the bond is culiar character of the bricks used to found in the headers, which are all coat- face the walls bear ample witness to the ed on the exposed end with a dark truth of the statement. bluish-green enamel. This is a genuine is not to vitrifica- The strength of the masonry walls of surface glaze and due of the as at first be St. Philip's Church is really remarkable. tion bricks, might rather One would think, considering its great surmised. The mortar joints are 181 THE ARCHITECTURAL RECORD. thin, varying from three-eighths to one- examples the lettering of the inscriptions half inch. The joints are struck flush is excellent. and are of a light yellow color. The ac- Some years ago the ladies of the tual dimensions of the brick units is a North Carolina Chapter of Colonial point worth noting. Their size is con- Dames were instrumental in having the siderably larger than the present-day churchyard cleaned up and fenced in, standard brick, being three by four by and a few necessary repairs to the church nine inches, exact measurement. The and neighboring tombs were intelligently mortar used is of a most excellent quality, carried out at that time. showing not the least sign of crumbling. St. Philip's Church, while not of out- No doubt it was made of shell-lime, standing architectural significance, is his- burned on the and mixed and sea- and spot torically interesting noteworthy ; soned with the greatest care. since it represents a type of the brick The tombs of William Dry, iisquirc. colonial church or meeting-house of mod- and of Mistress Mary Quince illustrate a erate size, of which many were built at characteristic type of design which was various places along the South Atlantic very generally used for funerary monu- coast by tht jarly settlers. Among these in the It is a also be mentioned Church ments early days. type may Jamestown ; closely reminiscent of contemporaneous Ware Church, Gloucester County, Vir- of the nature in Hill near work same Georgian ginia ; Pompion Chapel, This has been out South Carolina and old England. pointed by Charleston, ; Carl C. Tallman, writing of the tombs of churches at Edenton and Bath, North Bruton Parish Church. Williamsburg, Carolina. Virginia; who concludes from the ex- As indicated above, there was little cellent stone-cutting of mouldings, bas- attempt at planning or development of relief work and beautiful lettering, that special features, but it is evident that these monuments must have been exe- what the early builders did they sought cuted in the mother country. This con- to do well. Moreover the proportions clusion is further borne out by a com- of a single room, as here, fifty by sev- parison of the Governor Nott tomb at enty feet by thirty feet high are by no Rruton with such Lnglish tombs as means insignificant. The construction of the example in the churchyard, Brain- the roof on a clear span of fifty feet tree Essex, England, illustrated in Mer- was probably not very difficult, for vyn Macartney's "Practical Exemplar of abundance of yellow pine timber of Architecture." Here are noticed the virgin quality stood close at hand, and same arrangement of squat corner pi- walls three feet thick and so well built lasters or balusters, interrupted by side could easily bear the load. It is further and end panels, and the characteristic interesting to note that the sides of the thumb-moulded rim around the top slab. oblong plan are in the ratio of the side The tomb of William Dry is entirely of of a square to its diagonal a relation cited marble, stained and mellowed by time ; which has been frequently by while that of Mrs. Quince has a sand- theorists as being a close approach to- T stone base and Milestone slab. n both ideal proportions. 182 Ilk. Ml f i ] I J-a a= PLAN 557t. PLAN OF ST. PHILIP'S CHURCH, BRUNSWICK COUNTY, N. C. U o h 2 JG 5 As a child I imagined own individuality, its own voices, songs, the house of every gen- silences and life. Every family its house; tleman to stand alone by every house its garden, every garden its itself and to be sur- flowers. Gentleman.hip. rounded by beautiful gar- Cost? I am not counting the cost. That dens ; I fancied the whole is the business of the architect and of world to be peopled by the manufacturers of building materials. I gentlefolk. And now, know they are ready to put brain and even. I do not sec why it could not be so. heart into the solution of the matter, wait- It would require only some reflection and ing for the people to meet them half way forethought on the part of town builders. on the road of education. My sympathy with the ideal of the "gar- The time is ripe for this study; the ideal den city" is not to be questioned. But of the garden city is ready to come to precisely because I believe so firmly in fruition. Do not wait too long. the development of all vacant land on GEORGES BENOIT-LEVV, Director, the principle of the garden city, I must Association des Cites-Tardins de France. call attention to the danger of reproduc- ing under a fresh coat of paint the evils An unusual treatment of the ancient slums we are seeking to of a street facade was abolish.. worked out in the office Going directly to the point, there is now A Facade in of George B. Post and a tendency to lay out garden cities or Three Unite. Sons for the Euclid Build- villages in such a way as to revive build- ing in Cleveland. The ing in rows. The errors common to such problem was not an in- building have been avoided, I admit, in teresting one at first certain cases of urban development like sight. It was a remodelling job such as that designed by Messrs. Murphy and every architect detests. The old building Dana and published in the Architectural was ugly in design, had never been com- Record for July. 1918, by Mr. Lawrence pleted and for years had been an eyesore Veiller; here the rows are not deep, and in the busiest part of the city. A portion there are no long rows, nor are the rows of it had been cut off and rebuilt as a of equal length, and the taste of the whole separate structure and its structural steel is perfect. work had to be partially rebuilt; in fact, But to see long rows at Garden City, its only redeeming feature seemed to be in Letchworth, England, seems to me con- that it was of good size and offered an tradictory to the spirit of the place. In excellent opportunity for a facade with the September, 1918, number of "Garden the customary three or four story base- City" magazine, p. 55, is a photograph of ment of plate glass and terra cotta, the the district-council's war cottages. It all infinite stories of face brick wall and the looks very well because of the fresh paint, capping stories of terra cotta. but it will not last. There is no privacy, Instead of following the obvious lead, no intimacy the primordial requirements however, the fagade was considered in of a house. terms of three units, each given an in- Let the home stand by itself, have its dividual treatment, but all tied together as 188 . pffll Lithograph by John Vincent. EUCLID BUILDING, CLEVELAND, OHIO. GEORGE B. POST & SONS. ARCHITECTS. THE ARCHITECTURAL RECORD. a harmonious group; harmonious in size, be what it pleases to be, this dignified lit- whether some scale and style, but differing in detail. tle group makes one wonder Terra cotta was used as a facing material, restraint should not be placed on the pres- and this was accented by a varied use of ent unbridled abuse of architectural free- marble and ornamental bronze. dom. illustration deserves This triple effect can not be criticized The accompanying on the score of affectation, for the build- especiaj mention, as the original from is Water ing itself was also divided into three parts which it was taken a lithograph. corresponding to the front. color, pencil, pen and ink and even pastel The customary idea of producing an im- have long been the architect's medium of posing skyscraper was ignored, and instead expression, but the lithographer's stone there was worked out a straight forward has seldom been requisitioned for this illustration of restraint and uniformity in purpose in late years. As one recalls sorrye street architecture and sky lines. As one's of the work executed in this medium a eye takes in the chaotic effect of the neigh- generation or two ago, interesting possi- boring buildings, each one of which seems bilities are suggested in a revival of this to proclaim aloud its inalienable right to neglected medium. I. T. FRARY. MAIN EDUCATIONAL BUILDING OF THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY. The Massachusetts In- nology was fortunate, three years ago, in stitute of Technology has able to move to an new The Massachu- being entirely been vitally connected site with a splendid water front position setts Institute with the development on the Charles, where fine new buildings of Technology of American architecture. had been erected with her needs Endowment especial The first permanent in mind. The most important part of the Fund. school of architecture in plant now completed consists of the Main the United States was Educational Building, which encloses an founded at the Institute. Nearly a score of area of about thirteen acres with a floor architectural departments throughout the space of about fifteen acres. As the need country have Technology graduates at their arises, additions will be made to the Main heads or in important positions. More- Educational Building until ultimately it over, the recent successful culmination of will enclose an area of about thirty acres Technology's $8,000,000 endowment fund with a floor space of thirty-five acres. The campaign sets her free to contribute even low buildings center about a great dome, more amply to architecture in th: future giving unity to the whole group. A great than she has done in the past. technical school consists for the most part The plant of the Institute itself is a re- of laboratories and drafting-rooms, and markable architectural achievement. Tech- from this point of view the Institute's 190 THE ARCHITECTURAL RECORD. plant presents a most remarkable com- and parks, such as the Worth monument, bination of beauty and service. ' The plans or even to our disgrace, be it said the areithe work of W. W. Bosworth, '89. The Washington Arch itself. It is open to man who made Technology's new plant on question whether the Roman still sees the the Charles possible by gifts totalling $7,- egregious monument to Victor Emanuel 000,000 at the time the move was planned and really regards it as more than some a pile years ago, was for a long time known of masonry. only as "the mysterious Mr. Smith." A way must be found to oblige us to Last fall when Boston Tech's $8,000,000 keep fresh the memory of the deeds of endowment fund drive was our officially men in the World War. What shall launched, it became known that "Mr. it be? Smith" had come to the rescue. If again He the monument is given a purpose, promised $4,000,000 and another however $4,000,000 slight, that of a flagpole, of a was raised alumni and the by friends, $8,- lamp standard, of a public fountain, there 000,000 goal being reached shortly before is some hope that its usefulness will occa- the Alumni Technology dinner, January 10, sionally bring to mind the reasons for its 1920. Over a million dollars came in as existence. If the monument falls in the retainer fees from industrial concerns un- field of sculpture, and assuming that it der in connection with the is as contract, new good at least as the Sherman eques- Technology plan of cooperation with in- trian figure at the Plaza, or the Shaw dustry. At the Alumni dinner the late Dr. Memorial in Boston, or the Trask Memo- Richard C. Maclaurin, president of the In- rial at Saratoga, we have the advantage stitute, officially announced that George of life and movement, of the satisfaction of Eastman, of Kodak fame, was the "mysteri- real beauty, and memory at once gets ous Mr. Smith." busy, thus preventing the musty staleness of CHARLES STONE. inscription loaded columns and obelisks, or of arches straining to support the Among the ultra-con- lengthy account in poor lettering set in servative notions which their attic story. The festive spirit that we are gives life to the decorative structures Revi.ing Our No- fortunately grad- many " ally discardin g the on Fifth avenue for the welcome proces- tion. of War u ldea t! at war memorials sion of the New York Division would soon Memorial.. ? must be arches or col- wear off, were all of these to remain and umns or fountains or, become part of the set architecture of ^ur worse yet, set images in city streets. For this reason we car.not uniforms that promptly go out of date. view with enthusiasm the prospect of the The conception of a memorial as nothing permanent arch as projected in Madison more than a rnonument is antiquated. It Square. Its novelty will soon pale except is but of tune with the time. of course for the visitors from beyond the Generally speaking monuments are use- walls and it will fall into the class of less things. They are set up at con- the useless monumental dirt-collecting siderable cost, out of all proportion to obstacles in an over-encumbered city. the net return as values go in this busy A better solution is seen in a different day. They are points of concentration for direction that of the useful memorial. In the surging enthusiasm of a grateful mo- other words, not a monument at all, ment but a or other structure with a ; then they are left to the usual building oblivion that so readily results from short definite daily utilitarian purpose for all memory, when the structure in point has of us, a building that will serve a distinc- no other- than a purely memorial purpose. tive purpose as well as preserve a record Size, value' or beauty will not remove of fine deeds well done. Our smaller towns a monument from the danger of this for- by the thousand need a point of concen- getfulrtess on the part of the very children tration of public interest, let that be a house erected as a of those who erected it, children brought community memorial up in awe of their splendor and of the to the sons given to the cause. Let each deeds which they record. The Parisian such house contain a memorial hall or walks past the Arc de 1'Etoile, wonderful corridor, so placed in the building that all this monument .that it is, as free from im- who enter must pass through pressive ' memories as are we ourselves place of memory, or else so that fore- when we pass the numerous monuments gatherings of the people take place in the that have been placed in public squares presence of trophies and other visible 191 THE ARCHITECTURAL RECORD. emblems of the struggle. The community scraper, the greatest yet erected, devoted house offers an excellent solution for the to public uses? problem of the appropriate memorial and We recently had occasion to ask Pro- the essential of a record is fessor purpose pro- Hamlin to indicate a few buildings, vided for in either of the distinctly memo- not monuments, that had served as memo- rial features mentioned. And the same rials while rendering account along other can be principle applied to other groups; directly useful lines. The first five ex- what is effective for the village or small amples that he mentioned give proof of town is also feasible for the district or the feasibility of such a combination and or ward, even the block, in the large city. of the value of making memorials earn of the kind in Something has the past their cost in a return to the public. They been done in but here the were : churches, idea Memorial Hall, Harvard University, of the tomb and the type of design which dated 1876, serving the various purposes that requires and inspires has usually been of dining hall, convention auditorium uppermost. The customary conception of and memorial hall proper; Westminster the memorial in the past, so far as the Memorial, Westminster, London, dated a Methodist chief Christian styles are concerned, has 1910, building combining the memorial been the votive church. The various pagan purpose with current use as an styles erected numerous monumental me- auditorium, denominational offices, and other morials, almost invariably structures of requirements; The Escorial, near utilitarian value. A list of votive churches Madrid, Spain, a sixteenth century battle would extend into the hundreds and thou- memorial of the votive type, combining the sands. In more modern times, we note purposes of monastery, university, church and the increased use of memorial halls, memo- palace, with that of the memorial; the rial libraries, memorial gates and clock Victoria Tower, connected with the towers, and the like; such memorials are Houses of Parliament, London, dated 1857, a chiefly the work of the last century. splendid memorial for a whole nation, built as With regard to present practice, there part of a capitol building; the are in addition to the community house Memorial Bridge, Hartford, Conn., dated as such many other types of structures 1883. combining with the memorial pur- amenable to current purposes but still pose indicated in an arch the useful pur- eligible to serve a memorial end. In the pose of a bridge. university group, for instance, the students' Need any further evidence be adduced building could be assigned to such an to show that a memorial should be made object; instead of a room for trophies won useful, that it should be made to work on the baseball diamond, the running track for the people, that it should do good? or by the varsity crew, let there be an Surely its message can be most firmly appropriately decorated hall for trophies fastened in our minds, clinched in the gathered on Flanders Fields and record of thoughts of our children, if its constant good work done in the Argonne by the use keeps the deeds of our heroes fresh. sons of the university. Let us have done with monuments unless In a great city, why not a memorial they cannot be avoided because of money stadium, driveway or park? Why not a restrictions; and even then let the memo- memorial playground or recreation struc- rial be at least a lamp post or a flag ture for the children of those who fell standard. Let us have memorial build- in battle? Why not memorial library ings, structures with a lasting purpose. branches or bridges or municipal towers If, then, the idea of memorial is prop- or art galleries? Or, on a small scale, erly understood by the architect and ade- a pair of metal gates or doors, or even quately incorporated by him in the useful a stained glass window? Why not a pub- structure, this lasting purpose of the build- lic as a will square memorial ; surely no more ing insure the lasting memory of the effective public recognition could be be- men and deeds that made its erection stowed. Why not, indeed, a memorial sky- worth while. RICHARD F. BACH. A CORRECTION. The authorship of the High School at Southampton, L. I., illustrated in the Archi- tectural Record for December, pages 584 and 585, should have been attributed to the firm of Hewitt & Bottomley, now dissolved, instead of to William Lawrence Bottomley individually. 192