" Vol. XXXI. No. 1 JANUARY, 1912." AVhole Xo. 160

E N T. S

COVER DESIGN. Drawing by Wilberforce Horsfield. Page

THE NEW SAN FRANCISCO. < A. C. David 1 ARCHITECTURAL AND SOCIAL CHANGES WROUGHT BY THE RECONSTRUCTION. Illustrations from Photographs.

THE CATHEDRAL CHURCH OF LIVERPOOL . Wilberforce Horsfield G. Gilbert Scott, Architect. Illustrations from Photographs and Drawing.

THE . PEOPLE'S SAVINGS BANK . . ; . Montgomery Schuyler 45 Cedar Rapids, Iowa. Louis H. Sullivan, Architect. Illustrations from Photographs.

EARLY AMERICAN CHURCHES Ayrnar Embury II. PART II. ST. PETER'S, PHILADELPHIA, PA.; FARMINGTON, CONN.; CHRIST CHURCH, HARTFORD, CONN.; OLD SWEDES CHURCH, WILMINGTON, DEL. Illustrations from Photographs. ARCHITECTURAL TREATMENT OF CONCRETE

STRUCTURES . . M. M. Sloan 69 PART IV. CONCRETE IN LANDSCAPE GARDENING. Illustrations from Photographs.

FAMOUS ROMAN COURTYARDS M. D. Walsh 81 WORK OF THE GREAT ARCHITECTS OF THE RENAIS- SANCE. Illustrations from Photographs.

NOTES AND COMMENTS Editorial 91

Published by THE ARCHITECTURAL RECORD COMPANY W. . . CLINTON W. SWEET , Vice-President HARRY DEfMOND T. . . . FRED W. DODGE Secretary . FRANKLIN MILLER HARRY W. DESMOND Editor RUSSELL F. WHITEHEAD .... Associate Editor RALPH REINHOLD Business Manager 11-15 EAST TWENTY-FOURTH STREET. NEW YORK CITY

Subscription (Yearly) $3.00. Published Monthly

Copyright, 1911, by "THE ARCHITECTURAL RECORD COMPANY." All rigoti reterved. Entered May 22. 1902, as second-class matter. Post Office at New York. N. Y. Act of Congress of March 3d, 1879 THE ROYAL INSURANCE BUILDING, SAN FRANCISCO, CALIFORNIA. HOWELLS & STOKES, ARCHITECTS. ARCHiTECTVRAL RECORD JANUARY, 1912

VOLUME XXXI NUMBER I

THE NEW SAN FRANCISCO ARXHITECTVRAL2 SOCIAL CHANCES WROVCHT BY THE RECONSTIWCTiCN

By A. C. DAVID

DOUBTLESS THERE ARE many large cities streets, not far from the centre of busi- which have survived calamities as de- ness, occupied still only by the ruins structive as that which overtook San of the old city. In this sense San Fran- Francisco in April, 1906; but most as- cisco has not yet recovered from the suredly no city, whose ordinary ecoi- conflagration of 1906. It suffered from nomic and social life was so complete- a mutilation whose effects will never ly disorganized by a cataclysm, ever wholly disappear not even when the made a quicker or a more gallant re- generation which felt the blow shall Five covery. years after the earthquake have passed away. A new San Fran- the city was substantially rebuilt; and cisco had succeeded the old. The new- it was better prepared than ever to re- city may and will regain its prosperity; sume the work of expansion which had but, as the result of the effort, it may been so rudely interrupted. Of course, lose some of its individuality. the wound left many scars, both on the The old San Francisco was a most l>ody of the city and on the lives of its winning and entertaining place the inhabitants. Many promising careers least American of the larger cities of the were men were United States. its two interrupted ; many During genera- obliged to begin their business life all tions of vigorous life, it had passed over again at a middle or advanced age. through many vicissitudes, all of which An element of stress and strain was in- had left their marks upon it, and the troduced into a community which there- total effect of which had been to give tofore had put in its day's work with it an appearance and an atmosphere less effort than had any similar com- wholly its own. It contained a number munity in this country. The visible sign of buildings of real architectural dis- of these changes could be seen in tinction, which had been designed and THE ARCHITECTURAL RECORD.

built early in the fifties by well-trained duced into the life of the city which foreigners who had not found life in did a good deal to modify its former the mining camps to their liking. The easy and buoyant attitude towards its period of architectural good behavior own business. Individuals who had nev- passed and was succeeded by a genera- er been anxious before had anxieties tion whose taste and methods in build- thrust upon them. The whole com- were execrable but there was could not be sure in the ing ; some- munity begin- thing about the city which made a sym- ning how soon the recovery would come pathetic visitor forgive its sins and for- and how complete it would be. In its get its shortcomings. The spirit of its anxiety San Francisco became self-con- inhabitants was not confined and stupe- scious. Remembering as it did its for- fied by their own misbehavior. They mer ease and buoyancy of spirit, and did not take their own mistakes too se- knowing that recovery meant above all riously. The settlement of the State and the recovery of self-possession, it tried, the upbuilding of the city had been as soon as the worst was over, to be undertaken in a spirit of adventure, gay, even in the midst of its own ruins. which had emancipated its inhabitants It made a gallant attempt, which may from the tyranny of Puritan scruples well have relieved many a sufferer from the conscientious cares but the and from resulting oppressive ; attempt seems self-congratulation. San Francisco could to have been forced, and its success on misbehave without being corrupted by the whole doubtful. San Francisco its own misbehavior. Its future was not could not and did not by such 'means compromised by the necessity either of recover its self-possession. Its present approving or disapproving itself. It was divided it from its past. Its citi- buoyant, gay, entertaining, entirely will- zens began to have doubts and scruples ing to leave a good deal to chance, and about its future. They became more entirely unwilling to sacrifice the pres- conscientious. The graft prosecutions ent either to the past or to the future. provoked hard feeling and suspicion San Franciscans could do a great deal among a group of men who theretofore of work with a comparatively small had probably enjoyed a pleasanter and amount of effort and have plenty of fuller companionship than would 'be energy left for the really serious busi- found among the leading business and ness of amusing one another. In 1905 professional men of any large city in the it looked as if with all its prospects of world. San Francisco found that its increasing population and business San job of reconstruction was not confined Francisco would eventually be distin- to buildings. The task of making a new- guished less as a great industrial and city ran over into the task of making a commercial city than as the centre of a better city; and the task of making a thoroughly naturalized intellectual and better city required a sacrifice of the artistic life. Los Angeles and Seattle present to the future, which did not en- might become as populous and as weal- tirely harmonize with the irresponsible thy, but Los Angeles and Seattle were gayety of its past. merely Middle Western cities trans- The work of reconstruction was be- planted to the Pacific Coast. San gun, and it has proceeded so rapidly that Francisco had never allowed its will to the business and shopping district has exercise an absolute dominion over its been covered with new buildings. The intelligence. Unlike any other Ameri- new buildings erected in the business if can city, it had retained its freedom. It district are fireproof, and, the city was adventurous in spirit as well as in should ever again be visited by a confla- business. gration, the spread of the fire would Since the disaster of 1906, and as a meet with a much more effective re- consequence thereof, San Francisco has sistance than it did in 1906. The design assuredly changed inside and out. In of these new structures compares favor- the office and the fight to recover its lost ground an ably with that of buildings element of effort and strife was intro- shops erected in any city in the United THE NEWHALL BUILDING. SAN FRANCISCO. CALIFORNIA. LEWIS HOBART, ARCHITECT. FIRST NATIONAL BANK BUILDING, SAN FRANCISCO, CALIFORNIA. ; WILLIS POLK, ARCHITECT. HI * >*

THE BALBOA BUILDING, MARKET STREET, SAN FRANCISCO, CALIFORNIA. BLISS & FAVILLE, ARCHITECTS. THE ARCHITECTURAL RECORD.

San Francisco has States. The average always had metro- is, of course, very much higher than politan aspirations. admirers claimed was the average Its that the Pacific which formerly pre- vailed. The local Coast had many and eco- architects, who are physical nomic characteristics responsible for the work, have done all different from those that could be ex- of the rest of the pected of them United States, and that local particularly in view^ these pe- of the hurry which culiarities, nourished necessarily character- as they would be on ized much that they an area large enough did. Yet, in spite to be an e m p i r e, of the fact that San would eventually re- Franciscans have sult in the rearing no reason to feel of a genuinely met- a s h a m e d of their ropolitan city. These new city, anyone claims were not ex- who remembered the travagant. A me- old city must feel tropolis must needs that San Francisco have a diversified, has suffered some economic, social and loss of individuality. i n t el 1 e c tual life, The new city is which has been cen- good but it is tralized in that local- good in the same ity by the force of way that the newer economic conditions, parts of Cleveland and which combines or Seattle are good. strong local peculi- In appearance San arities with a more Francisco has drawn than local style and nearer to the ordi- distinction* A me- nary American city tropolis in this sense of approximately San Francisco was the same size and and is still destined wealth. If it could to become. But the have grown more process of becom- slowly and had not ing a m et r opolis broken so violently cannot be hurried, with its own past, it and the conflagra- would have retained tion and its results much more of its pe- have postponed the culiarly local charac- d a y of consumma- ter. San Francisco tion rather than is a better city un- accelerated its ar- doubtedly than it rival. It forced the was in 1905, but it construction of a is hardly sufficient- new city which was ly better to compen- divided by a deep sate its citizens and gulf from the old its visitors for what THE HUMBOLDT BANK BUILDING. city, but which nev- has been lost. Frederick H. Meyer, Archt. ertheless could not

THE ARCHITECTURAL RECORD. dispense with many of the worst limita- little attempt was made to take advan- tions of its past. tage of the natural beauties of the loca- San Francisco possesses, as much as tion. Just before the conflagration a any city in the world a metropolitan plan had been prepared >by Mr. Burnham site. Its location on its hills and on the which was admirably designed to re- bay is unique, and it is superb. But the move both the inconvenience and the

THE JOSEPH FREDERICKS .& -CO. BUILDING, SAN FRANCISCO, CALIFORNIA. D. H. BURNHAM & CO., ARCHITECTS. street plan of the city built on this site essential vulgarity of the old plan. If ignored every consideration of conve- the conflagration had never occurred, it nience and good looks. The streets is possible that the scheme might have* were run straight up hills on grades been adopted and the most' flagrant traffic and anomalies of old which made impossible ; very and mistakes the plan THE NEW SAN FRANCISCO.

gradually eradicated. But the losses suf- it has in the past; but no one who has in the fered conflagration were so se- felt the pulse of the typical San Fran- vere that the adoption of a reformed ciscan can have much doubt as to the street system was considered to be eco- result. The is In nomically impossible. new city the meantime, the new buildings being rebuilt on the same bad old street which the city will have to show to its system, and the question of dealing with visitors in the year of the Panama-Paci- its absurdities has been postponed. Dur- fic Exposition will be creditable both to ing the years when Seattle, San Fran- the city itself and to their architects. cisco's economic rival, has been reducing They are characteristic of the best ten- the grades of its hills and converting an dencies prevailing in the design of mod- over-grown village into a genuine city, ern American commercial buildings. San Francisco has been trying to erect The number of skyscrapers is compara- a better city on an essentially bad and tively few. With so much building go- precarious foundation. ing on the city could not afford to build If San Francisco is ever to become very high on very many sites. But few a metropolis, it will have to break more as they are, they are characterized both completely with its physical past than it by certain negative and positive merits. has yet done. Its citizens like to talk They are all of them business-like struc- it as the Paris of America but to their about ; tures, admirably adapted practi- French restaurants, electric lights and a cal uses; and they all of them conform prevailing atmosphere of gayety do not to the standards which common sense make a Paris. A metropolitan city must has all over the country imposed upon be tied together by a plan which pro- the appearance of such edifices. There vides for every essential economic and is not one aberration among them. Or- still nament is used and aesthetic need ; and San Francisco sparingly generally remains devoid of such a plan. Just at with effect. There are a few conspicu- present it seems to be in danger of los- ous successes. The First National Bank Willis for ing the charm of its earlier days without Building, designed by Pollk, approaching any nearer to its grandiose instance, is in every respect excellently ideal of metropolitan distinction. That handled. The Balboa Building on Mar- Bliss Faville is almost in the end the city will lose its individu- ket Street of & The architects were in ality and will differ from other Western equally good. cities merely in its size, its number of this case hampered by the necessity of lines their and inhabitants, and the peculiarities of its breaking the of piers the lower floors with economic enterprises the writer does providing two fronts but the rest of the not for ^moment believe. When the glass shop ; is both in the balance conflagration has become a thing of the design admirable, of the and in the detail. remote past, when the Panama-Pacific composition Lewis Ho- Exposition is over, and when the Pan- The Newhall Building by its ornament is ama Canal has brought about an inev- bart is more ornate, but taste and discretion itable increase of Italian immigration justified by the good it has been All of and a better supply of labor, San Fran- with which applied. have in so far as cisco will begin slowly to transform it- these buildings scale, with the dimensions of a self into a real metropolis. The latent a structure can have scale. Their verti- promise which it contains of a liberal skyscraper but do intellectual and social life is so deeply cal lines are emphasized, they to be towers. The Hum- rooted that it will survive the many not pretend Bank on the other hand. years of stress and effort that confront boldt Building, it has to better its is a tower; but, unfortunately, the city in the effort really The de- own condition. The freedom from care not been very well managed. stories is confused which its citizens like to celebrate as sign of the crowning is weak. in some way characteristic of San Fran- and the base are much more numer- ciscan life will have to be earned some- The new shops the new office buildings; and what more effectually in the future than ous than 10 THE ARCHITECTURAL RECORD.

THE CITY OF PARIS BUILDING, SAN FRANCISCO, CAL. Clinton Day, Architect.

A RETAIL, STORE I. MAGNIN CO., SAN FRANCISCO, CAL. Wm. Mooser, Architect. THE NEW SAN FRANCISCO. II

have on the whole been they unusually ally sacrificed to the necessity of obtain- well for this class of designed building. ing abundant light for the upper stories. Retail all over storekeepers the United In these cases, however, the sacrifice is States do not as a rule much keep good frankly made. Architectural style hav- architecture in stock but in ; San Fran- ing been excluded by the front door, no

THE A. M. ROBERTSON BUILDING, UNION SQUARE, SAN FRANCISCO, CALIFORNIA. A. B. FOULKS, ARCHITECT. cisco a real attempt has 'been made to attempt is made to let it in by a side obtain new stores that are inoffensive entrance. A good example of a compara- and thoroughly practical, in case they tively ornate building is that of Davis, are not really good-looking. They are Schonwasser & Co., designed by Mac- from three to seven stories in height, Donald & Applegarth. This edifice is and the scale of the composition is usu- only three stories high and occupies a

THE SAVINGS UNION BANK OF SAN FRANCISCO, SAN FRANCISCO, CAL. BLISS & FAVILLE, ARCHITECTS. OFFICE BUILD] NG OF BALFOUR, GUTHRIE & CO, SAN FRANCISCO, CAL. BLISS & FAVILLE, ARCHITECTS. i6 THE ARCHITECTURAL RECORD.

whole block front. The architects were er stories than does any more compli- able, consequently, to throw the two up- cated and pretentious method of treat- per stories into a colonnade. The lower ment. Another good example of a se- story, consisting as it necessarily does, verely plain and frank treatment is to chiefly of plate glass, makes a weak sup- be found in the warehouse of the Till- for a order but it is not man-Bendell port such large ; Company, designed by necessary to push this objection very Messrs. MacDonald & Applegarth. Final- hard. The order does not, as a matter ly, the book store of A. M. Robertson is of fact, look very heavy, and the plate worthy of remark as a very discreet ex- glass is provided with plain and com- ample of the small shop which solicits at- paratively solid frames. Consequently, tention by being modestly but somewhat while the building is not impeccable as a self-consciously different from its neigh- matter of design, it constitutes a fair bors and prototypes.

THE UNION TRUST COMPANY BANK, SAN FRANCISCO, CALIFORNIA. Clinton Day, Architect. compromise between severe practical and Since the earthquake, a number of aesthetic demands. Another compara- banks, private banking firms and in- tively ornate store is that of Jos. Fred- surance companies have erected low ericks Co. it for & While possesses no buildings their own exclusive use ; great distinction, it is competently and and some of these are unusually success- carefully designed. The shop of the ful. Of these the most conspicuous suc- Baldwin Jewelry Company, by Bliss & cess is that of the Bank of California, of Faville, has fewer architectural trap- which Bliss & Faville were the architects. pings but is one of the best of the simp- The design of this building manifestly ler and franker buildings. The open owes something to that of Knicker- in and unadorned treatment of third, bocker Trust Company New York ; fourth, fifth and sixth stories harmon- but a comparison between the treatment izes better with the two plate glass low- of the colossal orders in these two struc- THE HOME TELEPHONE COMPANY BUILDING, SAN FRANCISCO, CALIFORNIA. COXHEAD & COXHEAD, ARCHITECTS. ^^^* > ^mi ^nn

> aBBBHBw . J^^^^^

THE MECHANICS INSTITUTE SAN FRANCISCO, CALIFORNIA. ALBERT PISSIS, ARCHITECT. ALASKA COMMERCIAL BUILDING, SAN FRANCISCO, CALIFORNIA. MEYERS & WARD, ARCHITECTS. &. A A A A A A A A A A 1 4 J

THE N W HALSEY & CO. BUILDING CALIFORNIA STREET SAN FRANCISCO, CAL. N. F. WOODRUFF, ARCHITECT. THE NEW SAN FRANCISCO. 21

THE TILLMAN & BENDEL WAREHOUSE, SAN FRANCISCO, CAL. MacDonald & Applegarth, Archts.

CAU THE NEW ZEALAND INSURANCE CO. BUILDING, SAN FRANCISCO. Curlett & Sons, Architects. 22 THE ARCHITECTURAL RECORD.

next to the tures will, we believe, leave a balance place them buildings of the in favor of the San Francisco rather Metropolitan Life Insurance Company than the New York building. Messrs. and the Union Trust Company in order Bliss & Faville have studied the central to remark the difference between the idea more thoroughly, brought it to a real thing and the imitation. The office completer expression and stripped of building of Balfour, Guthrie & Co. is unnecessary accessories. They have also a thoroughly respectable performance of had the advantage of a climate in which its kind, but the virtuous plainness and

THE ORPHEUM THEATRE, SAN FRANCISCO, CAL. Landsberger & Joseph, Architects. the marble becomes 'mellow with age in- simplicity of this fagade is rather too stead of merely dirty. A bank office so conspicuous. The dimensions of the lot good as this would be a credit to any and building did not permit the archi- bank in any city in the world. Another tect to do a really big thing and he was very carefully studied design is that of scarcely justified in rejecting so com- the Savings Union Bank. The archi- pletely the help which he might obtain tects of these two buildings unquestion- from a somewhat more ornamented de- ably have an unusual talent for purely sign. A much more interesting and monumental work. One has only to original structure is that of the Home

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Telephone Company, designed by Cox- orate attempt to decorate the fagade head & Coxhead. In no other office with glazed and colored terra cotta is building in this country, so far as we successful in part, but only in part. This know, has the architect been allowed material has undoubtedly great possibili- to use such deep walls; and the effect ties, because it enables the architect to of these reveals, injurious as they may unite color with decorative detail and be to the light of the offices, is very pow- the play of light and shade. But the erful. The building is not beautiful, secret of its entirely successful use has but it is strong, compact and dignified. not yet been discovered. One of the It was a daring thing to do, and it was few new San Franciscan buildings erect- worth doing. ed by a New York firm is the Palace Of the two new theatres illustrated Hotel, of which Messrs. Trowbridge & herewith one, the Orpheum, proclaims Livingston were the architects. There itself rather too loudly as a leading is not much to be said about the exte- place of amusement in the Paris of rior, but the interior has been excellent- America. The design has some merits, ly planned, and certain of its rooms have but its cleverness merely emphasizes its been designed with propriety and effect. bad taste. The Columbia Theatre, on On the whole, there is no hotel in the the other hand, is thoroughly good, at country outside of New York and Chi- least in design. As is usual with the cago in which better taste has been dis- work of these architects, its different played; and when San Francisco be- elements are well selected and thorough- comes a metropolis, it will be able to ly composed; and it is festive in appear- boast of at least one metropolitan ance without 'being frivolous. An elab- hotel.

THE PALACE HOTEL,, SAN FRANCISCO, CAL. Trowbridge & Livingston, Architects. ALMOST A HUNDRED years have lapsed North Aisle of the Choir gives access to since a Cathedral was first projected for the Octagonal Chapterhouse. Liverpool it was then condemned, hap- The site, 1,020 by 248 feet, is situ- pily, as a waste of money on a pile of ated on the crest of one of the sandstone useless and superstitious masonry. Again ridges which stand on the background it revived as an idea in 1870 and even of the curved slope on which the city went so far as the selection of a design of Liverpool is built. In the eighteenth this again was left on paper. The and early nineteenth centuries the site present design for the Cathedral was was partly used as a quarry, then the competed for and selected in 1903. The highest part was levelled and built on, work on the site began in 1904, and in the quarry itself becoming a burial the July of the same year the late King ground. The Cathedral itself is placed Edward VII. laid the foundation stone. at one side of an open space of twenty- The plan shows a choir and nave each two acres, surrounded by roads and of three aisled bays, joined together by houses. On its northern side is a well a great unencumbered preaching space, wooded slope which drops fifty feet to 80 by 200 feet, with four transepts, two the graveyard below; this with its trees on either side, and crowned with a great and gravestones makes a charming set- octagonal lantern. The public entrances ting for this elevation of the Cathedral. are from the transepts, and the west Owing to the position of the site and end. To the east are two stories of ves- the graveyard, it has not been possible tries lying outside the main walls. From to give a correct orientation. The Cathe- the South Choir Aisle entrance is gained dral lies north and south the north cor- to the Lady Chapel Gallery and thence responding to the liturgical east. In by a stair the body of the Chapel. The describing the church the customary 28 THE ARCHITECTURAL RECORD.

off from art- liturgical nomenclature has been adhered walls, shutting bay bay, to in defiance of the compass. small doors which, opening on to cor- The Lady Chapel is the only part at belled walking ways, continue to the the Choir and centre where the wall is low, present completed ; Chap- pierced by terhouse are now in course of construc- narrow arches, admitting of passage of are to from to and access to tion ; the eastern pair transepts bay bay, giving be taken in hand shortly. The work is so the organ chambers. far advanced that it is possible to gain The aisle windows are of simple form something of the ultimate effect. The two 6-foot io%-inch lights without in of three aisled over in the heads are circles Choir consists plan cusping ; feet centre to centre to with undercut On either bays, forty-one ; cusping. jamb the east is a shallow blank bay to form are figures cut in the solid with the the Sanctuary the two western bays on stone work. The aisles are vaulted either side are shut off from the aisles with a barrel vault divided into three by solid walls; against these will abut panels by ribs. The internal label the stalls. The organ is divided into moulds of the windows die into the wall three parts, the bays on either side at rib at its apex and are brought down to the entrance to the Choir being vaulted within a foot or so of the springing line, at a low level to form two organ cham- then go off horizontally until they again bers. The two remaining eastern bays meet the wall rib. have high pierced stone parclose screens. Over is the triforium of the same The piers of the Choir do not stand width as the aisles and like them, bar- free, each aisle bay being shut off from rel vaulted. Shutting it off from the the next by a solid wall connecting be- church is a pierced breast high stone tween the and the aisle form- screen in the wall at the back pier wall, ; high ing in reality recesses pierced at the floor are slits, small, so as to admit but little level by low arches to admit of passage. light, just sufficient to make the darkness To the east of the altar outside the visible and so accentuate the gloom and main wall is a hall or ambulatory for mystery. the marshalling of the choir and giving At this level springs the big vault of entrance to the various vestries. This the Choir, eighty-four feet above the is lighted by four two-light windows nave floor. The vault is quadripartite ; high up overlooking the roofs of the the great transverse ribs are heavy and vestries and vaulted with a curious ribbed much moulded, on them being built walls barrel vault. At either end high under to act as roof trusses. On plan the the vault are semi-circular corbelled out Choir bays are almost square and for balconies for spectators. Across the vaulting are divided into two a new re- width of the Sanctuary and the ambula- spond being developed over the apices of tory the aisles continue and are vaulted the arches so that each single bay of at the same height and with a vault sim- the Choir will have two bays of vault-

1 ilar to that under the organ chambers. ing. The sill of the east window i - They are lighted by circular windows at higher by five feet than those of the their eastern end. The aisles and the am- aisle windows. From jamb to jamb it bulatory admit of a continuous passage is 36 feet; from cell to apex, 76 feet, outside the Choir. The accustomed order and is divided into four lights. On of arch triforium clerestory is not to either side over each pair is a cusped be found. The aisle wall is carried up circle, n feet 6 inches in diameter, and to the same height as that of the Choir in the apex of the arch a smaller one and in each bay is pierced by a wide two- Like the aisle windows this has no cusp? light window, the sills being forty-one in the heads of its four lights. The feet from the floor. Some ten feet down centre mullion on the interior and or below the sills is a narrow walking way the exterior is decorated with sculpture tunnelled in the thickness of the wall under will be a reredos of the same red- and lighted from the exterior by narrow stone as the Cathedral reaching up t< loopholes. On either side of the curtain the sill. All the interior fittings of th< PERSPECTIVE VIEW OP THE NORTHERN ELEVATION, FROM THE GRAVEYARD THE CATHEDRAL CHURCH OP LIVERPOOL, LIVERPOOL, ENGLAND. G. GILBERT SCOTT, ARCHITECT. THE ARCHITECTURAL RECORD.

Choir, the organs woodwork, glass and usual close screen dividing a Cathedral embroidered hangings, have already been church into nave and Choir, the Choir given as memorials and also the marble being properly the Chapel of the Canons floor and steps. for the performance of the Divine Office At the entrance to the Choir are three in the mediaeval arrangement. The in- steps, at the third bay three, and at the terior is planned and will be well fitted foot of the altar are more, making eight, for carrying out the offices in a dignified not including those leading up to the and stately way not a study in dry as footpace. In the western Choir arch dust archaeology or liturgical absurdity, will be the third part of the organ, car- nor yet displacing the good and laudable ried on a single arch springing low down customs gathered from the ages. The from its piers. This will in no way im- large open spaces gently leading up by pede the congregation's view into the low wide steps to the altar, the supreme Choir but will be a modification of the point of the Christian church, will have

By permission of Messrs. Morrison EASTERN ELEVATION SHOWING LOWER PART OP CHAPTER HOUSE ON THE RIGHT LIVERPOOL CATHEDRAL. G. G. SCOTT, ARCHITECT si 5

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EASTERN AMBULATORY FROM THE TOP V

AMBULATORY AT BACK OF ALTAR THE CATHEDRAL CHURCH OF LIVERPOOL G. Gilbert Scott, Architect. THE CATHEDRAL CHURCH OF LIVERPOOL. 33

their height, are figures carved from the solid. Next over, comes a covered walking way at the triforium level a small arcade of five arches in each Choir bay and at their level the buttresses termin- ate in labelled heads and sculptured figures. The wall is continuous up from the inner side of the walking way and rises without break to the parapet, save for the slits lighting the triforium. On either side of the east window are stair turrets capped with extinguishers giving access to the various levels. The curve'd exterior surface of the aisle vault is exposed, asphalted, and will form the roof, the pockets acting as gutters to carry off the water. The Choir is to have a copper roof carried on fireproof construction. The Chapterhouse is on plan an un- equal octagon of four large and four small sides rising from a square base. SOUTH TRIFORIUM LOOKING WEST. In the basement is the Song School on the level of the Choir vestries. The actual Chapterhouse 'is at the same level infinite a modern of dignity exemplar as the north aisle the windows are in what a Cathedral can and should not ; be, the short sides. From the wide blank for concerts or amusements, a mere place sides springs the vault, forming a square of entertainment, but a house of God so which rising is pierced by a 22-foot impressive and all-embracing as without other means to bring men naturally to their knees and their thoughts to prayer. By contrast it will show that modern man is just as capable as his forefather of producing a vast monument dedicated to religion that shall be at once beautful, inspiring and chaste and not merely of the prettily picturesque order. The exterior is simple; one might al- most say severe; for many feet from the ground up it is unbroken wall, save for the base mould and buttresses ; then it is cut by a parapetted walking way at the same level as that of the interior with which at various points it connects. This walking way passes in front of the east window and runs around the whole Choir. The jambs of the aisle windows are rounded and on them die the arched head moulds, the label moulds finishing on boldly projecting beasts. On the jambs and centre mullions, which have the form of buttresses three parts of CHOIR ARCH FROM PREACHING SPACE. THE ARCHITECTURAL RECORD, 34

The Lady Chapel is the only part of the Cathedral at present completed and contains for the while the Cathedral of the Bishop. It lies on the south side projecting beyond the eastern wall of the Choir and is in the form of an apsidal parallelogram, with low, narrow lateral aisles, used only as passage ways and seats three hundred people. The entrance is from a porch opening under the gallery at the west end on the right. There are two galleries, one over the other, the first carried on a wide single arch round which is carved an inscrip- tion recording the dedication and the names of the families who largely gave the money for the erection of the Chapel. is This for use : BASE OP S. E. PIER OF THE N. K. gallery congregational TRANSEPT. over comes the other, containing the or- gan and organist. It is carried on three circle, 45 feet above the marble floor. This is open showing the oak rafters of the conical roof. The walls will be panelled to the cell level with oak, and under the vaulting corbels will be carved on the stone large coats of arms with crests and mantelling. The exterior is without buttresses. On the northeast side is an octagonal stair turret connecting the various levels. The roof is covered with stone slates and capped with a curiously wrought finial of copper. The Chapterhouse is the gift of the Freemasons of Liverpool in memory of their Past Grand Master, the Earl of GREAT TRANSVERSE RIB b" THE CHOIR. Lathom, and would seem by its form and structure to symbolize the craft. slender arches and has a projecting para- pet of carved and panelled oak. At th : back of the organ from the floor to th : apex of the vault and from side to sid ; is oak which acts as a soundin r panelling , board, aiding without doubt the splen- did acoustic properties of the Chape . On either side up to the apse is a narro^ / gallery or walking way opening froi i and at the same level as the first galler . A solid parapet with a coping of boh - ly carved lettering carries an open stor e screen with cusped heads crowned wit i

a tall, delicate pierced stone crestin; :, - and shuts it off from the Chapel. Pr< cornice are jecting from the sma 1, - winged figures carrying musical instn SOUTH CHOIR AISLE LOOKING EAST. ments, no two of which are alike. Tl e THE CATHEDRAL CHURCH OF LIVERPOOL. 35 side windows of two lights are set in with figures climbing about in it, which the aisle wall the are continued continues all the ; piers through windows, across the gallery and are cut by small springing from the feet of Our Lady in arches to of somewhat the central of the permit passage window apse ; through similar to the aisles of the Choir. the heads on scrolls runs the Magnificat. The vault is a ribbed and groined bar- The windows at the west under the rel with carved bosses, a subsidiary rib gallery and on the staircase contain busts being developed to form great quatre- of eminent English women of modern foils at the intersections. The floor is times, Queen Victoria, Grace Darling, of marble, second statuary and Alpine etc. The main windows are the gifts

By permission of Messrs. Morrison & Sons. LADY CHAPEL FROM THE EAST THE CATHEDRAL CHURCH OF LIVERPOOL. G. G. Scott, Architect. green, left dull and laid in large alter- of various people; they bear no lauda- nating slabs; across the Chapel at the tory texts a coat of arms and the name piers are bands of the same marbles, cut of the family commemorated, simply ex- into patterns. posed on a scroll, set in the lower part The Chapel is a memorial of holy of the lights, almost hidden from the the side and are floor. The is Powell of women ; apse windows main glass by filled with female saints, one to each Blackfriars, London. It is modern in light, and either in their hands or in the the best sense and has much of the background are views or models of the charm of ancient glass in its variety and Abbey or Cathedral where each was par- its color, but in design is by no means ticularly venerated and where the shrine of any period, save the present. formerly stood. Below them is foliage The altar is raised by five low, wide THE ARCHITECTURAL RECORD. 3.6

level. It is them to what they are not steps above the main floor try appear bulbs twelve feet long and has a series of f rent- merely homely honestly placed. and the rest of the hardware and als of the proper colors, designed by Mrs. They door furniture are C. G. Hare of Grays Inn Sq., London, and by Bainbridge Reyn- olds London. worked by the ladies of Liverpool and of oak The Choir etc., is of is backed by a carved and painted furniture, sedilia, color is blue oak from the of the tryptych. The prevailing English shops gen- and in two shades as being proper to a Lady eral contractor, except the tryptych, was carved Mr. H. who Chapel, with touches of emerald green. by J. Phillips, and the is also for much of the stone The carving is solidly gilt, responsible It is constructed with mouldings are picked out with gold and carving. solidly

LADY CHAPEL VAULTING FROM THE TOP THE CATHEDRAL. CHURCH OP LIVERPOOL. G. Gilbert Scott, Architect.

black. The figures are also painted in mason joints and put together with pegs. proper colors and are very charming ex- The finish is a silvery gray, produced by amples of the modern woodcarver's art. a treatment with lime, which also slight- One must not forget the lighting fix- ly roughens the surface. This gives it tures for they are not of the least of a character in keeping with the rest of the charms of the Lady Chapel. They the Chapel. are of iron, painted and gilded, in the On the exterior, the Chapel rises from form of ostensoria, depending from the a solid weathered base, projecting just high vault by long chains. No attempt beyond the face of the buttresses. On is made to hide the bulbs by shades of the south side to the west is the large colored glass or other material, making vaulted two-storied porch. It is entered THE CATHEDRAL CHURCH OF LIVERPOOL. 37 by a flight of steps leading up from the sides, dying on the jamb moulds. The street through a low, wide arch. The buttresses terminate in gable heads, set next story is divided into two open in which are shields bearing various de- arches, a pier being built over the apex vices. Then again just below the para- of the lower arch. This rises to a con- pet and over the buttress heads comes siderable height and has a little below another parapetted walking way at the the centre a pair of niched figures, carved same level as the first on the Choir and from the solid. Through these arches that round the roof of the Chapterhouse. is seen high up the oak boards, rafters These are . all connected together by a and crested purlins of the roof. The ex- bridge or other means and allow of con-

By permission of Messrs. Morrison & Sons. LADY CHAPEL VAULTING THE CATHEDRAL CHURCH OF LIVERPOOL. G. G. Scott, Architect.

roof over the terior is covered with stone slates like tinuous passage. The from is of the Chapterhouse. vault, invisible except above, covered with The Piercing the buttresses and at the English oak, copper. are red sand- same level as the interior lower gallery stones used in building of various hues from several dif- is a walking way running from the porch stones ferent local The prevailing gallery or tribune, carried on arches quarries. red in some it be- round the apse and circumambulating tone is a dull lights the mortared the exterior of the Chapel. The win- comes pink and gray the -inch . The whole of dows fill the entire space between the half joints, yellow and the is buttresses, whose small, frequent face cutting, the mouldings facing saws the ma- weatherings are continued down the dqne by hand, being only By permission of Messrs. Morrison & Sons.

INTERIOR OF THE LADY CHAPEL LOOKING EAST CATHEDRAL CHURCH OP LIVERPOOL. G. GILBERT SCOTT, ARCHITECT. permission o Messrs. Morrison & Sons. INTERIOR OF THE LADY CHAPEL, LOOKING WEST CATHEDRAL CHURCH OF LIVERPOOL. G. GILBERT SCOTT, ARCHITECT.

THE CATHEDRAL CHURCH OF LIVERPOOL. chinery used and they only for severing being laid with an equal perfection, the large pieces of stone into the desired whether viewed or no. As the work sizes. proceeds, the walls, brick and stone The stone facing is nowhere less than alike, are thoroughly and constantly one foot, and all walls of three feet and wetted, so that the mortar may not under are built solidly of cut stone. The dry too quickly. The interior stone brick bond used is old English, the bricks work as completed is "slurried," that

permission of Messrs. Morrison & Sons. DOOR TO LOWER VESTRIES FROM CHAPEL CATHEDRAL CHURCH OF LIVERPOOL. G. GILBERT SCOTT, ARCHITECT. THE ARCHITECTURAL RECORD.

is, covered with a mixture of lime lovingly performed. As to the style, it and sand to protect it from the smoke is difficult to speak Gothic in the large

an 1 1 weather. sense of the word but not to be con- The average number of men employed founded with any particular one of the is about two hundred. It is thought that tabulated styles. It shows familiarity at the present rate of progress, provided with and study of ancient forms, but the money is forthcoming, another it is no diatessaron of undigested parts twenty years will see the Cathedral collected at haphazard fancy and flung completed. It is being built by public together in the mode of the Gothic Re- subscription and gifts, the money in vival and spoken of as of this or that hand being about sufficient to maintain particular period or century. the work for another two years. It is modern of the twentieth century, There is no contract, the builders be- of to-day, thoroughly digested, and has ing paid on a fixed schedule of prices been tied by no style an example of liv- as the work proceeds. Messrs. Morri- ing modern architecture as applied to a son & Son of Wavertree are the con- religious problem religion, from whom tractors. the art of architecture had its tveing, for The writer wishes to express his whom it was invented and developed. thanks to Mr. Green, the Clerk of Modern method facing and solving an works, to whose patience and trouble he ancient problem. is largely indebted for the information Liverpool and Westminster Cathedrals contained in this article. are both well worthy to go down tc Mr. Scott is to be congratulated on his posterity as examples of twentieth cen- craftsmen and the skill with which he tury ecclesiastical art and will stand for- has chosen them. All the work is full ever, unashamed when viewed in con- of individuality and charm (without junction with similar monuments of freakishness), workmanlikeness and labor past ages of any country.

THE CATHEDRAL CHURCH OF LIVERPOOL

GENERAL, DIMENSIONS.

Length of Choir inside ...... 150' Width of Choir inside ...... 47' Width of Choir aisles ...... 13' Width of choir and aisles ...... 86' Width of Choir and aisles (extending from face to face of buttresses) ...... 144' Width of transepts (extending from face to face of buttresses) ...... 230'

Thickness of arcade walls ...... 6' Thickness of aisle walls ...... 6' Length from east to west (internal) ...... 480' Length from east to west (external) ...... 600' Central preaching space ...... 200' x 80' Height from nave floor to cap of arcade ...... 55' Height from nave floor to cap of transverse arch ...... 84' Height from nave floor to apex of Choir vault ...... 115' Height from nave floor to apex of triforium vault ...... 119' Height from nave floor to apex of aisle vault 80' Height from nave floor to cell of east window 46' Width, jamb to jamb, of east window 36' Height of glass in east window 76' To cell of aisle window 41' Jamb to jamb 15' Height of glass 37' By permission of Messrs. Morrison & Sons.

ALTAR AND TRYPTYCH IN LADY CHAPEL CATHEDRAL CHURCH OF LIVERPOOL. G. GILBERT SCOTT, ARCHITECT.

THE PEOPLE'S SAVINGS BANK.^ OF CEDAR. RAPIDS , IOWA LOVIS H-SVLLI VAN, ARCHITECT

BY MONTGOMERY SCHVYLER.

THERE is NO DENYING that a new work merely to show the impression the con- by Louis Sullivan is the most interesting trast makes upon an apparently intelli- event which can happen in the American gent and candid mind. There is, to recur architectural world to-day. There has to our own comparison, this marked dif- been nothing like the professional inter- ference between the interest inspired by est which his works inspire since Rich- the works of Richardson and those of ardson ceased to produce, a quarter of Mr. Sullivan that in the latter case there a century ago. The succession of Rich- are no "by-ends." Richardson might ardson's works was indeed followed with have said of his architecture, even while more of professional attention, and for he was still practising it, as Tennyson an obvious reason. The architectural said of his poetry, even while he was profession, meaning a large majority of still writing it- the active and ambitious practitioners Most can grow the flowers now, all have the seed. of architecture, attended to the series of For got works which Richardson produced dur- In fact, many things were done during ing the decade to which his professional the prevalence of the Richardsonian activity and conspicuousness were con- Romanesque that the master need not fined, for the purpose of imitating, or at have been ashamed to sign, and many least of applying them in their own prac- which require external evidence to show tice, in so far as they were imitable that he did not do them. Not one such or applicable, and often further. The example can be cited of Mr. Sullivan's interest was thus selfish and practical, work. The architect who studies it with as well as disinterested and artistic. But a view to getting from it any hints that Mr. Sullivan has few imitators. His may be available in his own practice will "school" consists of a few disciples only, have to abandon it with the melancholy of one only whose discipleship has pro- admission that there is nothing in it to duced very noticeable or memorable steal. He has not, of course, nobody works. In the October number of THE has, the pretension to rival its author as ARCHITECTURAL RECORD there were illus- a master of decorative design. If an trated in conjunction a country house by equal genius in that kind should haply the master and another by the pupil. arise, he would do something very dif- The Western Architect of Minneapolis ferent. But what is true of the decora- was moved by the conjunction to remark tive design is as true of the architectonic that while Mr. Sullivan's genius "per- "layout." Every one of his buildings is mits him to do the most daring things in the solution of a particular problem, and " his design and 'get away with it,' of the result is a highly specialized organ- followers "none have gone so far into ism, which is as suitable for its own pur- the realm of the picturesque, or failed so pose as it is inapplicable to any other. It signally in the production of livable is as inimitable in the mass as in the liouses, as Frank Lloyd Wright." We detail. Hence is the interest which archi- by no means quote these remarks as con- tects nevertheless continue to take in it curring with them, and at least as little disinterested, so to speak, their admira- :as marking them for animadversion, but tion free from any notion of direct ap- THE ARCHITECTURAL RECORD. 46

were visiting Owatonna expressly to inspect it. An architect who had won such a success with his first bank, and thereby been invited to do another bank, might in such a case, if in any case at all, have held himself justified in "standing on his attainment" and merely executing variations on his original theme. But what has the People's Savings Bank of Cedar Rapids, just now completed, in common with The Farmers' Bank of Owatonna, completed three years ago, excepting that it is a highly individual building? It owes nothing in plan, nothing in composition, nothing in detail, to its predecessor. It is, so to speak, grown from its own seed, and recalls the remark of another Ameri- can architect that if one has faithfully studied and interpreted the requirements of his structure, expressional as well as practical, and faithfully followed tl:em out, then he does not so much "design'' his building as he "watches it grow." The People's Savings Bank, then, con- sists, essentially, of a central space or main banking room, roughly 25 by 50. DETAIL OP CHIMNEY TOP THE PEOPLE'S SAVINGS BANK. Louis H. Sullivan, Architect. propriation. To go and do likewise would, in this case, mean to go and do something entirely different, as different as the conditions and purposes of the second building would, upon patient analysis, reveal themselves to be from those of the first. Nay, the author of the first shows an impossibility or an impa- tience of repeating his own design where the commonplace architect would think that a very slight rehandling of a design already approved in one case would serve perfectly for the other. For example, Mr. Sullivan built a bank three years ago in a Minnesota village, The National Farmers' Bank of Owatonna, Minn., which was fully illustrated in THE ARCHITECTURAL RECORD for October, 1908, and was presently acclaimed by architects the country over as a signal success, the acclamation being produced, naturally, by an inspection of the photo- graphs. Owatonna suddenly found it- self famous, and became the Mecca of DETAIL STOP OP SILL COURSE 1 HE architectural pilgrimages. At the last PEOPLE'S SAVINGS BANK. Louis H. Sullivan, Architect. report, twenty-five strangers a day Photo by The Raney Studio. DETAIL OF STREET LAMP AND SILL COURSE THE PEOPLE'S SAVINGS BANK, CEDAR RAPIDS, IOWA. LOUIS H. SULLIVAN, ARCHITECT. THE ARCHITECTURAL RECORD.

is direct of the which is described, rather awkwardly, have seen, the outgrowth utilitarian this central feature as a "public lobby," whereas, according plan, gave so much resemblance to the central to Johnson, a lobby is "an opening be- fore a room," while this is the central "keep" of a mediaeval castle that the have and nucleal apartment. It is surrounded temptation would to most designers of this re- by subordinate rooms, of a single story, been irresistible heightening which expand the total dimensions of semblance by some detail of military But this is not a feudal castle the ground plan to 50 by 90, or there- Gothic. abouts. These comprise the vestibule to of the twelfth century but an American the main room, the quarters of officers bank of the twentieth, and to this design- and clerks on each side of it, the vault er the temptation to a romantic falsifica- at the back of it. But all these are the tion may not have presented itself at all. appendages of the business done in the So far, of course, so good; if he had main central room, which they would been one of the rehashers of the old darken if they were of the same height forms, he would by no means have justi- with it and if it received its light only fied the interest which he has excited. from the outer walls. The clerestory, But the structure does not always abound then, is a practical necessity for the even in its own sense. It seems to illumination of this room, while at the present at some points an arrested de- same time the most natural means of sig- velopment, an incomplete expression. It nalizing it and giving it the architectural is an old remark about Mr. Sullivan's predominance its importance deserves. work, in response to those critics who The blank space accruing under the win- would like to dismiss him as a "dec- dows of the clerestory, what, in church orator," that his sense of the disposition architecture, would be the triforium, and relation of masses is as unfailing offers a most tempting expanse for mural as his sense of grace and beauty in orna- decorations where they can be best seen ment, but that, between the general ar- on the one hand and best lighted on the rangement of the masses and the dec- other. orative development of the detail, there The building is thus clearly designed is the functional modelling of the masses from within outward. The exterior is and that this intermediate point of desigr the envelope of the interior reduced to is liable to be slurred in his work. Thai its very simplest expression. The sim- remark might be cited with respect 01 plicity and austerity of it will surprise this exterior. The projection of a courst those who look for fantastic decoration in stonework, or the successive projec in Mr. Sullivan's work, and who won- tion of several courses in brickwork tc der how he could have denied himself serve the practical purpose of sheltering all the opportunities of doing what he the wall from the weather and the artis can do so much better than any other tic purpose of crowning it with a "finis,' living architect. Even in the bank at although so universally practised in al Owatonna, of which the masses are stark historical architecture, may be argued t< > and severe enough, there are cornices, be not a logical necessity, though to mos there are cordons which give lines of beholders it will seem to be at least n. light and trenches of shadow, while the rhetorical necessity. But at any rate i spandrils of the great arches are bor- brick wall cannot cope itself but require i dered with delicate detail in terra cotta, a crowning coping, and the satisfaction and at the corners of them the artist has of this requirement offers a legitimat i allowed his fancy, elsewhere severely subject for architectural expression, It curbed, to effloresce in ordered masses was supplied with signal success in th : of elaborated ornament. But of these bank of Owatonna. To have supplie 1 things hardly a trace is in the newer it here would have relieved the starknes i > building. The protrusion of the square of the outline of the walls both of th mass at the centre, with the chimney at substructure and of the clerestory, witl - of the four as we out at all as it seem each corners, which, compromising, , Photo Copyright, 1911. The Raney Studio. LOOKING NORTH IN LOBBY TO ENTRANCE VESTIBULE THE PEOPLE'S SAVINGS BANK, CEDAR RAPIDS, IOWA MURAL PAINTING, "FALL EVENING" LOUIS H. SULLIVAN, ARCHITECT.

THE PEOPLE'S SAVINGS BAM<. and even while promoting the rationality of the treatment. As it is, the only re- lief supplied to the absolute plainness of brick wall is in the grotesques which serve as finials to what are apparently prolongations into the clerestory of what, in ecclesiastical architecture, would be the "nave piers," the principal points of support of the clerestory walls, and in the panels of ornament which fill the emergence of the chimneys above the clerestory walls. The views of the interior fur- nish material for a real apprecia- tion. And, indeed, it seems clear that, in the mind of the architect, the interior is "the thing" and the exte- rior reduced to becoming its simplest expression. The modern American con- ception of a bank is very different from the old-fashioned conception, derived from Europe, in one respect which is particularly important to its architecture. The old-fashioned bank was a temple of Plutus, hedged and guarded with as much mystery as if it had been a temple of Isrs. You could put your money in or even, ordinarily, get it out, in the light of day, being divided from the officiat- ing teller only by a grille which was sup- posed to protect from your ravages the treasures of which he was the guardian. But the high priest of the temple was in some remote and hidden apartment, to which you could penetrate only by a series of diplomatic pourparlers. Now the game of finance is played openly, "cards on the table," and there is no mystery hedging the president or the cashier any more than the least consid- ered of their subordinates. Every mod- ern bank recognizes this difference more or less in its design, but few modern banks so completely as this in Cedar Rapids. There is, indeed, a "Consulta- tion Room for Officers," and this apart- ment has a door which on special occa- sions can be shut. There are similar rooms in which the customers of the bank can transact their private business. But with these exceptions whoever enters the bank can see through it from end to end and from side to side. Even DETAIL OF COLUMN IN BANKING the vault is thrown open to sight during ROOM THE PEOPLE'S SAV- business hours and becomes an impres- INGS BANK. Louis H. Sullivan, Architect. THE ARCHITECTURAL RECORD. 54 sive element in the architectural en- partitions have evidently been carefully semble, with its circular door, seven feet sought with reference to their decorative in diameter, twenty-two inches in thick- effect, and sought successfully. Material ness, and twenty-five tons in weight. of this kind shows to the best advantage Every wicket and every desk even bears when employed in unbroken surfaces as on the tablet the name of the official on extensive as may be. One willingly fore- duty at the moment. "Fiat lux" is evi- goes, in such expanses, the moulded dently the motto of the whole establish- framing of the marble, the panelling of ment, as of its architecture. This, one the woodwork. But elsewhere and feels, is the habitation of a highly or- throughout it is evident that a square ganized and highly specialized machine, arris has no terrors whatever for this

Photo by The Raney Studio. OFFICERS' QUARTERS THE PEOPLE'S SAVINGS BANK. Cedar Rapids, Iowa. Louis H. Sullivan, Architect in which not only provision is made for designer and that he willingly omits every function, but expression given to what to the designer of another school every provision.' to the designer, we may say, of an) The absence of what we have called "school," would be the irreducible mini functional modelling is as marked, al- mum of "finish." This is seen in th( most, in the interior as on the exterior. detail throughout, in the joinery of th< If it be not so noticeable, that proceeds counters, in the framing of the m.ura from a circumstance which here explains pictures, in the "trim" of the subordin and tends to justify the omission. The ate rooms. And the willingness to fore material itself of this interior is of great go traditional transitions and modifica beauty and great sumptuosity. The tions is as evident in the columns, whicl marble of the counters, the oak of the are hardly columns, of which the capi THE PEOPLES SAVINGS BANK. 55 tal that mediates and forms a graduated velopes of the structural steel posts, the transition between the shaft and the detail of the faces and of the soffits of abacus is an essential member, but the abaci, the incrusted ornament of the rather posts, upon which the spread of electroliers, have that personal and in- the abacus is directly superposed, or communicable quality which makes their rather interposed, for the posts which author's decorative detail so fantastic and carry the clerestory walls are "produced" delightful. into the strips of pier which we have Evidently Mr. Philbrick's mural paint- seen terminating in the grotesques of ings are an integral element of the archi- the exterior. Even so, it must be ad- tectural design. Excepting the figures at mitted that some form of capital, either the end of the main room opposite the

Photo by The Raney Studio. PART OP MEN'S ROOM THE PEOPLE'S SAVINGS BANK. Cedar Rapids, Iowa. Louis H. Sullivan, Architect.

the swell of a bell in stonework or entrance and above the entrance to the spreading braces in wood or metal, sup- vault, in which Industry and Banking porting and relieving the abacus, is de- and Commerce are symbolized, and sym- manded not only by tradition but by the bolized effectively, these are representa- the nature of the construction, and that tions renouncing allegory and aiming to the omission of it is a lapse in structural depict the agriculture which so nearly logic. engrosses the activity of Iowa. The On the other hand, such strictly tech- photographs enable one to judge of the nical and architectural decoration as is pictures in their design and to see how sparingly introduced suffices to make one effectively they complete the architecture wish that it had been introduced more in which they are set and what an ad- freely. The necking of the wooden en- mirable setting the architecture provides THE ARCHITECTURAL RECORD.

"in for them, both practically in its perfect battalions" so many of them seem and abundant illumination and artisti- bent upon importing the solutions, and cally in making them contribute to the even the problems, that it sometimes ap- force and effect of a single and total pears as if in our commercial and pub- impression, to which each of the allied lic architecture we should be reduced, as arts invoked bears an integral and or- Johnson complained that English writers ganic relation. of his generation were in danger of be- Undoubtedly the building has a physi- ing reduced, "to babble a dialect of ognomy and an individuality. Whatever France." To those of our Beaux Artists else one may be moved to think about who look across the water both for their it it, he must confess that in this respect inspiration and for their appreciation, it is a refreshment, at a time when in- must have been rather a blow that, at dividuality is so infrequent in any de- the World's Fair in Chicago, Mr. Sulli- partment of American building and rar- van's Transportation Building, which est at all in our commercial building. some of the classicists his colleagues, so When the graduates of the Beaux Arts strongly deprecated and resented, should came back to go to work as "single have been the only erection which was spies," when Hunt came back, when worth to its designer the medal of .1 Richardson came back, when Mr. Sulli- French artistic association. It is no van came back, they were content to em- wonder that this bank in Cedar Rapids, ploy their foreign training to giving like its predecessor in Owatonna, should American solutions to American prob- already be drawing its "twenty-fiv> lems. Now that they are coming back strangers a day" expressly to visit it.

SAFETY DEPOSIT VAULT AND DOOR (Weight, 50,000 pounds; 22 inches Thick) THE PEOPLE'S SAVINGS BANK. Cedar Rapids, Iowa. Louis H. Sullivan, Architet EARLY AMERICAN CHVRCHES PAR.T a ST. PETERJS. PHILADELPHIA, PA.- FARMING- TON, CONN.- CHRJST CHVR.CH, HAR/TFOP&,

CONN.- OLD SWEDE'S CHVR.CH . WILMING-

TON, DELAWARE . BY AY MAR. EMBVR.Y H

as a ST. PETER'S CHURCH was begun added in 1842, from, the designs of Wil- chapel to Christ Church in 1758. It was liam Strickland, a well known architect built on land two sons of Wil- of that It given by day. is, however, very sym- liam Penn, and it may be interesting to pathetically conceived and was in a sense of such a note that two sons prominent an extension of the original design as Quaker as Penn, were Episcopalians. the lower part was originally a cupola The building of the church was due to with two small bells. The extension to the fact that Christ Church began to the tower was made partly from a mat- be overcrowded, and in 1758 the vestry ter of sentiment and partly because a record that "it is unanimously agreed full chime was then presented to the that the taking and collecting the sub- church. The interior is of especial in- scriptions and conducting the affairs terest because of its peculiar and un- relating to the building and furnishing usual plan, in which the pulpit is placed shall be under the said intended church at one end of the building backing the management of the minister, church against the tower, while the reredos is of Church." wardens and vestry Christ at the other directly across the triple I have been unable to find the name of window shown in the photograph of the the architect with any certainty, although exterior. There is no principal entrance it seems probable to me that Samuel to the church, but two small doors at Rhodes was the designer. It was built each corner lead to a vestibule through during the years 1758-61 and was main- which the body of the church is reached. tained as a chapel to Christ Church The ceiling is a flat barrel vault until 1832, when its separation from the with two secondary arches piercing parent body was effected. The building it each side of the pulpit and a is of considerable size (sixty by ninety single arch over the reredos. The feet) and both in the exterior and inte- interior, including the stone flag floor, rior possesses marked architectural in- remains practically in its original con- terest, although one regrets to learn that dition, and the old pews are undis- the very excellent tower and spire were turbed. MEETING HOUSE FARMINGTON, CONN,

THE OLD MEETING HOUSE at Farming- Most of the older churches in New Eng- ton is generally considered one of the land have been square hipped roof struc- best in New England. It was construc- tures with somewhat of an auditorium ted in 1771, being the third house of plan, and the plan was in this building worship erected in Farmington, and its continued, although the gable roof and location was then changed from the tower lent an appearance of length in centre of the street, where the other two conformity to the modern idea. The structures had been, to the side, accord- principal entrance remained, however, at ing to a custom which was only at that the centre of the long side with a small time beginning to form in New England. entrance into the tower from which a

ST. PETER'S CHURCH (P. E.), PHILADELPHIA, PENNSYLVANIA. 6o THE ARCHITECTURAL RECORD.

staircase led to the galleries. The build- construction, is that the heads of the ing was designed by Captain Judah hand-wrought bolts which are used to Woodruff and was, so far as I can learn, tie it together, are marked to correspond his only effort at church design, although with marks on the edges of the holes he was the designer (and the builder as through which they were driven. The well) of a number of excellent residences construction of the remainder of the in Farmington and its vicinity. church was of the same excellent char- Perhaps the most interesting feature acter; even the ridge pole has a sag of of the church is the belfry supported on only one and a half inches in the whole eight slender columns; the lightness of length of the church, while it is also the construction of this tower is of ap- stated that about half the shingles and pearance only, since what appear to be practically all the clapboards are those columns are in reality the tops of long originally used. The interior has un- run the main been somewhat remodelled posts which down through fortunately ; body of the tower for about twenty-five the curious turned wooden posts, which feet and are cross-braced and tied to- support the gallery, and the slip pews gether, making a construction so firm were put in place about 1860, and the that it has stood without radical repairs organ with the decoration around it was since it was erected. An interesting de- of the same date, although the pulpit is tail of the construction of this tower, the original one. The design was, I which indicates that its designer thought understand, copied from that of a similar it necessary to use the utmost care in the church at Wethersfield.

CHRIST CHURCH HARTFORD, CONN.

THE PRESENT BUILDING is the home of stimulant in considerable quantity as- one of the oldest congregational churches sisted the speed of the erection. in Connecticut. The original meeting Both the interior and exterior are n house of this congregation was built in design among the most ornate of tie 1636 on what is now State House Square early American churches; the drawings, but was occupied only five years. The or at least the sketches, were made ly second church stood for over a hundred one of the members of the congregatio i, years and was designed by one Colton Daniel Wadsworth, the so-called "Ma > Palmer of Warwick, Rhode Island, who cenas" of Hartford. The tower is < if is, so far as I know, the first architect considerable interest, the lower seven y of this country whose name has been feet being of brick and the remainder - >f preserved. The old building became wood, the only order used in the tow( r, dilapidated, and the congregation was as well as those of the portico and t ic outgrowing it when in 1804 a committee interior, being Ionic. The interior is was to consider a build- one of unusual ; 1- appointed new certainly charm ; and, ing. The old building was sold in De- though the columns used are of extrac r- cember, 1805, and the new building was dinarily slender proportions, the attenu i- begun in 1806 and completed in 1807, tion does not seem to have produced a iy the congregation in the meantime occu- appearance of instability. The plan is a pying a theatre from which Theatre very simple one, consisting of a na /e Street gets its name, and in the history with aisles under the galleries, the na /e of the church it is stated that alcoholic vaulted with a coffered barrel vault. MEETING HOUSE, FARMINGTON, CONNECTICUT.

as' " 66 THE ARCHITECTURAL RECORD.

TRINITY CHURCH

WILMINGTON, DEL.

THIS CHURCH, better known as "Old insure durability, made the foundation Swedes," was built by Swedish settlers wall six feet thick, while the superstruc- at Wilmington in the latter part of the ture at the windows was three feet seventeenth century and was dedicated thick. The plan is rather interesting, on Trinity Sunday, 1699. The question since the portion of the building to the as to whether the tower was or was not right of the doorway is the full height a part of the original design is not of the building, while a small gallery ex- known the difference in the materials across half the church at ; tends nearly suggests it was probably added later, al- the left and is reached by a staircase, though the inclusion of a certain amount partly exterior and partly interior, be- of brickwork in the body of the church ginning in the entrance porch. While it indicates the possibility that it was is, perhaps, not architecturally a very erected at the same time. The church extraordinary piece of design, it is is sixty feet long and thirty feet wide, one of the most interesting of a'l the walls twenty feet high, built of gran- the older churches and is in fact one ite laid in clay and pointed up with lime of the dozen oldest which have beei mortar. The constructors, in order to preserved.

[EDITOR'S NOTE There began in the December issue of THE ARCHITECTURAL RECORD the first group of "The E,arly American Churches." Four examples will be published each month until such time as the subject is completed.] FIRST CHURCH OF CHRIST, HARTFORD, CONNECTICUT.

AR.CHITECTVR.ALJ TREATMENT OF CONCRETE STRVCTVP.LS PAR.T IV, CONCRETE IN LANDSCAPE GARDENING BY M.M. SLOAN

FROM THE ANCIENT DAYS of Greece and throughout the groves and lawns, leav-

Rome the architect and artist has paid r ing much to be desired with regard to particular attention to the improvement the general scheme and improvement of of the surroundings of important build- the landscape. ings and structures, and the extent to These decorations were quite frequent- which landscape gardening has been de- ly emulated in plaster paris, and a fair veloped has kept pace with the wealth percentage of the Italian emigration was of the country. employed in the making and peddling of In the Colonial days of this country "Plaster of Paris," boys carrying bas- the available wealth was limited, and kets of fruit and other atrocious gar- only a few of the larger landholders at- den ornaments which were usually de- tempted to beautify their lawns and gar- posited in some prominent place in front dens. What was done in this respect of the residences. in the early history of the country was As the artistic taste of the people be- principally in the construction of walks, came more and more developed, much the care and attention to the trees, and money was spent in the beautifying of the planting of old-fashioned flowers and the land surrounding the residences, un- hedges to enhance the approach to the til to-day the grounds are one of the Colonial mansion. features of the property and are planned If any attempt was made to use other with the greatest care to obtain, with the than the natural foliage, it principally natural beauties, the highest artistic at- consisted of terraces and rough stone tainment. walks which could be constructed readily The architect and landscape artist soon by unskilled labor, though not infrequent- saw the beautiful effects of columnar ly some attention was paid to the ap- walks, lattice work and terraces with proach to the driveways, thus copying proper approaches, sun dials and pedes- the entrances to the old estates of Eng- tals for; the support of interesting an- land. Some of these places are still left tique vases, fountains and ponds, inter- intact in this country and have a beauty estingly arranged with respect to natural which is difficult to rival. topography and foliage. As time passed, the country went As concrete construction came into through a period of inartistic attempts more general use, it was soon realized with ineffectual materials to improve the that in it was a material especially suited appearance of lawns and the landscape for the beautifying of gardens and lawns approaches to houses and estates. So it and the extensive grounds of estates. was that forty years ago the first signs The concrete while rough in texture is of approaching prosperity were indicated of a color which, though objectionable in by cast-iron dogs in various positions, a finished building in the centre of a painted lead color, guarding the walks city, lends itself admirably to a back- or approaches. The more pretentious ground of green foliage and bright flow- attempts consisted of marble or terra ers and is particularly adaptable to cer- cotta statues scattered promiscuously tain classes of informal buildings, such H fc ta H P&H O H ? ARCHITECTURAL TREATMENT OF CONCRETE STRUCTURES.

as bungalows and club houses and in the construction of open porches and sur- rounding terrace walls. In Figure i there is shown the use of concrete in the construction of a porch balustrade with urns for flowers and trailing vines. It will be noticed that the design is simple and yet strong and effective, and that the beauty of the vases is in their simplicity of form and good proportions. In Fig. 2 there is shown the use of a concrete wall around a terrace of a boat- house. The arched openings in the con- crete wall at the boat landing are par- ticularly effective, and the entire en- semble has an element of beauty which would be difficult to obtain with other than monolithic concrete. One of the principal uses of concrete as a decorative feature in landscape gar- FIG. 3 PERGOLA ENTRANCE. dening is in the construction of pergolas, and for this purpose where there are a examples of concrete posts of architec- number of units of the same pattern, tural proportions supporting the open the work can be turned out at low cost trellis work which usually forms the and, properly designed, is very effective. roofs of features of this kind. In Figs. 3, 4 and 5 are shown good A very simple pergola entrance effect

FIG. 4 DORIC COLUMNS OF MOULDED CONCRETE. THE ARCHITECTURAL RECORD.

a trellis. Concrete has also been used in forming the lily pond, which makes an effective feature in the foreground. A somewhat more elaborate design is illustrated in Fig. 4, which shows Doric columns of moulded concrete with a crude but effective balustrade consist- ing of moulded balusters with a wide coping. The work is crude, but, backed by the foliage and offset by the natural features, makes a very dignified and artistic structure. This larger pergola was built on the "Good Luck Ranch" in California. Not only are the classic proportions adhered to in the design of columns for pergolas, but quite the col- FIG. 6 CONCRETE PEDESTALS. frequently umns supporting the open roof follow or is shown in Fig. 3, where concrete is Gothic Norman lines, though prob- used for the simple posts, of massive ably with little consistency for such proportions, of a garden entrance. The architectural features. posts, as will be observed from the illus- A departure from classic proportior s tration, are given an entasis and are and design in columns of concrete for surrounded with timber work to form a pergola is shown in the beautiful

FIG. 5 GROUPED COLUMNS FOR THE PERGOLA. ARCHITECTURAL TREATMENT OF CONCRETE STRUCTURES. 73

effect obtained by the* moulded concrete grouped columns illustrated in Fig. 5. The structure of which these columns are the principal feature is on the estate of C. Le Verne Butler, Framingham, Massachusetts. This pergola was de- signed by the owner and is very inter- esting and effective. No attempt is made to give a fine finish to the col- umns, but the texture of the concrete shows, which is rather an advantage in work of this character. Not always is the designer's taste in- clined towards columnar effects in the use of concrete for pergola construction, FIG. 8 CONCRETE USED FOR and a deviation from the usual column ENTRANCE, ROUGH FINISH. support is shown in Fig. 6, which illus- trates concrete pedestals designed after tensively used for the construction of the Pompeian style, with head termina- walls and entrances for enclosing the tions at the top, forming the main sup- grounds of country residences. ports for an outdoor porch surrounded To show what dignity can be obtained with lattice work, and effectively set off by using concrete for these purposes, by the concrete flower pots and moulded Fig. 7 is given, which illustrates a con- concrete seat. This illustration shows crete gateway entrance of good propor- beautifully the effect of sunlight and tion and design. A study of the photo- shadow obtained in a design of this kind. graph shows that the concrete is given Owing to the cheapness with which a rough finish, excepting for a small bor- concrete can be used, as compared with der or arris on the edge. The design architectural cut-stone work, in many is particularly pleasing on account of sections of the country it has been ex- its simplicity and proportions and, set off

FIG. 7 CONCRETE GATEWAY ENTRANCE. THE ARCHITECTURAL RECORD. 74 as it is by the wrought-iron gates and ished material. While the concrete gate are the long flight of cement steps, makes a posts almost completely covered with beautiful approach. a foliage, yet the photograph shows the To illustrate how effectively concrete possibilities of finishing the top of such can be used for entrances to grounds posts and also demonstrates that the without attempting to give it a smooth material can be used as effectively as finish and leaving it in its own rugged cut-stone work for this purpose and with simplicity, the illustration, Fig. 8, is less cost. Concrete for such purposes given. These gate posts are at the en- also has this advantage, that when used trance to Henry Mercer's place at in positions where it is to be partially Doylestown, Pennsylvania. covered with clinging vines it weathers An examination of the photograph rapidly, and the appearance of newness shows that no particular care was taken is dissipated in a few months' time. This.

PIG. 9 ENTRANCE TO A BROOKLINE, MASS., RESIDENCE. by the green of the rugged foliage, and f rom an artistic standpoint, is very d > even in the construction of the form sirable where the effort is to obtain the work, so that the irregularities, both in picturesque and artistic rather than fie the moulding and in the texture of the newness of lately completed work. concrete, are clearly shown. The beauty The possibilities of concrete have be n of the entrance exists alone in the realized in the construction of work n rugged simplicity and good proportions tropical and semi-tropical countries, a' id and strength of the posts and the sur- for these climates it is certainly an id( al mounting cap. material, on account of the bright sk: *s is in There illustrated Fig. 9 a beau- and beauty of the sunlight and the sha ~p tiful entrance to a residence in Brook- shadows which exist -under such condi- line, Massachusetts, which shows the tions. The approach shown in Fig. 10 capabilities of using concrete as a fin- is an entrance-way on the Island of B r- ARCHITECTURAL TREATMENT OF CONCRETE STRUCTURES. 75 muda and is a very good example of ing simply a straight wall with a V-- monolithic concrete used in conjunction shaped top and the posts have a simple with moulded concrete blocks for wall cove moulding with fillet band and pen- construction. dentive ornament with ball finial, being As with the other illustrations, this very effective and at the same time shows how results are obtained by de- simple in construction and consistent signing massive posts of simple design with the material used. and grouping, and capped with simple Reinforced concrete is much used, mouldings, the effect being obtained by both in gardens and terraces, and is ex- the grouping and the proportions of the tensively used in monolithic construction work. as walls, steps and balustrades, and is A good entrance of more pretentious even cast in moulds in ornamental forms design, but lacking in the beauty of for seats, vases, pedestals and sun dials.

FIG. 10 MONOLITHIC CONCRETE ENTRANCE WAY ON THE ISLAND OF BERMUDA.

of concrete in simplicity, is shown in Fig. n. This A very elaborate use illustration shows a gateway at Glen- the garden is illustrated in Fig. 13, which with olden, Bermuda. The gat$ posts and shows a terrace surmounted para- the wall are of monolithic construction, with pet walls and piers. The surface of of uni- some attempts at panelling, and illus- piers and walls is rough finished, trates what can be done with the mate- form texture, while the coping and caps rial when care is exercised in the mould- are of smooth finish. the is shown an ing and finishing. To the right of figure of A very attractive entrance, also con- open parapet with cast balustrades structed on the Island of Bermuda, is ornamental design. The use of concrete is also shown in shown in Fig. 12. Here it will be benches and pedestals the more noticed the wall and curb running into this figure and illustrates how or concrete the posts are of more simple lines, be- finished products in cement THE ARCHITECTURAL RECORD. 76

PIG. 11 AN ENTRANCE GATEWAY FIG. 12 AN ENTRANCE GATEWAY BERMUDA. BERMUDA.

act as an offset for the rougher and application to elaboration of gardens cruder work of more massive construc- and lawns, for forming pedestals for the tion. support of vases and urns. Quite fre- Two illustrations, showing the use of quently this modern material is used for concrete in garden ornaments, as well, the support of some ancient or interest- are illustrated in Figs. 14 and 15. In ing vase or water jar, as illustrated n

FIG. 13 ELABORATE USE OF CONCRETE IN THE GARDEN

the former is illustrated the somewhat Fig. 16. In such instances a concrete elaborate arrangement of benches and pedestal is generally kept as plain as pos- flower vases which can be reproduced at sible and is probably more consisten ly low cost on account of the fact that they used as shown in Fig. 17, which illus- are of one design and can be made in trates a concrete pedestal supporting a the same moulds. Coquina stone water filter. Concrete has a great usefulness in its A rather pretentious and interest! ig

FIG. 14 CONCRETE USED FOR GAR- FIG. 15 CONCRETE USED FOR G/ R- DEN ORNAMENTS. DEN ORNAMENTS. FIGS. 16, 17, 18 AND 19 CONCRETE USED FOR GARDEN ORNAMENT. THE ARCHITECTURAL RECORD. piece of concrete garden Ornament is This photograph shows a circular seat, shown in Fig. 18, which demonstrates supported upon elaborate pedestals with that the roughness of the material only claw feet, backed by a screen of pan- tends to the interest of the feature and elled work in concrete, made interesting allows it to be consistently used in con- by pedestal pilasters at intervals, sup- junction with the vines and foliage, as porting the overhang of the coping, the shown in the illustration. entire design being further strengthened A beautiful piece of work in concrete, by a circular pedestal supporting the both as to proportions and finish, is concrete vase finely moulded with dec- shown in Fig. 19. . This photograph il- orative design. lustrates a concrete drinking fountain One of the most elaborate decorations for birds. The gracefulness of the de- for a formal garden is illustrated in sign and the smoothness of the finish Fig. 21, which shows a temple erected are interesting as an example of what on the grounds of a private estate in can be done with concrete when care is Massachusetts. This beautiful piece of exercised in the designing and in the work is made possible by the use of manufacture of the article. concrete and is one of the few ex- As an example of finely moulded work amples of the clean and sharp mould- in concrete, of extremely elaborate de- ings which can be obtained in con- sign, it would be difficult to rival the crete only with the exercise of the great- assembly of features shown in Fig. 20. est care.

FIG. 20 EXAMPLE OF FINELY MOULDED WORK IN CONCRETE.

[EDITOR'S NOTE Mr. M. M. Sloan began his series of four articles on "The Arch - tectural Treatment of Concrete Structures" in the May, 1911, issue of THE ARCHITEC - TURAL RECORD. The second installment was published in August, 1911, and the thir I in 1911. The author has November, treated his subject under the Chapter Heading; : I Requirements for True Architectural Treatment; II Surface Treatment; III Decors - tive Treatment and Ornamental Design.] FIG. 21 ELABORATE DECORATION FOR A FORMAL, GARDEN. COLUMN OF ANTONINUS PIUS IN THE VATICAN GARDEN. FAMOVS P.OMAN COVR.TYAR.DS WORJCOFTriE, CR.EAT ARCHITECTS OF THE RENAISSANCE BY M.D.WALSH

THE GREAT ARCHITECTS of the Renais- The "Cortile di San Dainaso" and the sance, who have left their indelible mark "Cortile di Belvedere" are the best for all time on the history of architec- known specimens of Bramante's archi- ture, surpassed themselves in their court- tecture each in the Vatican, each alike yard work in Rome, creating examples forming backgrounds to the world's of purest Renaissance architecture de- masterpieces of sculpture and painting; signed in finest lines on Greek models, so that, side by side with the Greek unspoilt by the decadence of later style, sculptures and the "fine flower" of with its overflow of decoration. One of Renaissance art, embodied by Raffaelle these, that "Prince of Renaissance archi- in its highest degree, the name of one tects," Bramante, not content with "writ- of the grandest, most vigorous and most ing his name in the heavens" in the ideal of Renaissance architects will go matchless architecture of St. Peter's down to posterity. Dome, has left behind him, beside pal- The "Cortile di San Damaso" forms, ace, dome and temple, many a stately so to speak, the "Roadway of Nations" courtyard, whose symmetry and grace on their way to audiences at the Vatican would not discredit Athens at its best. or in visiting many parts of the papal Some of these magnificent architec- palace! On emerging from the stair- tural works stand out prominently in the case, the splendid courtyard bursts upon eyes of the world, where all can see and the eye almost as a surprise, strikingly appreciate them, such as the "Cortile di impressive in the vastness of its cyclo- Bchedere" and the "Cortile di San pean spaces, unspoilt by any extraneous Dainaso." Many more, however, not object or ornamentation. These famous Bramante's alone, but works of his able "Loggie" of Bramante once stood open, pupils and successors, lie almost hidden but for the preservation of the peerless within the gateways of historic palaces frescoes of "Raffaelle" and "Giovanni in the heart of old Rome, or in silent da Udine" they were finally enclosed churches in narrow byways or green with glass. hillsides overlooking the city, where the Every detail of the architectural lover of pure architecture seeks them scheme makes for the central idea of as he a tiers out would precious treasure, vastness ; the three of slender flat longing to carry the quietly-studied per- columns, crowned by Doric, Ionic and fection of their simplicity into some Corinthian capitals, the perfect finish of the florid architecture of the present in both proportion and execution, en- day. hanced by an almost Spartan simplicity It is a pilgrimage dear to all lovers of of form, all tend to create a greater ef- .Renaissance work, for no achievement, fect of space. Even those unapprecia- even the smallest, of the mighty ideal- tive of its architectural value come ist who, had he lived to complete it, under the spell of the complete restful- would have made St. Peter's the marvel ness and harmony conveyed by the "Cor- of architecture for all time, can be neg- tile di San Damaso" and its sunlit spaces, lected by those who would seriously where the papal "gendarmes" in pic- studv his designs. turesque uniform, passing up and down 82 THE ARCHITECTURAL RECORD. on sentry duty, look singularly insigni- Yet another specimen of Bramante's ficant and unimpressive. Fine as is its versatile genius is the palace courtyard, effect by day, the massive courtyard known as the "Cortile della Pigna" of grows almost gigantic, seen at twilight the Vatican. Here again the restrained of the or by night, when the spaces seem to dignity architect, who scorned any recede into infinite vastness the grace- effect made by a gorgeous wealth of ful curve of arch, the moulding of decoration, shows itself prominently in column appearing accentuated into a this vast "Cortile" with its perspective veritable vision of architectural sym- of filled-in arches, divided by double metry, a nobly-dignified epitome of re- sets of columns, crowned by Corinthian strained power! capitals. The second order of columns Widely different in both conception is identical with the first, while the lower and design is Bramante's smaller master- end of the court forms a fine ellipse, sur- piece within the walls of the Vatican, mounted by an open gallery. the octagonal "Cortile di Belvedere." In Rome, however, even a Renaissance Simple in its lines, as are all his works, courtyard, no matter how conformable the graceful octagonal temple is wrought in architecture to the pure forms of with a tender and loving care, fitting it Greece, cannot escape from the influ- for the gods of Greece which it worthily ence of the strange "personality" (if enshrines. Bound by the restrictions of one may so express it) of the migh;y space (for the court is small compared Empire which lies iron-handed about with the other massiye courtyards in the every Roman structure, no matter what Vatican Palace), Bramante knew how to its date. Here, in the midst of Bra- make his tiny "Belvedere" a little gem mante's classic "Cortile" rises the ped- of architecture, perfect in every point, estal of the column of "Antoninus Pius" from its columns with Doric and Ionic and at the end, in the recessed niche 3f capitals, its ornamentation of "sar- the ellipse, raised on a balustrade and cophagi" and bas-reliefs, and the "Molos- steps, stands the curiously-striking sian hounds" guarding its entrances, to "Pigna" or "Pine-cone" (from which the fountain in the centre sending up the courtyard takes its name), flanked jets of spray into the clear air against a by the two bronze peacocks of splencid sky deeper, bluer, by contrast, with the workmanship, which surmounted the marble columns and friezes ! It is like Emperor Hadrian's Tomb on the "G.s- a bit of life-loving Greece, exiled amid tel' Sant' Angelo." The colossal ccne the more sombre surroundings of the which once flaunted like a flaming bra- papal palace, showing the talent of the con against the brightness of a Roman many-sided architect who could be stern sky, crowning the Imperial Mausoleum to rigidity in some of his conceptions by the river, seems like some capt ve yet burst untrammelled into this joyous giant here imprisoned within walls! thing of brightness! How many of Yet, strangely enough, there is a trium- those who visit the "Laocoon," the phant air about this group of anti< ue "Apollo Belvedere," the "Antinous" and sculpture. The great bronze "Pigi a" the "Perseus" realize how greatly their glints golden still in the afternoon s m- appreciation of these world-marvels is shine of the quiet garden court, wl ile their enhanced by unique setting ; how the bronze peacocks, with outspr ad * the gods one approaches by the "Cortile feathers, guard it proudly yet as t" icy di Belvedere" seem more godlike, as guarded the Emperor's tomb. T icy passing from one to another of their were placed here with the consumrr ate niched recesses one pauses (over- skill for value possessed only by a gen us, whelmed, unconsciously perhaps, by for, instead of detracting from the ar hi-, their sovereign artistic beauty) to look tectural scheme, they marvellously en- out en the exquisite open-air court with hance its effect of solidity and power as its dome of sunlit sky and hear the soft any lighter ornament or decoration, e /en purling of the fountain, where flags and of supreme sculptural excellence, w( uld lilies bloom under the water cascade. have changed the aspect of its mas ive CORTILO DI PALAZZO FARNESE. ROME, ITALY. o o u tf 86 THE ARCHITECTURAL RECORD.

proportions. A Venus, a Dancing posed upon their Doric base with sur- Satyr, or a Greek vase, for instance, prising lightness and splendidly alternat- could not but strike a discordant note ing with the flat columns, crowned by in this "Giardino della Pigna," just as Corinthian capitals. Hadrian's colossal emblems of immor- This courtyard of "Santa Maria della tality would jar the eye, seen in the Pace" was a work of Bramante's later octagonal "Cortile di Belvedere." Far years, when his spurs had been won in different a setting to the majestic Vati- many a field, but it shows no sign of can enshrines another of Bramante's a falling off in power, for his genius, famous courtyards a tiny treasure not content with reproduction, even of which hides among the devious and nar- original forms, continued to create to row thoroughfares of the "vanishing the end. Rome," whose picturesqueness is slow- Only a short distance from "Santa ly but surely fading under the hand of Maria della Pace" stands a better known the ruthless "modernizer." As if jealous monument of the architect's sovereign to guard her art treasures from the care- skill, the "Palazzo della Cancelleria" or lessly unseeing eye of the intruder, the "Chancellor's Palace." It is perhaps the church of "Santa Maria della Pace" most splendid palace Bramante ever (Our Lady of Peace), with its curious- built, with a noblest courtyard, seconc ly curved and columned portal, stands to none of his masterpieces. in a narrow byway behind a network of As in the Vatican courtyards no winding streets. Here, as in the "Cor- space restrictions hampered the archi- tile di San Damaso" in the Vatican, two tectural scheme. His marked predilec- great lights of the Renaissance meet tion for the purely classic, the majestic, again, but in this case Bramante's work was given full play and to his hand came does not form a setting for Raffaelle's antique columns fit to support the mas- dreams of splendid color. sive structure which not even a Roman The small shrine which holds a wealth Emperor could have scorned as unworthy of art and sculptural beauty is not the an imperial residence. The "Theatre goal of our architectural pilgrimage to- of Pompey" stood not far from the ' day, nor even the quiet chapel where site of the present "Cancelleria Palace, Raffaelle's "Sybils" make a perpetual and its magnificent granite columns were glory, as of sunshine, in the dark and used in the adjoining church dedicate 1 sombre church. late Beyond the church, to St. Lawrence. Many centuries , within the monastery precincts, Bramante when Cardinal Riario rebuilt the church, built his exquisite little courtyard or entrusting the designs for both churc i cloister. True to his traditions of sub- and the adjoining palace to Bramant . lime simplicity, "Summa ars est celare the architect transferred the columr s artem," the "Master-builder of palaces" from the church to the palace courtyard stooped to lavish patient skill and ideal a royal beginning for a structure whic h excellence on this smallest child of his was to rank among the veritable tri- fancy, till it stands out like a little Greek umphs of Renaissance architecture. Tl e temple, clear-cut, classic, bordering on effect of this courtyard is truly irnpo.- the severe, perhaps, critics might judge ing lighter in design than the "Corti e - it, for its size, yet with a grace which di San Damaso," perhaps, but intens owes nothing to decoration, everything ly noble in form and proportions. TV o to line. The arches of the cloister spring tiers of magnificent arches spring fro n from flat columns, upon which are super- rounded columns with Doric capita s, imposed graceful columns with Doric while the third order, closed, shows a base and Ionic capitals. These, in turn, series of massive flat columns, crown 'd support an open gallery whose columns with Corinthian capitals. are flat and rounded alternately. The The capitals of the columns frc m original design is the essence of grace- Pompey's Theatre have been added >y ful proportion the slender pillars of the Bramante, their chastely severe a id rounded columns above the arches simple ornamentations, consisting )f FAMOUS ROMAN COURTYARDS. separate designs of roses, coils and acan- tains many interesting architectural de- thus leaves, blending marvellously into tails, but time forbids one to linger un- the monumental severity of the ponder- duly in a pilgrimage to Rome's many ous antique columns, while yet adding classic courtyards. Ample leisure is a touch of grace to the rigidly classic de- needed to see and admire them. all. For sign. Circular medallions, each with a instance, there is Baldassare Peruzzi's rose in its centre, are carved in bas-re- exquisite little flowery courtyard in the lief above every column in the two lower "Palazzo Attemps" or his sombrely stories. Strange as it may seem, taken beautiful "Cortile" of the dark "Palazzo in conjunction with granite antique col- Massimo alle Colonne," both equally de- umns, supporting a structure of traver- serving of careful study, as grand ex- tine, taken from the huge blocks of the amples of pure Renaissance. Peruzzi's Colosseum, the rose decoration seems to graceful genius loved to create a palace, fit in with the general harmoniousness of classic yet fairy-like in beauty of orna- the architectural scheme ! Nevertheless, ment. He revelled in grace and light- one is tempted to marvel how Bramante ness. Indeed, one tends, in a certain placed them there the architect who sense, to compare his genius, his intense absolutely worshipped the classic grace love of the gracious and the beautiful, of line almost to the exclusion of all to that of Raffaelle, as instinctively one ornament, whose virility scorned decora- likens the genius of Bramante to Michel- tion as effeminate. Even in the days of angelo. To these two great Florentines the Renaissance, however, the great the sombre side of life predominated. painters and architects were forced to Even in their art, their imagination ever make concessions to the wishes of pow- sought the perfection of form and sym- erful employers. It would appear that metry, unadorned almost to bluntness in the coat-of-arms of Cardinal Riario by the minor adjuncts of decoration. a rose in the armorial Now Raffaelle and Pernzzi sacrificed no appears bearings ; hence, travertine and granite must needs line of perfection for the decorative. bloom, into unwilling roses, perhaps, They, too, were steeped in the cult of under the hands of the classicist archi- classic symmetry and peerless propor- tect, so that the escutcheon of the "Car- tion; but their natures were cast in a dinal of the Roses" might go down to less rugged mould, and their personality posterity indelibly engraved on the walls overflowed into their work, softening of his mighty palace. the outlines with their own love of life Another great specimen of Bramante's and beauty and youth. courtyard work in Rome, of peculiar in- We cannot pass by without a glimpse terest to us, is left in the "Cortile" of into the grand "Cortile" of the "Palazzo the "English Palace," or rather, the Farnesc," where Sangallo raised his "Palazzo Giraud Torlonia" that mas- superb colonnade, a fitting entrance to sive old structure out in the former one of the greatest, if not the greatest, "Burgus Saxonum" near St. Peter's, of Roman palaces, which, apart from the which, with its great blocks of traver- treasures of art it once contained, is a tine, seems more fortress than palace. triumph of Renaissance architecture It was presented to the sovereigns of gorgeous and imposing even for that England in the sixteenth century as a halcyon age built by princes for residence for the English ambassadors, princes, for Michelangelo himself took and Cardinal Campeggi, the papal legate up Sangallo's work on his death, leav- to Henry VIII. resided in it for some ing it with the hall-mark of the person- time. ality which made everything he touched The characteristic note of Bramante's (not even of his own beginning) so ut- architecture solid strength and pure terly his oivn not so perfect, perhaps, outline is markedly apparent in the as the ideal of its creator, yet more courtyard of the "English Palace," with original. its fine, unimpaired vista of Doric col- Another regal courtyard is that of the iimns, its splendid proportions. It con- "Palazzo Borghese," an example of

FAMOUS ROMAN COURTYARDS. 89 later Renaissance architecture widely Nevertheless, many a splendid court- differing in effect to Bramante's vast yard, even of the latter Renaissance, is spaces and splendid perspectives. While well worth attention in the palaces of the architectural scheme, the work of Rome. One who loves the study of Lunghi and Flaminio Ponzio, is grandi- architecture can find matter for endless ose to a degree, with two noble tiers of interest in the Roman courtyards, for, arches springing from massive groups beside these few examples mostly of of columns, the almost colossal statues the finest epoch of the Renaissance and sculptural fragments seem to un- there are countless more, some mediaeval, duly crowd the spaces between the some of later date, but few that do not arches. Contemplating the effect of the possess either striking beauty of outline court as a whole, it appears, in a way, or peculiar suitability of decoration. though its proportions are undeniably Above all, the courtyards of Rome fine, as if such colossal arches, statues have a curious attraction altogether and columns needed a greater vastness their own, not only from their architec- of perspective to give them their full ture or associations, not even from the architectural value. The power and in- twin interests of the classic and historic tensity of the purer Renaissance had from the mingling, perhaps, of all these already been touched with the shadow causes : the Roman atmosphere which of decadence which was to sap its force surrounds them (to which sky and light in ceding to that feeling for the ornate, give a greater value), the purely classic the over-abundance of even fine and beauty, the romance of history, and the massive work, which took away from names of the masters whose personality the grand simplicity of the first great still lives in their great creations, in- masters. tensely charged with vitality. ENTRANCE DETAIL "JOURNEY'S END." House of Mr. Hayden, Lexington, Mass. NOTES AND O MMENTS

Two city improve- house themselves amidst fine architectural ment projects, costly, surroundings. The juncture of the new ave- TWO daring, but with un- nue and Broadway might be made a center INTERESTING usual practical merit of interest, and on the whole of the street to commend have southwest of PROJECTS. them, that point a splendid view of been brought forward the new Pennsylvania Railroad station would in the last few weeks be gained." The opportunity to get that is by architects. One of certainly one of the great architectural Ahem is the scheme of Henry Rutgers Mar- needs of the city to-day. Incidents of the shall for a new avenue to afford more direct plan are the creation of a plaza in front of connection between the Grand Central and the new Library and the widening of For- the Pennsylvania stations in New York. By tieth Street from Fifth Avenue to Park. starting it at Fifth Avenue and Fortieth Without doing the latter, the cost of the .Street, giving to it a long, slight and hand- land and buildings to be acquired has been some curve, and bringing it into Seventh officially estimated at about fourteen mil- Avenue just below Thirty-fourth Street, he lions; but it is undeniable that the avenue succeeds in avoiding any buildings of pro- would be of extraordinary convenience and hibitive value. The avenue traverses a that it would create large values. The other region which has thus far been little de- project to which reference was made has veloped, only two modern structures, in- been brought forward by J. R. White, of deed, standing in its way. One of these is Niagara Falls. It contemplates the build- the Knox building at Fifth Avenue and ing of a new Union Station at Third and Fortieth Street, where it starts, and the Falls Streets; the erection of a city and con- other a nine-story building, only forty feet vention hall on the site of the New York wide, near the corner of Thirty-seventh Central's present station; the elimination of Street and Sixth Avenue. Of the other a number of exceptionally dangerous and structures that would have to be acquired, annoying grade crossings and the construc- .hardly any are more than four stories in tion of a scenic boulevard along the river- '.height. On the other hand, the avenue bank, connecting the north and south ends would certainly develop, as Mr. Marshall of the greater city, formerly the villages of points out, a large amount of property that Niagara Falls and Suspension Bridge. The now yields little in taxes to the city. As trains would back into the new station and one studies its location, it becomes evident would journey from one end of the city to that it would almost surely become a great the other by the right-of-way acquired some shopping street. Of the artistic features, years since for a railroad that was never Mr. Marshall says: "From Fifth Avenue the built. It is interesting to reflect that one vista down the new curved avenue would can hardly think of two city improvement not be unlike that of Piccadilly in London; projects in America that would be seen and and sites upon it would certainly be sought appreciated by a greater number of differ- by wealthy merchants who could afford to ent people than would these. THE ARCHITECTURAL RECORD. 92

In "The Future Ex- spectacular, or even popularly attractive. It tension of the Suburbs deals only with the planning of streets and of Sheffield," a large the subdivision of property matters which CONTRASTED quarto, illustrated with in America we have need of taking up a REPORTS. maps and with dia- great deal more than we do. In part, the grams showing cross difference results, no doubt, from the fact section street develop- that the Sheffield report deals with the out- ments, there is offered skirts of the city, and not at all with the a good example of the attitude which is built up portions. Yet there remains the taken toward town planning by the archi- remarkable contrast, which is the more tectural profession in England. For this striking when it is realized that the Sheffield carefully developed project, which contains report, which does not touch upon archi- not so much as a hint of architectural bias tecture, was wholly written by an architect, or origin, is in reality the reprint of a lec- and primarily for architects; while the ture delivered before the Sheffield Society of American reports, a majority of whose Architects and Surveyors by Edward M. writers were not architects, place their em- Gibbs, F. R. I. B. A. Published in a form phasis so strongly on architectural develop- similar to that in which several American ment, even to the slighting of some funda- city plan reports have been issued, it offers, mental considerations. Town planning in also, an interesting basis of comparison be- England and city planning in America a tween the work in the two countries. For difference in term for the same thing which instance, the plans for Sheffield and those is of itself significant are still greatly un- for Rochester, Los Angeles and Grand like. Each has something to learn from the Rapids are issued in quartos which on the other; and both will be better as they grow outside look almost exactly alike, the ad- to be more alike. vantage in neatness, paper, and general at- tractiveness being, however, with the more expensive American reports. Within, the When Mayor Maj.ee latter are full of pictures, many of them of Pittsburgh recen :ly photographs, but many also drawings, won- signed the ordinance derfully cleverly done, showing perspect- AN authorizing the remo /al ively and prospectively architectural com- OBJECT of the Hump that hill positions of great attractiveness. There are LESSON. which has long con- ' shown, too, maps and diagrams that are of fined the business s jc- great interest and merit, as examples of tion of Pittsburgh - - a draughtsmanship at least; and though of the news note stated that plans were immedi- five different men concerned In the prepara- ately announced for skyscrapers of a tc tal tion of these American reports only two value of $100,000,000 to be erected on he were architects, the emphasis is overwhelm- partially leveled ground. One was to b> a ingly on the creation of the architectural monster hotel; another, a twenty-story of ice j city beautiful. In the English report, writ- building, and so the list went on. It offe -ed a curious ten entirely by an architect, there are tables commentary on American ideas of] showing population and area growth; there urban expansion. No one seemed to th nk are but five photographs, and these are of of business suddenly spreading out, to flow in

i streets; the cross section diagrams might thin stream over a large space. The tea : all was inch inch have been made in the office of a city by progression, the ground mt , engineer; and of the five large folded maps, to just as intensive use as if insurmountz ble four are topographical, and crudely and un- barriers still hemmed it in. What, after all,] did the attractively done, and presented in black business section actually gain?] and white. The fifth is a simple line draw- Might it not, from a congestion standpoi t ing suggesting a plan of model convenience congestion of traffic, with all the expense ind for a city situated on a plain. Neither in loss which that involves, as well as con; es- illustrations or text is there suggestion of tion of human beings have been a little Bet- ter architectural composition. The country for Pittsburgh if, the Hump remainin ;, a around Sheffield is business exceedingly ruged, and secondary center had been de-^j the whole discussion has to do with con- veloped? For, of course, though all ills tours, with engineering details, and with were leveled, there still would be the ban ers housing. Park reservations are referred to, of time and distance to crowd business to- but briefly. The report considers much more ward the center, to restrain its rapid ut-

fundamental matters than do the American ward movement, to force intensive . us< of reports. There is nothing about it which is land, unless some legislative restrictior on NOTES AND COMMENTS. 93 the height of buildings should give artificial last thought of, no doubt partly because the stimulus to its movement. The idea of ex- ancient Greek color is lost, and partly be- pansion illustrated is American because cause of the low standards of taste that pre-

American city ordinances so rarely provide vailed in the century just closed. . . . There that stimulus. A striking object lesson is are few safer, better colors than good brick, offered by the event. and yet even this must be hidden in a coat of most atrocious red paint. There are City planning im- plenty of good colored slates, yet the only provements in Liver- unpleasant one, the leaden gray, is the ac- CITY pool are usually asso- cepted style." He claims that not a single PLAXXIXG ciated with the water- building in New York has lost its color IX front developments and through soot or dirt, though often colors have been subdued or and sometimes LIVERPOOL. with housing improve- veiled, ments, but Liverpool improved, by the "bloom of time." He be- has not been overlook- lieves that ultimately public good taste ing the spectacular and grandiose effects of would be a guarantee against vulgarity in modern city planning. A thoroughfare that color, and that meanwhile a sufficient safe- varies in width from eighty-four to one hun- guard would be construction with colored dred and eight feet has been constructed materials. He thinks the "great companies" for around the city in a rough semi-circle, so as would be willing to pay beauty. "They to enclose the city on all but the river side. might put decorative telegraph poles on their for Now practically completed, it is about seven roads the same reasons that they put miles in length, and is situated from three onyx pillars in their stations." to four miles from the center of the city. Intersecting at various points are radial While New York or roads leading out to other towns outlying where city life has been sections. Some of these are as much as one PALACE always a moving pic- hundred and fourteen feet in width. Car AXD ture has been resign- tracks are laid on many of them, and many itself to the GARDEX. ing pass- of them are beautified with wide grass mar- ing of the Madison gins and plantations of shrubbery. These Square Garden, London broad streets have been secured by requiring has been agitated by the landowners to give without cost street the threatened loss of the Crystal Palace. But width to the amount of sixty feet, this being the Palace, which was opened to the public the by-law requirement. Then the city pur- nearly sixty years ago, and has been visited for the additional chases the strips required by not less than 100,000,000 people if the width. weary turnstiles may be trusted, is a good deal older institution than Madison Square "If Da Vinci Came to Garden and has a stronger hold on the popu- Town" is the suggestive lar heart. So the threatened loss was re- title of a sketchy note garded as something like a public tragedy; WAXTED, which Ernest Thompson and when the auctioneers announced that A DA VIXCI. Seton has contributed the sale would take place on November 29 to The American City. and issued a catalogue of the immense build- It begins with a pro- ing and its contents, the Lord Mayor con- test against classicism, vened a meeting at the Mansion House on the ground that if Leonardo "had to de- itself of "all bodies and persons interested sign a bridge, a cathedral, or a spoon," he in the acquisition of the Palace and its would not have gone "to the library to try grounds for the use of the public forever." to find out how the ancient Greeks did it. It was stated that five million dollars would ... It is very sure Da Vinci would have ac- save the building, and several thousand cepted modern life in modern shape, but pounds were pretty promptly subscribed. would have helped by the touch of his But the sum was a big one to raise in a genius." The second point of the article is month's time, with no very definite plan thus expressed: "Of all the ugliness of our agreed upon for the future of the institution modern towns the least justifiable is the and indecision as to whether or not the ugliness of their color. There is no reason, building could be suitably regarded as a

| economic, climatic, or geographic, why New public memorial to the late King Edward. York should not be as beautiful in color as With a "sigh of relief, therefore, England Venice. ... Of all the defects, that of color read one November morning that the Earl is the easiest to remove, and of all it is the of Plymouth had purchased the Crystal Pal- 94 THE ARCHITECTURAL RECORD.

ace and would hold it until the national 000,000 is set aside for what we call city- fund should be able to take it off his hands. planning work, to be used in the creation or By such occasional acts as this the privileged extension of traffic arteries, etc. With all class almost justifies its existence, though the talk about the town-planning act of one may wonder whether some of our own Great Britain, the fact has been almost over- rich men might not have risen to the like looked that France has its counterpart in opportunity, had there been a correspond- the passage of the Beauquier town extension ingly popular expression of the wish un- bill. This bill provides that within five years doubtedly widespread to save Madison from the date of its passage each urban dis- Square Garden. Picturesqueness and beauty trict containing ten thousand or more in- are all in favor of the Garden, as also is habitants shall prepare a plan for its im- convenience of location, while educational provement and extension. This shall "de- value and ministration to popular social and termine the position of public squares, gar- moral needs in which the Palace has had dens, parks and open spaces; shall fix the the advantage were mere incidentals that width of roads, their direction, the' manner could be easily provided under another of constructing the houses, and, in general, 3 management. It is interesting to note, too, shall establish the proper development of the that the Palace, for all its popularity, has town on hygienic and artistic lines." The * not been a financial success for more than plan must be approved by the department forty years. But in one respect, its loca- Bureau of Hygiene and by the commission tion has given to the Palace a great ad- for the preservation of sites and places of * vantage over the Garden. For while the natural beauty or historic interest. The "Garden" is really only a building, the plan must also be subject for a year to "Palace" plant includes a park of 200 acres, public criticism and objection before the adorned with great fountains and oppor- Council of State shall authorize its adoption. tunities for out-of-door sport of various Once adopted, it is to remain in operation kinds. that the central for 30 it is to be History says when years, when renewed, :ind| building was constructed there was the op- during all this period extensions and im- position and criticism that great projects provements must be made in accordance evoke. It was said the nearly always that with it. first strong gale would blow it that down; Copies have been re- the heat of the focused the sun, through ceived in this country countless would death glass panes, grill to COMPETITION of the official invita-l all who stayed and that inside; that, failing FOR tion to participate in untoward circumstance, the plague was sure AUSTRALIA'S the competition for thej to ensue from the confluence of such vast CAPITOL,. planning of the lew, multitudes as such a building would harbor. ^ capital city of us-j tralia. The invital ion,] The cities in this which comes from the Minister for H >me '

country which have Affairs for the Commonwealth of Austr: -lia, TOWN made such a stir about at Melbourne, states that there will be t" ireel getting "city plans" and prizes. The first carries a premium of $8,- PLANNING IN adopting a program of 750; the second a premium of $3,750, ana FRANCE. improvement to last the third a premium of $2,500. To assist thel over a term of years, competitors in the preparation of their p ans in order that each may information is given under the headi igs: be "the Paris of America," will do well to "Historical and Introductory," "Reqi ire- study the new improvement project to which jments," '"Description." Further infoi ma-,' Paris has now, with no great fuss, committed tion may also be obtained by addressing the herself. This contemplates the expenditure proper authorities. The data given incl ides of $180,000,000 on municipal improvements, not only historical notes, but statistics re-3 the expenditures to be spread over a period lating to meteorology and climatology, om- of fifteen to eighteen years, and to be met plete contour maps of the section of c >uni by the issue of municipal loan stock. School try immediately concerned, and topogn phi- additions and improvements are to take one- cal maps of nine hundred square mik -; c-f : tenth of the sum; hospitals, $7,000,000; new federal territory, maps showing rail fall, construction connected with the water sup- temperature statistics, reproductions of 1 tnd- ply, $25,000,000; street work, $9,000,000; the scape sketches, etc. The structures for fight against tuberculosis, $6,000,000; public which sites must be provided include the buildings, $5,000,000; and squares and gar- Parliament House, the residences of the dens, $3,000,000, while the great sum of $86,- governor general and prime minister, r iblic NOTES AND COMMENTS. 95 offices for each of the various departments of course, too broad an assumption, as the government, courts of justice, places of pub- architects themselves will doubtless admit. lic worship, a national art gallery and For those who have been able to keep up library, university, technical college, city their schooling in engineering, such books hall, general post office, museum, railway answer, in a way, the needs of every-day station and freight yards, military barracks, practice. The profession at large, however, hospitals, national theatre, central power remains, to a considerable extent, ignorant station, gas works, markets, stadium, parks, of and uninterested in the art of engineer- public gardens, etc. The corn-petition is in- ing as it concerns the constitution of build- ternational in every sense. It is promised ings. On the whole, the art of engineering that the prizes will be awarded within two remains for the American architect merely months from the date of the receipt of the an intricate process of competition, which designs. All designs submitted are to be must occasionally be tolerated, but which exhibited in Melbourne for a reasonable pe- can generally be supplied by the draftsman riod. Thereafter the competitors may, if who knows how to use the tables in the con- they desire, arrange on their own 'behalf a struction hand-books. Herein lies the cause second exhibition to be held in London or for a regrettable lack of sympathy between elsewhere. architect and engineer, a circumstance more potent than any we know to work to the The Proceedings of detriment of both architectural and engi- the Third National Con- neering work. PROCEEDINGS ference on City Plan- If only the architect were a little more of OF CITY ning, which was held in an engineer and the engineer a little more of PLANNING Philadelphia last May, an architect, what opportunities would be CONFERENCE. have now been issued created for mutual help and progress! in a dignified volume, uniform in style with From the headquar- those of the Second Conference. The papers ters of the Los Angeles are given in full; but the discussions, both SECTIONAL 1910 Movement and prepared and extemporaneous, have wisely TOWN Municipal Reference been shortened to the extent of eliminating PLANNING Bureau, comes a pro- repetitions. The list of subjects considered CONFERENCE. spectus of the first in the numerous papers, if somewhat for- Southwest city planning midable in extent, is replete with interest. conference. It is an- Their authors include not only most of the nounced to be held in Los Angeles in No- men who are prominent in this country in vember. "In the Southwest it is possible to the city planning movement, but also three develop," says the prospectus, "a distinctive Englishmen: Raymond Unwin, Thomas H. type of city. We love the open air and sun- Mawson and Thomas Adams. The book, shine, the broad spaces, the flowers and which may be purchased from the Secretary fruits, and mission style of architecture. The of the National Conference, Flavel Shurtleff, closely built up city is not to our liking." 19 Congress Street, Boston, while neces- To promote the planning of this indigenous sarily lacking homogeneity as all conven- type of town, the city planning conference tion proceedings do is yet a valuable addi- for that section has been proposed. There tion to the slowly growing literature of a are to be sessions covering three days and an very broad and very interesting subject. exhibit. The experiment will be watched with interest. It is to be tried under good Among the numerous auspices, and the idea of sectional city plan- books on building con- ning conferences has much to commend it. The town in old New ARCHITECT struction we have yet planning problems AND to find one which pre- England, for example, are quite unlike those sents the subject in a of the new cities on the Western plains or ENGINEER. way entirely intelligi- those of the South Atlantic seaboard; and ble and helpful to the while, on the one hand, it is true that no architect. Our books two cities are alike, and on the other, that on construction are invariably of that class there are enough problems common to all to termed practical, assuming a thorough justify an occasional national, or even inter- knowledge of elementary mathematics and national, gathering, yet the sectional con- some understanding of the principles of sta- ference, where may be discussed the prob- tical mechanics, physics and the constitu- lems of a like environment, would seem to

tion of building materials which is, of have special opportunities for helpfulness. THE ARCHITECTURAL RECORD.

Credit was given, in the November Num- at its base standing in a reservation of four- ber, to Butler & Rodman, architects, for a teen acres. Six hundred thousand dollars will house at No. 13 East 77th Street, New York be expended upon the construction of the City. This was unjustly insufficient, for the monument and museum. The reservation name of Mr. E. R. Bossange should have ap- will be designed as a suitable setting for the peared as an associate architect. memorial. The program, which conforms to the prin- ciples approved by the American Institute of Credit should be given Messrs. Wurts Architects has been so drawn under the di- Brothers for the photographs used to illus- rection of the committee and Mr. Frank trate the "Portfolio of Current Architec- Miles Day adviser to the committee, that the ture" published in the December issue of The problem presented is a most attractive one. Architectural Record. Competitors will have the fullest scope for their artistic imagination. The prize of the competition will be the appointment as archi- The Building Committee of the Perry Me- tect to design and superintend the construc- morial announces a competition for the selec- tion of the memorial. There are also to be tion of an architect for the memorial which three premiums for the authors of the de- will be erected at Put-in-Bay, South Bass signs placed next, to the winner. Island, Lake Erie, near the place where The Building Committee will be advised in Perry's victorious action was fought. The making its award by a jury of well knows memorial will commemorate not only the experts. victory but the subsequent one hundred years Architects desiring a copy of the program of peace between the United States and which sets forth the conditions of participa-

Great Britain. , tion, should make application to Mr. Webster

It will consist of a lofty commemorative P. Huntington Secretary to the Build ng i monument with a museum of historic relics Committee, Federal Building, Cleveland, Ohio. \