RECOUD

%OI.. X X V I I I . N o . 3. W h o l e Vto. 114

X E I ' T C m U E K , 1»10

C O N T E N T S

I'AGK

THE N E W Y O R K PUBLIC LIBRARY . . (Illustrated) 145

The Most Important of the Great American Educational
Institutions.
CARRI.RE* H A S T I N ( ; . S . Arcliilrcis
A. C . David

A SUCCESSFUL BOSTON RESIDENCE Illustrated) 173

An Example of Restrained Treatment in the Design of
a City Dwelling.
A R C H I T E C T U R E O F A M E R I C A N C O L L E G E S . (Ills.) 183
V . — Universities of Pennsylvania, Girard, Haverford,
Lehigh and Bryn Mawr.
M o i i i t i n n c r y ^^^•lllly!c^

THE EVOLUTION OF ARCHITECTURAL ORNA-

MENT (Illustrated) 213
V I . —Ornament With a Human and Animal Basis, Classic
and Renaissance School.
(;. A. T . MiU.llctoii. A. R. I. U. A.

NOTES AND COMMENTS 227

PUBLISHED B Y

THE ARCHITECTURAL RECORD COMPANY

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47
n
 RECORD
VOf,
si'.i'Tic.Ti i { i : i s , 1010 No. :i.

THE N E W Y O R K PUBLIC L I B R A R Y
The Most Important of the Great American Educational Institutions
Carrcre 6? Hastings. Architects

A. C . D A V I D

All architectural commentator cannot which embodied most of what was good
well approach such a building as the in contemporary American architecture,
New York Public Library without a the Xew York Public Library would be
feeling of grave responsibility. In at- the choice of a handsome majority. In
tem|)ting to put some sort of an esti- criticizing it. consequently, a merely i n -
mate upon it. he is confronted both by a dividual judgment, no matter how well
large and important public edifice, and considered it might be. would at the
by a formidable array of incidental, but present time scarcely count. I t is f a r
imposing, claims to consideration. The more important to understand exactly
building is not merely spacious and i m - w liy the building meets with such wide-
portant, but it is the mo.st imjjortant s])read popular and professional appro-
huililing ercck-d. since the American val.
arcliiicctural revival began, in the largest I'crha])s some justificali'iii may be
city in the country. I t has been de- needed f o r the statement that the New
signed by a firm of architects who, ac- York Public Library is the most impor-
cording to general consent, stand at the tant building erected since the American
head of their profession. The library architectural revival began. A little con-
building they have presented to New -idcratiiiu will show that the foregoing
York is undeniably popular. It has al- claim is not in any way excessive. I n
ready taken its place in the public mind thv first place, in any modern American
as a building of which every Xew city the public library is the institution
Yorker may be proud, and this opinion which is most representative of the as-
of the building is shared by the archi- pirations of the community. The City
tectural profession of the country. O f 11 all and the County Court House have
odiir-c. it does ni>t please everybody; but become less rejjresentative of popular
i f American architects in good standing aspirations than they should be. because
were asked to name the one buildintr our local governments and our local

C.'iijTlKlu, 1910, by " Tiiic AHCiiiTKoniRAi. RKOOUD CoMrANT." All rlslilK rmrrytiA.
KiilermI May 23, 1903, HH Hoi-niiil-rlHHa niattwr, I'OHI Offl.'i. iit New York, N . Y . , Act nl ConffrenB . i f M«ri-li Sil, 1878.
146 THE ARCHITECTURAL
courts have deservedly suffered a good
(leal in popular estimation, and the
churches are the spiritual habitations
merely of only fragments of the com-
numity. But the typical American aspi-
ration is emboilied in the word "educa-
t i o n " ; and of all the organs of education,
the one which belongs to the whole com-
munity is the public library. Partly
owing to the generosity of a single indi-
Bronze Doors. .Main Entrance—New York
Public Library.
New York City.
Carr^re & HaslinRs. Architects.
vidua), they have been built in enormous
numbers all over the country: and al-
most universally they have assumed an
in.stitutional character. The old idea of
the library as a secluded room, i n which
.•i t\\v scholars could browse at leisure
among dusty volumes, has given way to
the idea that it is essentially a vehicle of
popular education—one which should be
in some measure supported by public
RECORD.
fimds and managed chieHy for the pur-
pose of giving the widest possible circu-
lation to its accumulated and accumu-
lating store of books.
The .American public library, conse-
quently, has, like all institutional build-
ings, usually been designed f o r the pur-
pose of imposing itself upon the public.
It has not attempted to solicit patronage
by a suggestion of studious detachment.
It has announced to the public f r o m
some colonnaded portico that it was a
great educational institution, and that
the public nuist, f o r its own good, come
in and get educated; and the designers
have never felt it necessary to invite
patronage by retaining in the building
any flavor of domesticity, which in E u -
rope has always been associated with
such edifices.
The public libraries in the smaller
American cities, whose dimensions were
not well adapted to monumental treat-
ment, have suffered from being treated
too much as educational institutions and
not enough merely as the shell of a
reading-room and a book-stack. But in
the larger cities, who.se libraries are
large, well equipped and fully capable of
becoming valuable agencies f o r the dis-
semination of knowledge and ideas
among a large number of people, the
institutional idea has a luuch better
chance of elTective architectural expres-
sion. .Such was particularly the case
with the New York Public Library. N o
other library in the country represented
such a combination of private and pub-
lic endowment. The collection itself was
the result of the generosity of three pri-
vate donors, while the site f o r the new
building and its cost was supplied by the
city; and the city had been even more
generous than Messrs. Astor. Lenox and
Tilden. I t had given a site in the heart
of the city, whose market value at the
present time must be between $7,000,000
and $8,000,000; and it had erected on
this site an edifice almost regardless o f
expense. No public library in the world,
unless it be that of Boston, occupies such
a superb site, and on no other library
building has anything like as much
money been lavished. I t is, consequent-
Iv. a veritaljle institution—the result,both
 THE NEW YORK PUBLIC LIBRARY.

of individual and of public aspiration apartments f o r particular purposes o f

and of individual and public sacrifices, ail kinds, ranging from galleries to small
and one which, when completed, will rooms f o r special collections of books.
constitute a most efficient piece of ma- I t is a well-known fact that in such
chinery f o r converting a collection of buildings as the Columbia, the Boston
books into a means of popular instruc- and the Congressional libraries, these
tion. The huildin;^- becomes the most im- practical requirements have been met
portant building of its kind in the coun- only in a very inferior manner; and while
try, because i t will provide a fitting habi- we have never seen the building, we un-
tation for the most useful existing l i - derstand that they are being most com-
brary in the largot American city.
There is one difficulty, however, which
confronts almost every American archi-
tect who has to design a monumental
public building. The really great monu-
mental buildings have usually been sim-
ple in plan. They have been built usu-
ally around a comparatively few rooms
of considerable area and height, which
were also capable of large and simple
treatment, and whose dimensions could
be adapted to the scale o f the exterior.
But in all American monumental build-
ings, except, perhaps, tombs, the plan
is necessarily very complicated. A few
large rooms are required, together with
a multitude of insignificant ones; and
these rooms are required f o r certain
practical purposes, which makes good
lighting and a certain arrangement essen-
tial. A conflict almost certainly ensues
between the plan and the design; and
this conflict almost inevitably results in
a compromise, in which either certain
important ingredients of a perfect plan
or a perfect design, or both, are sacri-
ficed. The consequence is that the finest
achievements of the American architec-
tural revival are not to be found in mon-
umental buildings; and edifices such as
the Columbia College Library and the
Pennsylvania Station in New York, Bronzc Doors.
Exhibition Room—New York
which are most imposing and effective Public Library.
New York City.
as a matter of pure architectural f o r m ,
Carr^re & Hastings. Architects.
are usually wasteful in plan.
In the case of a library, the difficulties pletely satisfied in the new library which
which the necessities o f the plan im- has been built f o r the L'niversity of Cali-
pose upon the architect are harder to fornia.
solve even than they are in the case of Messrs. Carrere & Hastings have al-
a court house or a state capitol. The ways been most conscientious about ar-
chief requirements are a spacious and ranging the plans of their buildings so
perfectly lighted reading-room, an ar- as to meet every reasonable practical re-
rangement o f the stacks, so that the quirement; and the New York Public
books are easily accessible and their titles Library is no exception to the rule. Its
easily read, and a large number of small arrangements f o r storing and handling
148 nil, .ih'Ciirri'LTrK.iL
the books are said to be entirely satisfac-
tory to the manaf^ement of the library.
The main reacliny;-room is one o f the
most spacious rooms in the world—
beautifully proportioned, lighted, by a
series of windows on both the long sides
of the room, and entirely accessible to
the stacks. To have obtained a room of
these dimensions, so excellently adapted
to its purpose in every respect, was a
great triumph f o r the architects. The
smaller rooms, also, particularly those
like the gallery, whose practical require-
ments are severe, are also admirably
planned f o r their purposes. These rooms
have been supplied with a good light by
avoiding anything like a heavy colonnade
on the fa(;ade; and while most of them
(all of them except those situated on the
corners) obtain light from only one d i -
rection, the light is in all except a few
cases, all that is needed. The corridors,
which parallel to the outer lines of the
building between two rows of rooms,
one lighted f r o m the street and the other
f r o m a court, have to be artificially
lighted, but that is as it should be.
I t is an interesting fact, however, that
the superbly dimensioned reading-room
—an apartment 395 feet long, over 75
feet wide and 50 feet high—has prac-
tically no salient effect on the exterior of
the building. It stretches along the rear
of the structure, and this fagade is very
plainly treated, without any pretence to
architectural effect. I t is, indeed, de-
signed frankly as the rear of a structure
which is not meant to be looked at ex-
cept on the other sides. .-\ny attempt,
consequently, at monumental treatment
has been abandnned. The building is
designed to be seen f r o m F i f t h .\venue
and f r o m the side streets. The rear, on
Br}-ant Park, merely takes care of itself;
and one of the largest apartments in any
edifice in the United States is practically
concealed, so f a r as any positive exterior
result is concerned.
The .striking fact mentioned in the pre-
ceding paragraph is a sufficient charac-
terization of the purpose of the archi-
tects. They recognized that they could
not plan a room of the required dimen-
sions and light it properly without de-
stroying its value as the primary motive
h'i:coRi>.
of a monumental building: and in obedi-
nce to their settled policy of being loyal
primarily to the needs of the plan, they
deliberately sacrificed the monumental
to the practical aspect of the edifice.
What is more, they sacrificed the archi-
tectural effect of the interior of the read-
ing-room to the convenience of the man-
agement in the handling of the book-.
This superb apartment is cut in two by
an elaborate wooden screen, f r o m which
the books contained in the stacks are to
be distributed; and it is, consequently,
almost impossible to get the f u l l archi-
tectural effect of the reading-room, ex-
cept f r o m some point along the balcony.
The Xew York Public Library is not,
then, intended to be a great monumen-
tal building, which would look almost as
well f r o m one point o f view as another,
and which would be fundamentally an
example of pure architectural form, it
is designed rather to face on the avenue
of a city, and not to seem out of place
on such a site. I t is essentially and
frankly an in.stance of street architec-
ture: and as an instance of street archi-
tecture it is distinguished in its appear-
ance rather than imposing. Not. indeed,
that it is lacking in dignity. The faqade
on F i f t h Avenue has poise, as well as
distinction: character, as well as good
manners. But still it does not insi.st upon
its own peculiar importance, as every
monumental building must do. I t is con-
tent with a somewhat humbler role, but
one which is probably more appropriate.
I t looks ingratiating rather than impos-
ing, and that is probably one reason f o r
its j)oi)ularity. I t is intended f o r popu-
lar rather than f o r official use. and the
linilding issues to the people an invita-
tion to enter rather than a command.
brom a strictly architectural point of
view, there are many criticisms which
can be passed upon the design. The
niches and fountains on either side of
the entrance—the one monumental fea-
ture of the building—are a not very
happy and appropriate device to orna-
ment to stretches of blank wall which
flank the entrance porch. The treatment
of the two ends of the faqade is weak.
The scale of the engaged colonnade
looks too contracted. The fact has not
 THE XEir ] ORK PUBLIC
been sufficiently considered in the design
that one sees the building not when one is
walking west through Korty-tirst .Street,
but when one is walking up or down
F i f t h Avenue. But blemishes such as
those mentioned are not of sufficient im-
portance seriously to attenuate the fun-
damental impressiveness and attractive-
ness of the fa(;ade. The architects have
succeeded in making the library suffi-
ciently imposing and dignified in charac-
ter to satisfy the prevailing iilea that a
library is a great educational institution,
w hile, at the same time, they have awak-
ened popular intere.st by making it look
like a pleasant place to enter and use.
And this is a great triumph, because
there is a real and sometimes an appar-
ent 1\ irreconcilable conflict between the
monumental and practical aspects of
such liuildings.
The final judgment on the New York
Public Library will be, consecjuently.
that it is not a great monument, because
considerations of architectural f o r m
have in several conspicuous instances
been deliberately subordinated to the
needs of the plan. In this respect it re-
sembles the new Museum of I'ine Arts
in Boston. The building is at bottom a
compromise between two groups of part-
ly antagonistic demands, and a compro-
mise can hardly ever become a consum-
mate example of architectural I ' l u n i .
But. on the other hand. .Messrs. Carrere
& Ha.stings have, as in so many other
cases, made their compromise success-
f u l . I'aithful as they have been to the
fundamental requirement of ada|)ting
the building to its purpose as a library,
they have also succeeded in making it
look well: and they have succeeded in
LIBRARY.
149
making it look well partly because the
design is appropriate to its function as
a building in which books are stored,
read and distributed. A merely monu-
mental library always appears somewhat
forbidding and remote. The New York
Public Library looks attractive, and so
far as a large building can, even inti-
mate. And in this respect it differs f r o m
the Boston Museum of Fine Arts, which,
excellently planned as it may be, pre-
sents a dull and rigid architectural mask
tu the public.
The popularity of the New York Pub-
lic Library has, consequently, been well
earned. The public has reason to like
it, because it offers them a smiling coun-
tenance: and the welcome it gives is
merely the outward and visible sign of
an inward grace. When people enter
they will find a building which has been
ingeniously and carefully adapted to
their use. Professional architects like
it, because they recognize the skill, the
good taste and the abundant resources
of which the building, as a whole, is the
result; and while many o f them doubt-
less cherish a secret thought that they
would have done it better, they are
obliged to recognize that in order to
have done it better they would have been
obliged to exhibit a high degree of archi-
tectural intelligence. In the realism o f
its plan and in the mixture of dignity
and flistinction in the design, the New
York Public Library is typical of that
which is best in the contemporary Amer-
ican architectural movement; and New
York is fortunate, indeed, that such a
statement can be made of the most im-
portant public building erected in the
city during several generations.
 THE ARCHITECTURAL RECORD.

F I R S T FLOOR PLAN.

T H I R D FLOOR P L . \ N .
T H E NEW YORK PUBLIC LIBRARY.
New York City. Carrero & Hastings, Architects.
 THE NEW YORK PUBLIC LIBRARY.
151

D E T A I L O F ."iTH A V E N U E F R O N T — N E W YORK ITULIC LIBRARY.

New York City. Carrere & Hastings. Architects.
 77//: ARCHITECTURAL RECORD.
I ^-2

1 1 I I I I

FORTY-SECOND S T R E E T ST.MRCASE—NEW YORK PUBLIC L I B R A R Y .

New York City. Carrfere & Hastings, Architects.
 THE NEW YORK PUBLIC LIBRARY.

l-:.\-TRANrE H A L L - N E W Y O R K P U B L I C L I B R A R Y .
Carrfere & HaslinRS, Architects.
New York City.
^ 54- TH E ARCHITECTURAL RECORD.
THE NEW YORK PUBLIC LIBRARY.

It.
THE ARCHITECTURAL RECORD.

111
kmmmmmt
kmmmmml
'kmmmmUl

'
THE NEW YORK PUBLIC LIBRARY. 157

1
 153 THIi ARCHITF.CTVRAL RECORD.

D E T A I L O F M.MX R E A D I N G ROOM S C R E E N — N E W YORK PUBLIC LIBRARY.

New York City. Carrfire & Hastings, Architects.
 THE XEir YORK PUBLIC LIBRARY. 159

DOOR TO E X H I B I T I O N ROOM—NEW Y O R K P U B L I C L I B R A R Y .
New York City. CarrSrc & Hastings. Architects.
i6o THE ARCHITECTI KAI. RECORD.
THE Mill- YORK FCBUC LIBKARY l6l
11 I j THE ARCHlTKCrVRAL RliCORD.

1
THE SEW YORK PCBUC LIBRARY 163
 THE ARCHITECTURAL RECORD.
164

EXHIBITION" ROOM C E I L I N G — N E W Y O R K P U B L I C L I B R A R Y .
New York City. Carr&re & Hastings. ArchitectJ
 THE NEW YORK PUBLIC LIBRARY.
165

EXHIBITION ROOM C E I L I X G — N E W Y O R K P U B L I C L I B R A R Y .
New York City. Carrfere & Hastings. Architects.
i66 THE ARCHITECTCRAL RECORD.

C A T A L O G U E ROOM C E I L I N G - N E W Y O R K P U B L I C L I B R A R Y .
New York City. Carrfire & Hastings, .-\rchitects.
 THE NEW YORK PUBLIC LIBRARY. 167

M A N T E L IN' T R U S T E E S ' ROOM—NEW Y O R K P U B L I C L I B R A R Y .

New York City. Carrfere & Hastings. Architects.
F . L . M. Tonetti. Sculptor.
 THE ARCHITECTURAL RECORD.

L E N D I N G D E L I V E R Y ROOM—NEW Y O R K P U B L I C L I B R A R Y .
New York City. Carr^re & Hastings. Architects.

LENDLNG D E L I V E R Y ROOM—NEW Y O R K P U B L I C L I B R A R Y .
New York City. Carr6re & Hastings. .Art hitects..
 THE SEW YORK PUBLIC LIBRARY. 169

IPI

S P E C I A L R E A D I N G ROOM. •'AMERICANA."—NEW Y O R K P U B L I C L I B R A R Y .
New York City. Carr6re & Hastings. Architects.

S P E C I A L R E A D I N G ROOM—NEW Y O R K P U B L I C L I B R A R Y .
New York City. Carr&re & Hastings. Architects.
 I/O THE ARCHITECTURAL RECORD.

'•"""••Nh.-- „ . . . . .

RECEPTION ROOM—NEW Y O R K P U B L I C LIBRARY.

New York City. Carr^re & Hastings. Architects.

r
1 ^^
DIRECTORS" O F F I C E — N E W Y O R K P U B L I C L I B R A R Y .
New York City. Carr6re & Hastings, Architects.
 THE NElf YORK PUBLIC LIBRARY. i/i

PICTURE G A L L E R Y . STUART COLLECTION—NEW YORK PUBLIC LiimARY.

New York City. Carr^re & Hastings. .Architects.

PICTURE G A L L E R Y . STUART COLLECTION—NEW YORK PUBLIC LIBRARY.

New York City. Carrdre & Hastings. Architects.
172 THE ARCHITECTURAL RECORD.

—^PHIf^
• 1 <

IIL
HI

, , //T

FLAG POLE—NEW YORK PUBLIC LIBRARY.

New York City. Carr6re & Hastings. Architects.
 A SUCCESSFUL B O S T O N RESIDENCE
An'Example of Restrained Treatment in the Design of a City Dwelling
PARKER. THOMAS
The urban residence of to-day. de-
signed to be tlie "home" of its occupant,
rather than a place which expresses only
the owner's abundance of wealth, is in-
deed refreshing. Where the ai-chitect has
ccnveyed the impression of refinement,
omitting vulgar ostentation, by discreet
and intelligent architectural treatment, we
lind the successful house. There should
be a close relation between the architec-
ture and the life of the people who in-
habit the dwelling, and architecture to
be appreciated should be the art of build-
ing in accordance with the laws of ex-
pression. Fitness and stability are al-
ways to be considered as the subject-
matter of the architect's expression. O f
course, certain common characteristics
in the treatment of all city dwellings
will be found. The limits of the small
street frontage and the depth of the lot
furnish problems in design and plan
which need careful study. Houses of
this type being so much higher in i)ro-
portion to their width, it follows that
scale mu.st be obtained by careful con-
sideration of all those details which make
up a successful design.
The accompanying views of perhaps
the latest hou.se in Boston's Back Bay
section are interesting as showing the
tendency in our best city houses towards
restraint and quiet general treatment o f
exterior and interior.
The characteristics of the New Eng-
land temperament are shown in the un-
ostentatious character of the best class
of houses in and about Boston, and are
well exemplified in this design. lUiilt of
limestone in Louis X V I . style, it attracts
chiefly from the well-studied facade and
carefully considered fenestration, while
the ornament, sparingly used, is nicely
dis|)osed. The scale of the enrichment>
is fine, but count effectively, as the faj^ade
R I C E , Architects
faces south and is continually bathed in
sunlight. The plan is well exjjressed in
the elevation, indicating the .second story
as of greate>t importance, and, in gen-
eral, we have little to criticise either as
to the architectural expression or the
gfiK-ral etTect.
The house occupies a lot 30x100, and
is planned for a small family. ()n en-
tering, we find the vestibule shut off in
effect f r o m the rooms of the first fioor,
giving a sense of privacy and seclusion,
m marked contrast to the large entrance
hall plan, with central door opening up
the first floor to anyone entering. A
charming little reception room in the
Adams style is found near the entrance,
and, looking through into the dining
room, the conservatory forms a pleasant
ending to the vista. The dignified and
restful effect of the dining room is ac-
complished, as will be seen, by the sim-
plest motive, allowing the handsome fig-
ure of the selected mahogany to count as
nnich as possible.
The main stairs end at the second
floor, a smaller flight f o r u.se of the fam-
ily starting from the second-story hall,
making it possible to completely shut off
the upper part of the house when de-
sired. The owner, Ix-ing a nnisician, has
paid especial attention to the arrange-
ment for entertainments, and f o r this
reason the plan is opened up as much as
possible, wide doors, without thresholds,
giving a spacious effect essential for such
functions. The gray and gold music
room at one end is balanced by the
library, simply paneled in Circassian
walnut, the effect being most successful.
The furnishings thmughout are in the
>ame good taste which characterizes the
treatment of all the tletails. The hall is
lighted f r o m above through a large well,
which gives excellent light in the upper
stories.
 174 THE ARCHITECTURAL RECORD.

The owner's bedroom is particularly
interesting and •"livable." a,s will be seen
from the illu.-^tration. and furnished in
excellent ta.stc. A n elevator has been
installed, which adds materially to the
comfort of the inmates.
Large and ample closet and storage
rooms have been provided, which are so
much welcomed by the good house-
keeper.
'J he servants* portion of the house is
well removed f r o m the master's, and
separate enclosed stairs run f r o m the
basement to the fourth floor.
Parker. Thomas cS: Rice, the archi-
tects, are to be congratulated on hav-
mg produced a city house of moderate
size which in both exterior and i n -
terior is satisfying f r o m the restraint
ixtTcisod in subduing the ornament as
contrasted with the many city houses
one .sees, where restful, plain sur-
faces are the exception, and where
the qiuet domestic feeling is com-
pletely lost in a riot of colored
marbles and overloaded ornamenta-
tion.
R. F . w.

•11

T H E N O W E L L RESIDENCI^:.
Bosion, Mass. Parker. Thomas & Rice, Architects.
 A SUCCESSFUL BOSTON RESIDENCIl. '75

DETAIL OF FACADE—THE NOWELL RESIDENCE.

Boston, Mass. Parker, Thomas & Rice, Architects.
 7'' THE ARCIIITECTCRAI. RF.CORD.

y P->.;.-

c'iErCMD njDOE R A N rPJRD r^OOD FLAN

nCJT FIjDOC P L A N
THE NOWELL RESIHE.VCE.
Boston, Mass. Parker, Thomas & Rice. Architects.
 SUCCESSFUL BOSrOX RESIDENCE. 177

Second Story Stair Iliill.

•4:

liall.
T H E N O W K L L RLCSl DKM ' Iv
Boston, Mass. Parker, Thomas & Rl'-o, Architects.
1/8 THE ARCHITECTURAL RECORD.
 A SUCCESSFUL rWSTON RESIDENCE. 179

Library.

Dining Room.
T H E NOWELL RESIDENCE.
Boston, Mass. Parlter, Thomas & Rice, Architects.
I So THE ARCHITECTURAL RECORD.

4
SCCCESSFl'L BOSTOX RESIDEXCE. i8i
182 THE ARCHITECTURAI. RECORD.

T H E C L O I S T E R . B R Y X MAWR C O L L E G E (TIMH).
Bryn Mawr, Pa. Cope & Stewardson, Architects.
 A R C H I T E C T U R E OF A M E R I C A N COLLEGES
V.
University of Pennsylvania, Girard, Haverford, Lehigh and Bryn
Mawr Colleges
MONTGOMERY
One must start a paper that begins
with the University of Pennsylvania by
entering upon a question of chronology
thai concerns the order of this series. I t
is set forth in the "Official Guide" to tht!
university that Pennsylvania, at least
that "the college" thereof, is "third old-
est in America." whereas we are takinj^
it as the fifth. The pretext lor ignor-
ing IVinceton and Columbia, to say
nothing of William and Mary, and
for placing i'ennsylvania next after
Yale, is the filiation of the College
of i'hihidelphia upon a certain "Char-
ity School." which began its operations
in 1740. This foundation expanded Into
an "academy" under the stimulus of
Franklin's pamphlet on "The Education
of Youth in Pennsylvania." This acad-
emy began its sessions in 1751, and re-
ceived its charter as such in 1753. I hit
it was not until two years later that the
academy, in turn, expanded into a col-
lege and received a charter as such, em-
powering it to grant degrees. This grant
is really the only criterion of the exist-
ence of a college as distinguished from
a school of lower grade, and by this test
Pennsylvania is a year younger than
Columbia. Upon which there fall to be
made two observations. I f the institu-
tion is to be dated f r o m its predecessor
and nucleus, the College of New Jersey
is as well entitled to date itself from the
" L o g College" of 1726 as Pennsylvania
f r o m the Charity School of 1740. More-
over, i f Pennsylvania was founded in
1740. it must give up its pretension of
having Franklin f o r its founder, since it
is certain that he had nothing to do with
it until nearly ten years later. As a
matter of fact, although Lieutenant-
Governor De Lancey "put through" the
SCHUYLER
original charter of Columbia, and hast-
ened to place the infant institution un-
der the fostering care of the Church of
England the year before Pennsylvania
secured its charter, the two institutions
are practically coeval. There were ne-
gotiations f o r a joint application on be-
half of both in London for shares of the
royal bounty, though in neither case did
the application come to much.
The architectural history of Pennsyl-
vania is rather longer than that of Co-
lumbia, although the antiquity is in
neither case impressive, nor the differ-
ence worth controversy. One English
tourist, just after the Revolution, and
one X'irginian representative in Congress
at the same time, found the New York
college "elegant," though representations
of it which survive hardly bear them
out. For all practical purposes the arch-
itectural history of each began with its
migration from the commercial center
of its respective city, where land had
become too valuable to permit it to re-
main. The removal of'-Columbia took
place some ten years earlier than that o f
Pennsylvania. whicR >^s not accom-
plished until 1857. w h i n Penn.sylvania
exchanged its cramped quarters in the
city f o r some fifty acres on the outskirts.
l')Ut C'olumbia built nothing on its new
site, or nothing worth talking about, un-
til M r . Haight became its architect with
the first building f o r the School of Mines
in 1874. The carhe.st building of the
present establishment of the University
of Penn.sylvania, or the first that counts,
was that still known as "College Hall,"
which was built in 1871 from the designs
of Professor Richanls, of the university
faculty. The designer was of an artistic
family, being the brother of that \V. T .
 i84 THE ARCHITECTURAL
THE PHILADELPHIA I ' l l A K l T Y SCHOOL (IT I ' l l ,
Richards, the painter, whose smooth ami
silvery marines were in those days
famous. Close together as the New
York and the Philadelphia buildin},^s
were in point of time, and "Gothic" as
both were called, the former and later
looked a generation later, so long as it
was spared. For the Gothic of Colum-
bia was English collegiate. The first
Gothic of Pennsylvania was "Victorian."
which is to say Italian and Ruskinian.
COLLEGE HALL
Philadelphia, Pa.
RECORD.
On almost all its practitioners the bur-
den of '"variety" seemed to be imposed,
of variety even to the destruction of
repose, and Profes.sor Richards was of
the majority. M r . Frank Fumess, o f
who.se work f o r the university we shall
have something to say presently, was
the chief evangelist of the new gospel
to Philadelphia, and the designer of the
first university building was a disciple
of his. Moreover, the green "Chester
(1873).
Prof. Thomas Richards. Architect.
 ARCHITECTURE OF AMERICAS
serpentine" was then at the height of its
r'Iiila(k-Ii>lii;iii favor as a building ma-
terial. An excellent material it is in
certain combinations and with certain
reservations. But one of the reserva-
tions is that it .shall not be employed to
add bizarre contrasts of color to that
which has already a rather restless ani-
mation and variety in the article of
f o r m . .\nd there was a special infirmity
( r.
LOGAN
Philadelphia, Pa.
of the time added to these other beset-
ments. It was the season when the Man-
sard roof, so-called, was at the height of
the American fashion, so-called because
the American phase of it would have
horrified the Mansard who invented i t .
whether Jules Hardouin or Frangois.
For, in its French seventeenth-century
application, although it was a device to
gain more headroom in a garret than
would have been possible without i t .
COLLEGES. 185
there was always a vi>ibk' i d t j f rising
behind i t . whereas, in the .\merican
nineteenth-century use. it was simply ;i
cheap device to gain an additional r \.
a frame wall on top of a stone wall,
while the actual roof was left invisible.
Xo feature could be more foreign to the
spirit of Gothic, and the more it was
attempted to di.sguise that it was an ugly
makeshift and to give it importance, the
HALL ( 1S7 11.
Prof. Thomas Richards. Architect.
uglier and more incongruous it became.
In College Hall it was made particularly
much of. Without it the building would
not make a very good effect. I t would
still be much too •"thingy" f o r that. But
with i t . the less objectionable elements
of the architecture have no chance at
all. I t is to be hoped that the authorities
will see their way to razeeing this in-
cubus and substituting f o r it a real and
inmiistakable roof, without or even with
 i86 THE ARCHITECTURAL
dormers, a process which would of i t -
self go far to convert the substructure
into something more tractable and dec-
orous. There are already, it will be
observed, aspects of the building, in
which the inoininH-iitality of the Man-
sard is suppressed or mitigated, which
are by no means so depressing as the
aspects in which it is con.spicuous. L o -
gan Hall., by the same architect and in
the same material as College Hall and
ROBERT H A R E L.\BORATORY
Philarlclphia. Pa.
three years later in date, shows an archi-
tectural advance upon it. True, the
trimcated roof is here in emphatic evi-
dence. But there is more seemliness
and coherence, in fact, more "evidence
of design." The central pavilion, with
the entrances at the bottom and the gable
at the top. would be an eligible piece of
Victorian Gothic l)Ut f o r the unsolved
puzzle presented by the roofing, and the
whole shows much less than College
Hall the burden of noveltv and varietv
RECORD.
which the designer felt to be imposed
upon him. A third building of the same
authorship, the Hare Laboratory, is less
ambitious and less variegated still, and
but f o r the material and the mansard
might escape notice almost entirely,
which. u[)on the whole, one has to own
would be rather a happy fate f o r all
three. Victorian Gothic was a perilous
mode of building, and few of its prac-
titioners escaped its dangers. To over-
(1874).
Prof. Thomas Richards, Architect.
rule into unity and re|)ose so many ele-
ments of f o r m and color as were at the
disposal of the Victorian Goths, to make
a whole out of parts so pronounced and
which tend to assert themselves .so loud-
ly and so unduly, is a task to whch few
architects are equal.
These three original buildings of the
University o f Pennsylvania constitute
what may be called the architectural
patrimony of the university. Doubtless
they were expected by the original arch-
 ARCHITECTURE OF AMERICAN
itect to impose themselves upon his suc-
cessors. A t least that ottght to be the
expectation o f every architect who finds
himself subjected to the responsibility
of making an architectural beginning f o r
a permanent institution. I t is true that
the history of American collegiate archi-
tecture does not sustain this e.Kpectation.
and that the original architect, essaying
to set a point of departure f o r his suc-
cessors, is commonly found to have done
so in the sense only that they depart
f r o m his work as speedily and as widely
as possible. So, in his turn, it has been
with the original architect of Pennsyl-
vania. Only one of his successors ex-
hibits any afiinity with him. The L i -
brary, albeit, as a matter of fact, de-
signed, or, at least, built, as lately as
1891, has an anachronistic air, seeming
to hark back to the mid-Victorian pe-
riod. I t is, as you perceive, a highly
individualistic work, being at once i n -
tensely local and intensely personal. ]t
could hardly be anywhere but in Phil-
adelphia, and a very brief perambulation
of Philadelphia would suffice to identify
it to you as the work of M r . Frank
I'urness, whose individuality no succes-
sion of firm names and styles can over-
lay or disguise. M r . Fumess presents
a peculiar "case," peculiarly worthy of
critical consideration. I'or nearly forty
years he has been, i f not the busiest
architect in Philadelphia, the architect
whose work has been most in e/idence.
A t the time of the Centennial Exiiibi-
tion. even, his buildings then already
The University Library (1891).
Philailrlphia, Pa. Furness, Evans & Co.. Architects
COLLEGES. 187
Interior of Library (1S!>1).
Philadelphia. Pa.
Furness. Evans & Co.. Architects.
extant induced at least one foreign vis-
itor of culture and authority to detect in
their author the ""rising hope" of archi-
tecture, not in his own country alone.
T o many the expectation did not seem
fantastic. The things were so express-
ive, as well as so ingenious and inven-
tive. They comprised buildings in many
kinds—a church, an armory, a hospital,
an academy of art, a series of park cot-
tages, some of them very nearly models
in their kinds. Differing as widely as
these things should, more widely than
they would probably differ now, i f they
were all the work of one hand, they
had in common that they were all
founded on fact, and each on the par-
ticular facts of its respective case.
Doubtless these are indispensable ele-
ments in the equipment of a pioneer.
Nor were they unschooled. A pupil of
good old " D i c k " Hunt's, M r . Fumess'
early works recalled the more wayward
and defiant performances of his master,
while exhibiting in fuller measure the
power o f picturesque composition and
of racy and idiomatic detail. Even now,
in looking back at these works, one finds
warrant in them f o r the sanguine expec-
tation of our foreign friend, which was
shared by many natives. No doubt the
foreign critic made allowance f o r the
exuberance of youth, and woidd have
imparted to the object of his hopes the
sage caution of the veteran judge to the
promising young advocate, to pluck
. some of the feathers from the wings of
 THE ARCHITECTURAL
his fancy and stick them in the tail of
his judgment. In the Johnsonian phrase,
he might have "contented himself with
wishing that" his promising young
architect might be "one of those whose
follies may cease with their yimth, and
not of that number who are ignorant in
s])ite of experience." So, it seems, it
might have been. But it also seems that
the favorable prognosticator of 1876 was
reckoning without his host—the host of
I hiladelphians, namely. As has been
intimated, the local "equation" really
must in this case be taken into account
as well as the personal. "Environment"
counts f o r more in the eminently public
art of architecture, perhaps, than in any
other, .seeing that the architect, unlike
other artists, cannot even produce with-
out some measure of public sympathy
and appreciation. And the inMuence of
the Philadelphian public on the Phila-
delphian architect a generation ago was
di>tinctly bad. Xow. doubtless, it is
different. The architectural scholar.ship
of I'hiladelphia has promoted, and. in
turn, been promoted by, its embodiment
in the .school of architecture of the uni-
versity itself, an institution already fully
justified of its children in the architec-
ture of Philadelphia in general and of
the university in particular. But no
such benign inlluence favored M r . Fur-
ness' youth or his prime. To chasten and
refine a design which already had vigor
and significance was a difficult task to
which there was apparently nothing in
the absence of an educated and critical
public to force the architect, his own
artistic conscience excepted. But to exag-
gerate the defects of his work by enlarg-
ing its parts and by intlating and empha-
sizing its detail was a task easy enough
for an architect who seemed to have
taken as the motto of his maturer years,
"Odcrint, modo mctiiant," which, being
translated, is "Let them abuse it. so long
as it makes them "sit up.' " There can
be no question that the contemplation of
these later works is incompatible with
the maintenance of a recumbent attitude.
Birt one has to say of them and their
"declaration of independence" that they
fail to follow the political declaration in
that they conspicuously fail to show "a
RECORD.
decent respect to the opinions of man-
kind."
I t is hard to forgive the man wh6
added the entrance end of the Broad
Street Station to the studied, discreet
and harmonious work of the Messrs.
Wilson, one of the best things, especially
in its admirably characteristic treatment
of material, which the Gothic revival has
bequeathed to us. This present univer-
sity library has the same vices in almost
or quite equal measure; the exaggera-
tion and insistence of the features as
compared with the whole, the exaggera-
tion and insistence of the detail as com-
pared with the features, are carried to
such a pitch that the parts in effect ob-
literate the whole. You cannot see the
forest f o r the trees. And the exag-
geration proceeds apparently f r o m the
determination to be noticed at all costs
and all risks. X o wonder that M r . Mc-
K i m should have passed an equally un-
favorable and unquotable criticism upon
this work. No wonder that its defects
I which, in fact, are all excesses) should
blind the soectator to the ingenuity and
expressiveness, and the potential artis-
tic effectiveness, of the composition and
also to the "architectonic" i f not artistic
ability disi)layed in the distribtition and
connection of the spaces, an ability
equally marked in the more extensive
and complicated "lay out" of the Broad
Street Station. Even i f any spectator
should succeed in blinding himself to
the extent of admiring this work in it-
self, he could not possibly admire it as
a contribution to a group of buildings,
or pretend that there was anything ex-
emj)lary about so incompatible and un-
social an erection.
The Library is evidently a building
to which it were as difficult as undesir-
able f o r subsequent builders to conform.
Possibly that is not to be imputed as a
fault to the designer, f o r he found, in this
respect, the difficulty which he. in turn,
bequeathed. Nobody, when the Library
came to be built, would have recom-
mended the existing buildings f o r imita-
tion and extension. I t was, at most,
only the material which could be repro-
duced in the successors of the works of
P r o t o s n r Richards, and the material
 ARCHITECTURE OF AMERICAS'
had in the interval gone almost as com-
plelc'ly out of fashion in l'liila(k-li)hia
as the style. The architects of the build-
ings next ensuing to the Library were
not invoked to complete the collegiate
character by adding the dormitories until
near the middle of the la.st decade o f the
last century. Architecturally, quite as
much as educationally, places of resi-
dence are necessary to the fulfilment of
the college idea, as well as places of
T H E T O W E R . " L I T T L E QU.VD" (LSI)".).
Philadelphia, Pa.
instruction. It is these domestic or
monastic buildings, compounded of "the
cloister and the hearth." which give to
collegiate architecture the cloistral char-
acter which we find so dehghtful in it.
and which is carried to its perfection in
the degenerated and "collegiate" archi-
tecture of England. For the architec-
tural fulfilment of the collegiate idea in
l'hiladel])hia. no luckier choice coidd
have been made than that of Messrs.
Cope & Stewardson. The choice was
COLLEGES. 189
determined, as the same choice had been
determined a few years before I'or Blair
Hall, at Princeton, by the success of
the architects in a like problem at Bryn
Mawr. as President Thomas, of Bryn
Mawr, has shown in an interesting
memorial address upon \\'alter Cope,
and as we shall see more at large when
we come to Bryn Mawr itself. M r .
I laight's collegiate (lothic f o r Columbia
and f o r the General Theological Sem-
Cope & Stewardson. Architects.
inary in Xew York was, of course, still
earlier, going back to the beginning of
the eighth decade. I hit. indeed, there
are dififerences between the two modes
which serve, among other things, t i ) illus-
trate how great is the repertory of
"English collegiate Gothic." "Now
there are diversities of gifts, but the
same spirit." M r . Haight's collegiate
work does not strike one as being first
pure and then peaceable. Rather con-
trariwi.se. But of the collegiate work of
 \()0 THE ARCHITECTURAL RECORD.

I30RMIT0RIES. "LITTLE QUAD" (1S!I.-|.

rhilail<li)hia, Pa.
Cope & S t e w a r d s o n . Archiif.'is.

Messrs. Cope & Stewardson one may the home-bred and vernacular architec-
say that impurity, which is to say, " i m - ture of his predecessors as Sir Chris-
purism." is of the essence and that there topher himself, and "(jothic" was equal-
is hardly one of their collegiate build- ly to him a term of misprision and re-
ings, at least here in Philadelphia, which proach. L'nder the Stuarts, indeed, the
does not avow and proclaim the mix- formular architecture o f Italy, which
ture of classic and Gothic which belongs had been liberated from some of its aca-
to the Tudor, but still more to the Stuart demic trammels in crcjssing the Alps,
period, and of which the picturesque had sulTered a sea change in crossing the
charm is quite disconnected f r o m struc- channel and become the medium of a
tural logic. Jt was not f r o m the Jacob- more personal, even a more whimsical
ean period that the maxim can have been and capricious expression. I t was the
derived that construction is to be deco- time of the utmost "conccitedness" in
rated, but decoration not constructed. English literature, as in English arch-
You must not. under penalty of spoiling itecture, the time of Abraham Cowley
your pleasure in it, a.sk the detail of that and George Herbert in i)oetry. of Robert
fat Jacobean or "Caroline" tower in the liurton and Thomas Browne in prose.
"Little Quad" any of those questions This is. indeed, this individuality, this
about "use" or "meaning" to which the expression of "every architect in his hu-
detail of any good example of undegen- mor" what gives the l-jiglish Renaissance
erate Gothic is prepared with a conclu- its charm, and is doubtless what com-
sive, commonly with a self-evident, re- mended it to the architects of the dor-
])ly. For the most part the decorative mitories of the University of Pennsyl-
detail of these dormitories is taken from vania as more eligible, for a change,
a period when the Gothic basis of Eng- than the Gothic, however "debased."
lish collegiate architecture had been w liich they had i)reviously prescribed f o r
overlaid and almost forgotten. We Bryn Mawr and Princeton. Witness the
commonly figure Sir Christopher Wren tower we have just mentioned. Wit-
as the pioneer o f English classic. But, ness, further, the "Palladian" gateway
in fact, the classic tradition had been which Palladio would surely have viewed
established in the generation before his. with apprehension and alarm, and of
Inigo Jones showed, in work done a which the prototypes, it is ^o plain, were
quarter of a century before Sir Chris- sought at O x f o r d and Cambridge and
topher was bom, as l o f t y a contempt f o r not at \'icenza. "Correctness" was the
 .IRCHITRCTURE OF- AMERICAN
last thing the designer or the adapter
had in mind. He was rather intent upon
amusing himself and the possible spec-
tator of his work, and he attained his
intention. The work is infallibly "amus-
ing." .A^nd also it has, quite as strictly
PALLADIAN ARCHWAY,
Philadelphia, Pa.
COLLEGES. igi
as the severer and more logical Gothic
vvbich preceded it. the particular "colle-
giate" character. No discerning visitor
to O x f o r d or Cambridge can have failed
to recognize and admire how this ex-
pression is maintained, in spite of the
"THE TRIANGLE."
Cope & StewardsoD, Architects.
 192 THE ARCHITFXTI'RAL
changes of periods and styles, and how
single the composite expression is, al-
ways excepting those anomalous erec-
tions, whether of the seventeenth cen-
tury, the eighteenth or the nineteenth,
in which the architects have permitted
themselves edifices bloated and "scaled
U])" into a swaggering assertion of
themselves subversive, so f a r as it goes,
of the genius of the place. The expres-
sion is equally maintained by the recent
DORMITORIES, " T H E T R I A N G L E . "
Philadelphia, Pa.
buildings of Pennsylvania, with what-
ever wideness. as of all Gaul, the build-
ings differ among themselves in expres-
sion, in style, even in authorship. Such
a decorous and tame example of domes-
tic Gothic as the fraternity building of
Phi Delta Theta perfectly "belongs."
So does such a l)uilding as the gynma-
sium, the breadth and quiet of which
one would hardly expect to harmonize
as i t does with the more broken and
RECORD.
more fantastic surfaces of the dormi-
tories. To be sure, all these have some
things in common. They are all kept
down to the maximmn o! two stories
in the wall proper, which is such an
advantage in the treatment of this style,
or these styles, that no skill can fully
counterbalance tlie unfortunate neces-
sity of having to carry the wall higher.
That is an advantage which Penns\l-
vania shares with Princeton, .-md from
Cope & Stewardson, Architects.
the want of which the best of the col-
legiate Gothic of Yale suffers in com-
parison, through no fault of the archi-
tect, as he has shown in the buildings
of the General Theological Seminary.
Again, the unity of the impression is
promoted by the fact that the expanse
of wall is always the basis of the archi-
tecture and is never so broken or "tor-
mented" as to put this primary fact
out of view. A n d , finally, unity is at-
 ARCHITECrrKIl OF AMERICAS COLLEGES.

laiiird among buildings in many res-
pects SO diverse by covering all of them
with visible, emphatic and unbroken
roofs, unbroken but for the emergence
of the necessary chimneys that animate
the skyline without disturbing it. Rus-
kin has somewhere insisted on the nec-
essity of a visible roof to an aspect of
domesticity, and has pointed ont how
nmch stronger an expression, of secln-
sion or of hospitality, is "under my
roof" than ''within mv walls." P.v mere
works, though, to be sure, as "the rests
and monotones of the art.'
To note the necessity of a visible and
emphasized covering to the expression
of domesticity in a building, observe
how completely that character is lost
or merged i n the "institutionar' in such
buildings as the Law School, where, i n -
deed, the roof is suffered to ap]H'ar
though nothing is made of it. and the
Mcdieal Laborator\'. where it is alto-
gether suppressed. In either case, the

T H E HOWARD HOUSTON H A L L (1895).

Philadolphia. Pa. Frank Miles Day, Architect.
W. C. Hays. W, B. Medary, J r . , Associate .\rchitects.

dint of their spreading roofs, of the
plain expanses of their walls and of ihe
adjustment of their openings so as to
accentuate rather than to interrupt
these exnanses, such modest erections
as those of the laboratories of I'hysics.
opposite the apse of the Library, with-
out a single ornament, or a single feat-
ure extrinsic to the irreducible require-
ments of the structure, become works
of architecture and take their place
gracefully among the more elaborated
rooflessness would of itself deprive the
building of any suggestion of a habita-
tii)ii. There is nothing, it may also be
noted, "transitional" or mixed about
either of these structures. The\' are of
ihe full-blown English Renaissance of
Sir Christopher W r e n , and reeall Hamp-
ton Court and Kensington Palace. The
University is coming, it is complained
or boasted, to be more and more an ag-
gregation of professional schools and
"the college" is of correspondingly de-
194 THE AKClllTECTVRAI.
Dental Hall (.18!M!).
I'hiladflphia, Pa. Edgar V. Seeler, Architect.
creasing; importance. The astuteness of
the "Philadelphia lawyer" l o n j j ago be-
came proverbial, and the pre-eminence
of the FMiiladelphia doctor, especially in
sur.sjery, is of a much later tradition.
But these tw o are of the unquestionably
•liberal" profession f o r which lib-
eral studies are, or*were, everywhere
held to be an indispensable preparation.
The case is more questionable, f r o m an
old-fashioned point of view, of veterin-
.'irianism. that younrjest daug;hter of the
horse-leech, and of dentistry, which to
its patients seems less a profession than
a "dreadful trade," like that of one that
leathers samphire. These sciences, how-
ever, equally with the ori<^inal seven
liberal arts, find hospitality and archi-
tectural accommodation in the U . of P..
one of them at first .>^ight a pu/./lim,^ and
Phi Delta Theta Fraternity Building.
Philadelphia. Pa.
RECORD.
iiisci"ulal)lf acccmiiKKl.ilinn. I'lir •"Den-
tal H a i r (two "I's'', please and no " u " ) .
though in mass and outline a seemly
enough edifice, with a roof much in evi-
dence, and cin'vilinear gables relieved
against it. invites speculation by the
multiplication of windows in the apart-
ment which obviously occupies the
whole of the second floor. Y o u have
to have it explained to you that the
purpose of the room is to provide. 1
really hesitate to say how many dental
chairs, in each of which is to recline
a desperate patient, while the under-
graduate investigates his maxillarics
with the aid of the separate and res-
pective window which illuminates the
cavity immediately in (|uestion:
Continuo auditae voces, vngltus et ingens.
Law School ( I'.KHM.
Cope & Stewardson, .\rchitects.
Philadelphia. Pa.
W i t h this explanation of the gay and
festive uses of the apartment, the rea-
son of its windowfulness becomes clear
and one wonders whether any JMiiladel-
j)hian ever pays f o r having his teeth
"seen t o " when they are in such urgent
and extensive demand for clinical uses.
H e may, however, continue to insist
that the particular function of the edi-
fice is inade(iuate as the basic re(|uire-
ment of a work of monumental, or even
"institutional" architecture, and condole
with the architect over his i^roblem t o
the extent of forgetting to congratu-
late him upon his solution.
Upon the whole, the recent architec-
ture of the University of Pennsylvania
is a pronounced success. C^ne may find
it rather unscru])ulously "amusing" and
its severest critic, as the severest critic
of its British prototypes, may be ex-
 ARCHITECTURE
pected to be the earnest Goth, to whom
it will seem like making a mock of sa-
cred things. We may go far enough
with the earnest Goth to agree that it
is maybe just as well that Messrs. Cope
& Stewardson, while this fit of the Brit-
ish Renaissance was on, did not have
occasion to build a chapel as part of
this collegiate scheme. W e may ad-
mit that there is something unscrupu-
lous in this jiicturesqucness and this
ainiisinfrness. I t seems as if the authors
••MEMORI.XL T O W E R " — D O R M I T O R I E S (19C»1).
Philadelphia. Pa.
of the dormitories at Philadelphia had
consciously relaxed the strenuous nioi.d
in which they had attained in a mono-
chrome of gray stone the (|uiet and
sim|)le beauty of/IUair and Little Malls
at Princeton, and of the best of the
work at IJryn .Mawr. and had deter-
mined in this glaring contrast <ii' culur
and this riot of dehberately illogical
architecture to "treat resolution." A l l
the same, the Goth, if only "not a bigot-
ed one." may partake of the enjoyment
OE AMERICAS' COLLEGES. 195
wliicb the buildings of Pennsylvania are
adapted to inspire in the unsophisti-
cated breast. They have the secure
praise of refusing, at the edge of a
great city, to "recognize the municipal
character of the situation," and of in-
sisting upon establishing, rather, a "rus
in urbe." This is a benefaction for
which, as Philadelphia grows older and
bigger and more "municipal," it is safe
to say ihal I'iiiladeljthia will cherish in-
creasing gratitude.
Cope & Stewardson, .\rchiteeis.
Aniither group of Philadelphian build-
ings there is, more or less conncctid
with its work and its administration,
which, as all students of .irchitecture
know, is entitled to the nmsl respect-
ful consideration. This is the completed
section, about a seventh of the whole
ambitious scheme which is to cover
twelve acres of ground, (^f the Museum
of Science and A r t . What one sees
now is the result of an e.Kperiment which
was none the less adventurous that in
196 THE ARCHITECrrRAL
M E D I C A L L A B O R A T O R Y (li^Oi).
Philadelphia, Pa.
this instance it has been crowned with
so signal a success. Jt was the experi-
ment of joining, in the design of a group
of buildings, three architects or firms
who had distinguished tliemselves in
highly individual works. The experi-
ment was daring in that all the collab-
orators have apparently been employed
on every building and every feature of
every building, so that there is .none to
which any one of them can point as un-
CYM.VASirM
Philadelphia. Pa.
RECORD.
Cope & Stewardson, Architects.
dividedly his own. This is a different
matter f r o m such a collaboration as that
of the Chicago Fair, in which each col-
laborator had his own building to do,
and was left at liberty to work out his
own artistic salvation, subject only to
some not too Procrustean regulations
in the interest of uniformity, and to the
friendly criticism of his associates. D r .
Johnson once avowed that he could not
"have dined better if there had been "a
(I'.HMl.
Frank Miles Day & Bro.. .Xrehilects.
 ARCIIITECTl-RE
synod of cooks." The homely adage
that too many cooks spoil the broth
might have assured him that he would
not have dined so well. What was to
be feared was that the three architects
who had so distinguished themselves
hy their works, and lent such distinc-
tion to the city of their residence and
practice, and of wdiom each was dis-
tiiiL;uishe(l for strong individualit\.
E.VTRANCE—MUSEUM B U I L D I N G (ISii!)).
i'liilail.l|iliiii, Pa.
would either exhibit this individualitv
by a variety which would tend to be-
come a miscellany, to the destrucii<MI
of the artistic unity of the result, or
else, if they should all three loyally sub-
due themselves to what they worked in.
that unity indeed would be preser\'ed
but the variety of individuality lost
and the resulting work would be tame
and spiritless. .Manifestly, both these
Of AMERICAN COLLEGES. 197
dangers were escaped. The synod of
pilots dexterously and safely steered
between Scylla and Charybdis.
They had an adventitious advantage
of which their work shows that they
were properly appreciative. This was
the aiuple spaciousness secured to
them by the extent of the ground at
their disposal. This enabled them to
keep their buildings down to a maxi-
Cope & Slewardsoii,
Frank Miles Day, Architects.
Wilson Eyre,
mum of two stories. Lowness, " l o w t h "
to use the good Saxon word which i t
is a pity shotild have gone obsolete,
emphasizes the other two dimensions
of a surface, the length and the breadth,
while height diminishes their import-
ance. So lowness tends to give the re-
pose with which "breadth" is almost
synonymous. Certainly it tends more
and more to give architectural dis-
 198 THE ARCHITECTURAL
Philadelphia, Pa.
tinction. W i t h the nuilti])lication of
skyscrapers for the expressive fenestra-
tion of which the honeycomb furnishes
the only model in nature, how refresh-
ing it is to come, in a crowded and
busy thoroughfare, upon a new build-
ing of a single story, or at most of two,
which the owner has erected evidently
for his own undivided use! H o w dis-
tinguished is the expression of this
"proud humility,'" costly in land values
as i t plainly is. Already, by mere dint
of its unprelentiousness. the building
takes on an "institutional" aspect. The
architects of the Museum have fully
lived up to their privileges in this res-
pect. Their repositories are evidently
perambulable with ease, and need no
mechanical devices to overcome diffi-
culties of ascension. A n d the expres-
sion of repose that comes f r o m the ex-
panse of the wall, promoted by its low-
RECORD.
T H E MUSEUM OF S C I E N C E . \ . \ D .\1
ness, is further promoted by its unbrok-
enness. While the wall openings, as-
sisted on occasion by skylights, are evi-
dently ample to the effective lighting
of the interiors, they are never either
so magnified or so multiplied as to
leave in doubt the fact that the wall is,
to the architect, "the thing," the prim-
ary object of design, and that the main
architectural function of the openings
is t o punctuate it. This punctuation
is throughout very successfully done.
One would be quite at a loss to name
any American example of more subtle,
varied and artistic fenestration. A n d
yet, its greatest value is that its best
effect is its contribution to the total
effect, and that it rather evades than
courts notice on its own account. A
jjartial exception may be noted in the
principal entrance which does, no doubt,
demand to be looked at for itself. I t
 ARCHITECTURE
m e
[1899)—UNIVERSITY O F P E N N S Y L V A N I A .
is questionable not only on that ac-
count, but also as being, this canopied
and columned arch, the unmistakable
badge of a style. One might almost
call it the "stigma" of a style, in its ac-
tual environment. For not the least
charm of these buildings is the home-
bred and vernacular air they have. One
sees that they are the work of scholar-
ly as well as sensitive craftsmen, but
one recognizes the scholarship by the
general refinement and purity of the
work, not by the incorporation in it
of "features" taken direct f r o m his-
torical examples. A quotation now and
then, when it is apposite, is well enough
and it were "too cynical an asperity"
to (|uarrel with the introduction of a
Buddhist toran by way of entrance to
the garden of an American museum.
In fact, the Japanese importation, being
isolated, comes in perfectly well. Put
OF AMERICAN COLLEGES. 199
Cope & stewardson.
Frank Miles Day, Architects.
Wilson Eyre.
the introduction, in the middle of a
vernacular and idiomatic wall, which is
merely its frame and setting, of so ex-
otic a feature as this highly artificial
"specimen" of the Italian Renaissance
seems like that of a disturbing element.
Italian, in a general way, the design
may be said to be, but only because the
Italian precedents for artistic brick-
work are the most admirable and per-
tinent for modern designers, as afford-
ing precisely the most idiomatic and
vernacular treatment of the material.
Rut Italian, if of any particular period,
certainly of one anterior to that in
which was developed this form, to
whicli MMI).idy would think of applv-
ing either of those adjectives. But,
if this doorway be anomalous, it is the
only anomaly. Everywhere else it is
an architecture of craftsmanship we
find, not an architecture of formula.
200 THE. ARCHITECTURAL
The simple, rudimentary tracery, the
simple covings, whencesoever they are
in fact derived, m i f j h t have been devel-
oped anywhere and whenever there were
workmen sensitive and skilful enough
to take full advantage of their mater-
ial. A n d the simple mosaics are again
so used as to punctuate the expanses
of wall which they variegate, while
their "elegance." whether of design or
of material, is always sto])ped distinct-
COURTY.\RD—MUSEUM B U I L D I N G
Philadelphia, Pa.
ly short of the point at which it would
suggest that they existed f o r their own
independent effect and not f o r their
contribution to the total effect. A d d
that the broad and simple walls are
crowned with equally broad and simple
RECORD.
roofs, upon the expanses of which,
again, the artists put their chief stress
and of which the expanses are the maiti
objects of design, and are punctuated
by the chimneys and crestings and sky-
liL;lus which relieve and var\ llie sky-
line without disturbing it, and you
have, perhaps, the explanation why
these buildings impress every sensi-
tive observer as one of the most ad-
mirable pieces of architecture, in
(18»i)).
Cope & Stewardson. •>
Frank .Miles Day, l.^rchiteeis
Wilson Eyre, J
their purity, harmony and repose,
that have been done in the United
States, as they also constitute one
of the most modern and vernacu-
Uar. A work of no style which yet
has style.
 ARCHITECTURE OF AMERICAS COLLEGES. 201

signer of buildings in .\merica who de-

Girard College signed with full knowledge of Stuart's
Certainly that cannot be said of Gir- ••.•\thens," in which, for the lir.st time
ard College, that is to say, of the single since the revival of letters, the pure
building which exhausts the architect- Creek types from which the (Iraeco-
ural interest of the institution. Its in- Roman temples were imitated and cor-
terest is exclusively and avowedly in its ruptetl could be seen and studied.
technical style, in the accuracy and ef- Our first attempt upon the Parthenon
fectiveness of its reproduction of a was Strickland's l>ank of the United
classic Corinthian tem])le. < )iie would .Slates, in I'hiladel])hia. completed in
rather have such an example, at Phila- the second decade of the nineteenth
delphia as at Munich, devoted to the century (now the Custom House).
jnirposes of a museuiu. The building In the thirties and forties all the pub-

GIK.XRD COLLEGE (IJiTl-IT).

Thomas f . Waller, Architect.
Philadelphia, Pa.

itself is SO much an archaeological "ob- Hc architecture professed to be Greek

j r c i . " and besides, by doing a little
violence to the architecture, it may
be sufficiently well lighted, from the
roof and the sides, f o r the purpose of
a museum, whereas it is a pity to con-
sider the ha|)less orj)hans sacrificeil
to the literal ""shades" of classic archi-
tecture. .\s the pu])il of Latrobe's pu-
pil, Strickland. Walter was the inheri-
tor of the straitest sect of classic tra-
dition in this country, meaning .s]ieeili-
cally Hellenic tradition. I am inclined
to think that Latrobe was the first de-
and was as literally accurate as a
knowledge o f Stuart could make it.
The last work of importance of this
earlier Greek Revival was the extension
in the early fifties of the Capitol at
Washington, of which this architect of
Girard College, Thomas U . Walter, was
the designer. But neither he nor aiiv
one o f his contemporaries had ventured
to propose a peripteral temple f o r any
practical American use. N o legislature
would have stood the ijroposition f o r a
Capitol, no judges f o r a court house, no
 THE ARCHITECT
preacher or building committee f o r a
church. Our Parthenons were .shorn and
curtailed of their fair peripteral propor-
tions. The imitation extended only to the
construction of a portico of a single range
of columns at the ends, or at one end. O f
course, every practitioner of Greek ar-
chitecture yearned to do one. But Wal-
ter was the only one who was gifted to
persuade the trustees of the helpless or-
phans into letting him do it. And yet.
the student of architecture has to pro-
fess, it was, f r o m his point of view, i f
not f r o m that of the docile orjjhan. very
well worth doing—once—to show, so far
as might be. the effect of the origiii.il.
For it is. the main building at (iirard.
handsomely and monumentally carried
out, on an ample scale (200 feet x 152
X 97) of appropriate material (white
Peimsylvania marble), and there are
thirty-four of the ])eripteral C(^luiuns.
six feel in diameter and fifty-five in
height, the capitals, let us add to give
a fuller notion of the scale. 8 feet 6 in-
ches high and 9 feet 4 inches wide (^n
the face of the abacus. I t was fourteen
years under construction (1833-1847)
and it cost t w o millions, a prodigious
sum for a building in those days. I t
must be one's own fault, or the archi-
tect's, i f one does not derive f r o m this
very impressive structure a more ade-
quate notion than he had before of a
peripteral Corinthian temple. Certain-
ly i t is not the architect's in the sense
that he had not got up his archaeology,
accurately and thoroughly. A n d yet, one
perceives there are points of judgment
and feeling to be observed to the mak-
ing of a successful archaeological study
of a Corinthian temple.
I t is the fashion to say that the Romans
corrupted the orders, and so, no doubt,
they did the Doric and the Ionic. No
modern architect (i)ace the designers
of the Pennsylvania station i n New
Y o r k ) has any use for the Roman Doric
after he knows the Doric of Athens and
Sicily. A n d so. in a less degree, w i t h
the Roman Ionic. But what remains
we have of the Corinthian of Corinth
(where in fact there are none), or of
Greece, does not indicate that it lost
anything, for the purposes at least, of a
URAL RECORD.
templar architecture, i n the hands of
the Romans. M r . Walter's specific pre-
cedent for the Corinthian of these capi-
tals was the Choragic monument o f
Lysicrates. A n d Russell Sturgis justly,
in fact very mildly, observes that the
capital of that monument "is far f r o m
being a perfected design ; the lower ring
of acanthus leaves hardly unites with
the upper part of the bell in a fault-
less way." The much more eligible
Grecian example of Epidauros. which
is really a structural member, and where
the naked bell is not only felt through-
out but left in some places to be seen,
was of course not accessible to the A m -
erican architect of the thirties. But the
Roman precedents would have supplied
him, in the examples of Jupiter Stator,
of Mars Ultor or of the I'antheon. with
much more masculine and majestic
crowns to his columns than the pretty
.\thenian toy. with its two-storied cap-
ital, the defects of which, as a weight
carrier, are of course magnified when it
is enlarged to the colossal dimensions
of the periptery of Girard. The feeble-
ness of the capital is promoted by the
general treatment of the order. The
spectator cannot help wishing that the
columns were either thicker or more
numerous. I n fact, they are attenuated
to the minimum of classical precedent
and spaced to the maximum of that
precedent, and the colonnade looks
weak. "Elegance" i n any work of ar-
chitecture is bought too dear at the
price of assured stability. The elegance
here is undeniable all the same, and we
have reason to be grateful, if the or-
phans have not. that it was put into
the hearts of the trustees of Girard to
allow a Greek revivalist to build a per-
ipteral temple under pretense of satis-
f y i n g their recjuiremcnts. Of the sub-
ordinate buildings the earliest in date
are the best, being the least noticeable,
quite bare and unpretentiou.s. Some
later erections which pretend, by dint of
battlements and turrets and crow-
stepped gables, to be in collegiate
Gothic, are highly objectionable on the
score of their incongruity, the mis-
chiefs of which are by no means miti-
gated by any intrinsic merit of their own.
 ARCHITECTURE OF AMERICAN
Haverford College
There is no more "sweet and cheer-
f u l country" than that one traverses
on the main line of the Pennsylvania,
just westward of Philadelphia. Its
gentle undulations fit and seem t o des-
tine it to a suburban occupation, to al-
lotment into "places" mostly of modest
pretensions, w i t h plantations and build-
ings of the modest suburban type. A n d
there is no region in which the indica-
tions of nature have been followed with
happier results, none that give more
IS!
LLOYD HALL—HAVERFORD
Haverford, Pa.
fully the general impression of the A m -
erican landscape, so consolatory to the
patriot, of how great a number of peo-
ple are very comfortable. Also, it is
a region which suggests "seats of learn-
ing," places f o r pursuing studies under
the most favorable conditions. A n d
here also the natural indications have
been followed faithftiUy. Haverford is
the first of these seats, a Quaker Col-
lege of the older and straiter sect o f
Friends. The newer sect, or secession,
has its newer seat at Swarthmore. The
tenets of the Friends no more tend to
grace and becomingness in architecture
than in costume. A "Quaker meeting
COLLEGES. 203
house" is, almost proverbially, the nega-
tion of architecture, being the simpi- s i
and baldest satisfaction of the material
re(]uirements of the case, with a com-
plete abnegation of ornament. In
Philadelphia itself, and. though not ex-
actly in a meeting-house, in a new lib-
rary in one of the old reservations of
the Friends, a recent architect seems to
have undertaken to produce a work of
art by circumventing these hard con-
ditions and in spite of them, and has
come very near succeeding, without i n -
troducing a single dispensable member.
COLLEGE (18U9).
Cope & stewardson. Architects.
And, as in what it would be absurd to
call "ecclesiastical" architecture, so in
domestic. The old Quaker Philadel-
phia, of which there are hardly any
quarters now left unmodified and un-
modernized, showed in its building no
higher an ideal than that of vivid
cleanliness, attained by painting the
bricks, until " I'hiladelphia pressed brick"
came in. the reddest red. and scouring the
marble to the whitest white, the same
vivid color scheme, by the way. to which
the architects of the University dor-
mitories have reverted, and one which
would have been a reproach to the Phil-
adelphian housekeeper if it had been
 204 THE ARCHITECTURAL RECORD.

allowed to take "the tone of time." H a l l , " an edifice not at all noteworthy
X o t much was to be hoped, architec- e.Kteriorly, and of which one ^u>|nel>
turally, for a Quaker college founded in what internal interest it has to show o f
1830. That was the year in which a having been injected since the original
committee of Friends in Philadelphia, erection. Subsequent buildings have
acting conjointlv with a like commit-
been added by sicl.irian inunificcncc or
tee in New Y o r k , issued an appeal ex-
alumnal piety as they have been needed,,
plaining that:
and in the fashions of their respective
The members of the Socidy of Friends, hav- times. " A l u m n i H a l l " was added when
ing hitherto labored under Kreat, disadvantages
in obtaining for their children a guarded edu- Gothic was in fashion, though subse-
cation in the higher branches of learning quently enlarged, and one would as-
• • • It is therefore proi>OKed that an
institution be established in which the children
sume it to be the chapel did he not re-
of Friends shall receive a liberal education in member that a chapel is not one of the
ancient and modern literature and the mathe- appurtenances of a (Juaker college, and
matical and other sciences.
were he not certified that it is in fact the
Their rei|tiiremeiUs. th.e committee Library. Of all the buildings one can
explained to be "a farm in a neighbor- say that they do nothing to spoil the
hood of iuu|uestionable salubrity, w i t h - charm of the landscape, and this is high
in a short distance of a I'riends' meet- praise as such things go and still more
as such things went. ( ) f only two. I
think, can he sav that they positively
enhance the impression of the natural
environment. 'Ihese two are Rol)erts
Hall and Lloyd Hall, and these t w o
h;irdly violate tlie Oti.uker tradition of
nothing f o r ornament, excepting only
in the portico of the former. Both of
them, i n their rough walls of native
stone, in their simplicity and rationality,
carry on the excellent tradition of the
best of Pennsylvania rural building.,
while by subtle and almost impercep-
tible devices of fenestration, of projec-
Roberts Hall. Haverford College.
Havcrford. Pa.
tion and recession, they show an archi-
Cope & Stewardson. Architects. tectural advance upon their prototypes..
arti^ticizing the inartistic prototypes, in
ing. of easy access f r o m the city at all fact, by simply showing what they
seasons of the year, and one that was "wished to saw""
recommended by the beauty of the
scenery and a retired situation." These
requisites they found united in a farm Lehigh University
of about two hundred acres "near the Lehigh L'niversity is the monument
eighth mile stone of the Lancaster turn- of one munificent man. "Founded by
pike," of which a lawn of some fifty Asa Packer, 1865," as its corporate seal
acres was then or later laid out as the sets forth, it was a very early and a very
"campus," to be surrounded with build- impressive inculcation of that doctrine-
ings, and furnishing, rKiturally. an ample of the stewardship of wealth which we
playground. ( It is worth remarking. l)y can boast is so far more widely accepted
the way, that Haverford was the first to and put in practice in this than in any
import the British game of cricket, other modem country. Half a million
which has since so taken root and was the original appropriation f o r Le-
thriven in the environs of Philadelphia.)
high, a great benefaction f o r that day
I t was not until 1833 that the school
of comparatively small things. Bishop
opened, one supposes in the single build-
Stevens. Air. Packer's coun.sellor in the-
ing that is now known as "Founders'
foundation, goes so f a r as to say that..
 ARCHITECTURE OF AMERICAN COLLEGES. 205

in 1864. ""no one in this coimtry, it is

believed, had offered, in a single sum,
such an endowment f o r a literary insti-
tution." The good bishop forgot, as a
clerijyman might be pardoned f o r for-
getting, the millions of Girard's founda-
tion, though it is true that the railroad
man took Bacon's advice, as the "Mariner
and .Merchant" did not, to "defer not
charities till death." Judge Packer's
death, however, was the occasion of a
great increase in his benefaction, the to-
tal value of which is reckoned at three
millions. Three millions, even in these
days of stupefying prodigality in bounty,
is still adequate to found an institution.
Architecturally speaking, it seems a pity
that it could not have been "deferred"
to these days when a general plan is held
to be a prerequisite to college building.
For the site of Lehigh, the boa.st of its
graduates, is a most sightly spot, a do-
main of some six-ty acres, coiumanding
f r o m its terraces, as it does, the town
and the valley, and worthy of the best The Lihrary (1877). Lehigh Universiiy
the landscape gardener and the architect Sduth Bethlehem, Pa.
can do in the way o f enhancing its at- Addison Hutton, .Architect,
tractiveness. In the sixties it was a fore-
gone conclusion that the initial and nu-
cleal building of the coming institution
should be in Victorian Gothic, and.
among the X'ictorian Goths. Lehigh was
undoubtedly lucky to secure Edward
Tuckerman 1'otter t o strike what was
expected to be the keynote of the suc-
ceeding architecture, a choice which may
have been determined by the circum-
stance that his brother. Lliphalet Xoii
Potter, "was secretary of the board of
trustees. There were no more vigorous
exponents of that picturesque and poly-
chromatic mode o f building than the
brothers Potter, of whom the younger.
William Appleton, was .still specializinii
in chemistry while the elder was design-
ing Packer I lall. A vigorous and pic-
turesque performance it was and is. well
adjusted to its commanding site and well
adapted to its communal uses. The
American mansard, indeed, cast its usual
blight upon the architecture. Even more
than its u.sual blight, since the recession
of the wall between the tw'o mansarded
Packer Memorial Church (18S7) Lehigh pavilions is pretty evidently made f o r the
University.
South Bethlehem, Pa. Addison Hutton. Architect
sole purpo.se of justifying the unjustiti-
 THE
able mansards. A l l the same, one wishes
that the succeeding architect had de-
ferred more in material and in treatment
to the initial Ijuilding. a l t l i D U g h one is
aware that the last thing to be expected
of the average American architect, ex-
cept imder compulsion, is deference and
conformity. A n d M r . .-Kddison Hutton,
an architect of a considerable vogue in
the Philadelphia of the period, was an
average .American architect.
L V T E R I O R . P A C K E R MEMORIAL C H U R C H ( 1 S 8 7 ) - L E H I G H U N I V E R S I T Y .
South Bethlehem Pa
1 u.
decade 1877-1887 he was the official
architect of Lehigh, and added to it the
chapel, the library and the gynmasium.
which show an extreme non-conformity,
not only to their predecessor, but to one
another, in material and even in style,
though in the catalogtie they all go f o r
"Gothic." O f the.se, the chapel is the
most ccstly and important, a monochro-
matic and rather tame and commonplace,
though decent and correct exterior, but
an effective interior, both very hand-
somely and thoroughly carried out. The
ARCHITECTURAL RECORD.
library, a rough gray wall, "self-
trimmed" with lighter wrought work, is
an aggressive piece of military rather
than collegiate Gothic, with crude and
exaggerated crenellation, and crude and
exaggerated detail in general; the gym-
nasium a picturesque cottage. One no-
tices with astonishment the unnoticeable-
ness, for once, of some work by M r .
I'urness, or at least by his firm, a well-
I-'or the behaved and unremarkable "Memorial
T» .,
Addison Hutton. .\rchitect.
H a l l . " and an unpretentious one-storied
erection in brick and wood for the uni-
versity commons. I n these things that
perturbed spirit is subdued, i f not. like
the dyer's hand, to what it works in or
with, to which, indeed, at Lehigh, it
would have been difficult to conform, so
incompatible are the precedents, at least
to the assumed needs of a college
"(juelconque" ihit. perhaps, in this
exceptional instance, the design was
delegated to some other member of the
tirm.
 .ARCHITECTURE OF AMERICAN COLLEGES. 207

these and t o show also t h a t it had better

Bryn Mawr College have stuck to any one o f its modes than
B r y n M a w r comes to change its fashions so s w i f t l y .
last on our list o f Xdw B r y n M a w r is a l l o f a piece. N o t
P e n n s y l v a n i a col- quite a l l , to be sure, f o r y o u n g as i t is,
leges. I t is lucky i t had t i m e to get at least one b u i l d i n g
that i t is the latest i n a bad o l d f a s h i o n b e f o r e i t entered on
i n the chronological its a r c h i t e c t u r a l career. T h e struggle be-
order, f o r i t should t w c c n ahnnnal piety and aesthetic .sensi-
also come last, ac- b i l i t y over T a y l o r H a l l may some day
c o r d i n g to the o r d e r become t o o m u c h f o r some " a m b i t i o u s
o f the w e d d i n g feast y o u t h " o f t h e opposite sex f r o m h i m
i n Cana o f Galilee. w h o f i r e d the Mphesian dome. Gustave
I n d e e d , the t w o C o u r b e t , y o u remember, m a i n t a i n e d t h a t
orders are connected. T h e later the he became a p a t r i o t i c incendiary and
f o u n d a t i o n o f an . \ n i e r i c a n college j o i n e d t h e C o m m u n e solely to get r i d o f
the better chance i t has to have a r c h - the Colonne V e n d o m e . w h i c h he hated
itectural interest, f o r i t is o n l y o f o n a r t i s t i c and n o t p o l i t i c a l grounds.
very late that we have discovered " A n o t h e r H e l e n " m i g h t at least saw o f f
that, to be a r c h i t e c t u r a l l y successful, the t o w e r . I'.nt there is n o t h i n g else at
a college must, f i r s t o f a l l . proceed B r y n M a w r w h i c h one could w i t h any
upon a general plan. I t uiust not be f e r v e n c y w i s h away. T h e site is only a
subjected to the caprices and vicissitudes m i l e or so o u t w a r d f r o m H a v e r f o r d , and
o f passing fashions, but be o r i g i n a l l y the c o u n t r y is o f the same p r e t t i l y r o l l -
p r o j e c t e d i n some m a n n e r o f b u i k i i n g i n g and pastoral character. T h e college
that has "pleased many, and pleased architecture, a monochrome o f g r a y
l o n g . " W h i c h is t o say t h a t a college stone, fits i t j i e r f e c t l y . T h o u g h the m a -
a r c h i t e c t u r a l l y successful m u s t begiu terial is u n i f o r m , the architecture, i n
w i t h a tabula rasa, a '"clean slate." O x - effect all that of one f i r m , shows a new
f o r d and C a m b r i d g e , indcerl, may s l o w l y pha.se w i t h each successive b u i l d i n g ,
have been aggregated o f a r c h i t e c t u r a l t h o u g h the v a r i a t i o n s are w e l l w i t h i n the
fashions w i t h o u t d e s t r o y i n g , nay. abso- limits o f harmony, R a d n o r H a l l , the
lutely w i t h increasing t h e i r charms, and earliest i n date and t h e f i r s t college w o r k
a d d i n g an h i s t o r i c a l t o the jesthetic i n - o f its authors, is a seemly, discreet and
terest, n o w t h a t a l l the fashions have d i g n i f i e d erection, b u t h a r d l y classifiable
taken the tone o f t i m e . B u t t h a t is n o t as "collegiate G o t h i c " at a l l , centainly
our case. T h e r e are not h a l f a dozen n o t as o f those modes o f i t i n w h i c h its
A m e r i c a n college b u i l d i n g s t h a t have any authors el.'^ewliere or a f t e r w a r d s w o r k e d .
interest that can be decently called his- D e n b i g h and Pembroke, o n the other
torical, and not half the h a l f dozen add hand, are unmistakable, and, indeed,
any architectural interest that can de- w i t h each succeeding b u i l d i n g the p r o -
cently be called a r c h i t e c t u r a l . A s a rule, gression in m e r i t is i m m i s t a k a b l e also,
the older they are the u g l i e r . .And the in f r e e d o m and mastery. T h e i n d i v i d u -
old E u r o p e a n fashions were matters o f a l i t y o f each does not compromise the
centuries, at least o f generations. Ours h a r m o n y o f the w h o l e , n o r the singleness
are matters of decades. R e v i v e d Greek, o f the t o t a l impression. I n the later
"Collegiate G o t h i c , " f a l s e l y so-called. b u i l d i n g s there is n o l a c k o f p l a y f u l -
V i c t o r i a n Gothic. "Queen .Anne." R i c h - ness o r fantasy. B u t one w o u l d not
ardsonian, Romanesque. R e v i v e d Colo- t h i n k , as he can h a r d l y help t h i n k i n g
n i a l . Beaux A r t s , a n d , f i n a l l y , collegiate sometimes at the u n i v e r s i t y , o f calling
Gothic really understood and artistically t h e f u n unscru|)nlous. T h e gables o f
w o r k e d o u t — a "college y a r d " need n o t the gateway t o w e r s o f P e m b r o k e and
be m u c h over h a l f a century o f age to R o c k e f e l l e r m i g h t a f f l i c t the Gothic
show the l i e w i l d e r i n g succession o f a l l purist, and the very "debased" seven-
208 THE ARCHITECTURAL RECORD.
ARCHITECTURIi OF .^MI-KICAN COLLEGES. 209
2IO THE ARCHlTP.CrrRAL RliCO/W.

lUOXBIGH H A L L (IS!»1)—BRYX MAWR C O L L E G E .

Bryn Mawr. Pa. Cope & Slewarclson, Architects.

P E M B R O K E A R C H AND P E M B R O K E E A S T (l.S<)-l)-BRYX M.AWR C O L L E G E .

Bryn Mawr. Pa. Cope & Stewardson, Architects.
 A NCI NT ECT CRT. OF
teenth-century tracery o f the L i b r a r y ,
taken, I am t o l d , f r o m O x f o r d W a d -
h a m , w o u l d surely give h i m pain. B u t
unless IK- were a jiedant or a p r i g as
well as a p u r i s t , he could not prevent
h i m s e l f f r o m d e r i v i n g d e l i g h t f r o m the
spirit and f r e e d o m o f the w o r k every-
where, f r o m the cloistered garden o f the
L i b r a r y , f r o m the fantastic f r o n t o f
Pembroke, f r o m the c a r v i n g o f the owls
on the tratewav o f R o c k e f e l l e r , which I
MOW CYM.NASH M i 1'.MIS)-BRYN MAWR r O L L E C . K .
Bryn M:i\vr, Pa.
wi>h I could show y o u on a scale that
w o u l d do i t justice. A n d even the Gothic
purist w o u l d find no alloy t o his satisfac-
tion in the l i b r a r y cloister. T h e gateway
of R o c k e f e l l e r is the gateway o f B l a i r
H a l l , w i t h differences w h i c h g i v e i t a n
ex]>ression quite its o w n . B u t it has
AMERICAN COLLEGES. 211
this i n c o m m o n w i t h B l a i r H a l l that,
a f t e r y o u havt- passed i t . y o u are i n an-
other w o r l d , w i t h the every-day w o r l d
y o u have l e f t e f f e c t u a l l y shut out. E v e n
m o r e e f f e c t u a l l y than at Princeton, f o r
here there is no d i s t u r b i n g element i n
the w a y o f an h e i r l o o m , w h i l e there there
cannot help l)eing. E v e r y t h i n g here "be-
longs" and contributes to the total i m -
pression. T h e g y m n a s i u m , by another
hand, i f i t have no s t r i k i n g m e r i t be-
HL Fli
LotUwood De Forest. .Architect.
y. m l c o n f o r m i t y , has that to such a de-
gree that y o u can imagine n o t h i n g better
in its place. . \ n d the total impression
y o u get f r o m l l r y n .Mawr is the e.xact
im|)ression that a college o u g h t to con-'
vey o f
A haunt of anciont peace.
212 THE ARCHITECTURAL RECORD.

a
o
H O
O

S
o
o

/.' r
 THE EVOLUTION OF ARCHITECTURAL
ORNAMENT
VI
Ornament with a Human and Animal Basis—Classic and Renaissance
School
G. A. T . M I D D L E T O N . A . R. I. B. A.
I n dealinf;- w i t h ornament w h i c h is
based u p o n hmnan or a n i m a l f o r m s , one
is c o n f r o n t e d at the outset w i t h the ( h f f i -
culty of d i s c r i m i n a t i n g between t r u e
sculpture and mere carved enrichment.
T h e r e is a great deal o f the represeiua-
tion of h u m a n and a n i m a l f o r m s a> . i p -
plied to l)niidings w h i c h is correctly de-
scribed as sculpture. T h e r e is a great
deal more w h i c h cannot be i l i g n i t i e d by
this t e r m . T h e only t h i n g to do, i n con-
nection w i t h the present series o f articles,
is to include the consideration o f both
sciUptnre and f i g u r e c a r v i n g when used
i n a decorative m a n n e r as applied t o a
b u i l d i n g , and only to exclude such sculp-
t u r e as is absolutely independent. T l i e r e
are certain sculptors, even at the present
day. w h o contend that the greatest b u i l d -
ings i n the w o r l d were designed ex-
pressly f o r the e x h i b i t i o n o f sculptured
subjects, . \ r c h i t e c l s . on the c o n t r a r y ,
generally contend that sculpture, w h e n
used in connection w i t h a b u i l d i n g , f o r m s
p a r t of its i n t e g r a l mass; t h a t i t is a n
essential p o r t i o n o f its decoration, and
must be subservient t o i t ; suited to its
position, b u t not c o n t r o l l i n g i t . This
seems to be the m o r e reasonable view to
take, though at the same t i m e it is i m -
possible not t o recognize t h a t c e r t a i n
buildings, p a r t i c u l a r l y o f the great R e n -
aissance period, w h i c h were designed by
men w h o were p r i m a r i l y sculptors, were
made to a certain extent subservient to
the sculjjtiu-al art. H e r e and n o w sculp-
t u r e can (inly be considered as an ac-
cessory and not as a p r i m a r y , and i f so
considered, i t reasonably comes w i t h i n
the p u r v i e w o f those series o f articles
and must be dealt w i t h simultaneimsly
w i t h mere carvings of h u m a n and a n i -
mal f o r m s and o f grotesques f o u n d e d
thereon.
I f we g o back to the E g y p t i a n and
A s s y r i a n periods, w e f i n d , p a r t i c u l a r l y
in the E g y p t i a n , t h a t there was both
independent sculpture and t h a t w h i c h
was attached o r applied to buildings, and
that the l a t t e r was s c u l p t u r a l i n the
highest .sense, w h i l e at the same t i m e
it was decorative. i*erhaps the dictinc-
tion between sculpture and c a r v i n g , as
generally understood, can be most clearly
seen i n E g y p t i a n w o r k , w h e r e such h u -
n)an figures as the Colossi, at the entrance
t o the T e m p l e at A b o u S i m b e l , s h o w n i n
F i g . 125, are w h o l l y sculptural, w h i l e
the w e l l - k n o w n incised figures u p o n t h e
outer walls o f many o f the other t e m -
ples are types o f figure decoration w h i c h
are most t r u l y a r c h i t e c t u r a l ornament,
t h o u g h on a v e r y m u c h larger scale than
a n y t l i i n g we have been considering h i t h -
erto. L i k e all E g y p t i a n w o r k , these
figures are stereotyped i n p r o p o r t i o n and
f o r m , and v a r y but l i t t l e f r o m century
t o century i n t h e i r general i d e a ; w i t h
t h e i r remarkable smoothness o f sur-
face, the small a m o u n t o f detail i n t r o -
duced, the general massiveness o f the
w h o l e conception, a n d the supreme and
sublime i n d i f f e r e n c e displayed upon the
countenances, w i t h eyes l o o k i n g straight
o u t and u t t e r l y regardless o f the p u n y
h u m a n beings w h o pass b y . A s w i l l be
noticed i n the i l l u s t r a t i o n , the great
s c u l p t u r a l figures decorate the entrance
to this w o n d e r f u l r o c k - c u t temj)le at
A b o u S i m b e l i n a m o r e e f f e c t i v e manner
than could have been achieved b y a n y
other means o f o r n a m e n t a t i o n , w h o l l y
in c o n f o r m i t y w i t h its huge scale a n d
the great rock masses a r o u n d .
2r4 THE ARCHITECTURAL RECORD.

In A.'^.-^yrian w o r k , there is a s i m i l a r
distincti(^n betwpen the sculptured bulls
u i l l i their liuniaii heads, like that s h o w n
in iMtj. 12^). and the w a l l slabs i n low-
r e l i e f , w h i c h are l i t t l e m o r e than c a r v i n j ^ .
such as that w h i c h appears on the u p -
per part o f the same i l l u s t r a t i o n and as
already indicated i n F i g . 5. T h e r e is.
however, a great d i f f e r e n c e between
E g y p t i a n and .\s.syrian w o r k o f this
class. T h e . \ s s y r i a n h u m a n head is
really h u m a n ; it has every appearance
o f h a v i n g been a p o r t r a i t , w i t h the
hooked nose, the sensitive n o s t r i l , the
keen eye and the puckered b r o w . T h e r e
is n o t h i n g here that is stereotyped, w h i l e
in i)lace o f the h i g h l y polished s u r f a c e
of l'^gy])tian s c u l j i t u r e there is an ex-
ce>sive elaboration o f detail consistent
w i t h the use o f a s o f t alabaster i n place
of h a r d g r a n i t e as the m a t e r i a l i n w h i c h
the .sculptors d i d t h e i r w o r k . T h e w a l l
Fig. li- Colossi at Entrance to Temple at slabs, instead o f being incised as in the
Aber Simbel. E g y p t i a n w o r k , have the figures raised
upon a slightly recessed background, the
p i c t u r e s — f o r they are really such—be-
ing executed in the v e r y lowest r e l i e f ,
w h i l e the animals, the horses, the lions,
the .stags and the w i l d asses, a l l o f w h i c h
are f o u n d amidst a p r o f u s i o n o f h u m a n
figures, are shown w i t h a j j c r f e c t u n -
derstanding o f their modeling. The
representations are in m a n y cases as
p e r f e c t as any t h a t can n o w be p r o -
duced, a l t h o u g h perspective was an a r t
not under.stood: e v e r y t h i n g is alive, and
o f t e n the figures are displayed i n m o t i o n ,
w i t h j u s t the r i g h t a m o u n t of restraint.
W h e n the figures are rit rest the\- are
a l w a y s d i g n i f i e d , like those already i l l u s -
trated in h'ig. 5.
11 was i n Cireece where both architec-
t u r e and sculpture c u l m i n a t e d as the
great Classic arts. I t was there where
they were developed best i n c o n j u n c t i o n
w i t h one another, n e i t h e r supreme, b u t
absolutely harmouiou.^; the sculpture
used to enrich the buildings and the
buildings designed at the same t i m e to
display the sculpture to its be.st a d v a n -
tage. Sometimes the sculpture was f r a m e d
as i n a t y m p a n u m or metope, some-
times i t o c c u r r e d in a continuous range
u p o n a f r i e z e o r r o u n d the base o f a
Fig. Assyrian Head.
c o l u m n , t h o u g h this is more r a r e : i n a l l
(British Museum.) cases it was designed so as to fit its p o s i -
 THE EVOLUTION OF ARCHITECTURAL ORNAMENT. 215

tion perfectly T a k e , f o r example, one
o f the l o w e r d r u m s o f the sculptured
columns on the T e m p l e o f D i a n a at
EpheMis. sliown i n F i g . 127, this being
the last great temple o f that name, the
same site, and these, like this f r a g m e n t ,
are n o w i n the Ephesus r o o m of the
British Museum. B o t h i n the earlier
and i n the later temple the sculpture is
in good r e l i e f ; but tlie lines, as they

PIG. 327. L O W E S T DRUM OP A C O L U M N — T E M P L E OP DIANA AT E P H E S U S .

(British Museum.)

one spoken o f by Saint Paul. There should be, are o f a vertical tendency,
are also s i m i l a r f r a g m e n t s o f a s i m i l a r there being n o t h i n g i n the least degree
d r u m o f a s i m i l a r c o l u m n belonging t o clashing w i t h the general suggestion t h a t
the earlier temple w h i c h stood u p o n the a c o l u m n must be v e r t i c a l , w h i l e the re-
 2l6 THE ARCHITECTURAL RECORD.

FIG. I'JS. F R I E Z E O F T H E M AUSOLEUM AT HALICARNASSUS.

(British Museum.)

l i e f is sufficient f o r the figures to stand t u r a l s u r r o u n d i n g s — t h e strongly m a r k e d

out beyond its actual substance, and to horizontal lines o f the a r c h i t r a v e below
give no impres.sion o f t h e i r c a r r y i n g a n d the cornice above. T h e p o s i t i o n i n
weight themselves. I n the v e r y f e w i n - w h i c h this f r i e z e occurs can be better
stances where figures are used f o r seen i n the pencil .sketch ( F i g . 129) o f
weight c a r r y i n g , as are the carytides o f the section o f the entablature. It indi-
the E r e c h t h e i u m . w e l l k n o w n t o every- cates t h a t this band o f sculpture m u s t
one, i t is remarkable that the w e i g h t to have been i n deep shadow beneath the
be borne is obviously slight, and that the o v e r h a n g i n g cornice, and this and its
figures stand up under it in precisely the great height above the g r o u n d must have
pose o f w o m e n w h o are accustomed to rendered it d i f f i c u l t to recognize its de-
carry w a t e r pots upon t h e i r heads. T h e y , t a i l , the p e r f e c t i o n o f its execution be-
too, are w e i g h t carriers, sustaining loads i n g to a great extent wasted. T h e sculp-
which they can supjiort w i t h compara- ture was o n l y employed as an architec-
tive ease, b u t accustomed to pose t h e m -
selves f o r the purpose.
W h e r e sculpture ( o r c a r v i n g ) is u.sed
upon a f r i e z e as a continuous band, the
design is almost always o f a continuous
character, leading on f r o m figure to
figure, the s t i f f l y u p r i g h t lieing r a r e l y
f o u n d ; t h o u g h i t occurs i n c e r t a i n parts
o f the cella f r i e z e o f the P a r t h e n o n ,
where i t was intended to give the i m -
pression o f rest or pause i n the m o t i o n
o r o n w a r d m o v e m e n t o f the procession
which is represented there. T h e same
suggestion o f continuous m o t i o n is f o u n d
in the frieze of the M a u s o l e u m at H a l i -
camassus, o f w h i c h a small p o r t i o n is
shown i n F i g . 12S. as it has been pieced
together i n t h e B r i t i s h M u s e u m . The
subject is a combat i n w h i c h f e m a l e
w a r r i o r s are t a k i n g p a r t ; b u t f o r the
present purpose this is a mere m a t t e r o f
detail, i t b e i n g m o r e essential t o indicate
t h a t the general f l o w o f the design is Ffg. Entablature of the Mausoleum at
such as t o h a r m o n i z e w i t h the architec- rialicariiassus.
(British Museum.)
 THE EVOLUTION OF ARCHITECTURAL ORNAMENT. 217

t u r a l ornament to give t e x t u r e to a
surface and a h a r m o n i o u s fiow o f line.
I n all these things it is not the h u m a n
f o r m alone w h i c h is represented, p a r t i c -
u l a r l y in the l o w r e l i e f s , w h e r e animals
are f r e e l y i n t r o d u c e d , as i n the frie/.e
j u s t mentioned. F i g . 129, however, i n -
dicates another use f o r representations
o f animal forms. A series o f lions'
heads may be n o t i c e d a l o n g the cyma-
t i u m m o u l d i n g o f the C(3rnice, a c t i n g as
waterspouts to the g u t t e r behind. These
have a p e r f e c t l y traceable o r i g i n , as may
be seen in F i g . 130, w h i c h shows one o f
the f a m o u s L y c i a n tombs n o w i n the
British Museum. The roof o f this, which
is o f pointed f o r m , is in i m i t a t i o n o f the
r o o f o f a l o w h u t w h i c h was covered
w i t h lions' skins, and the heads, o f
cour.se, p r o t r u d e . T h e r e is a great deal
to be said about this little so-called tomb
or monument, w h i c h is o b v i o u s l y i n i m i - 12 •' V
tation o f t i m b e r c o n s t r u c t i o n . Some o f
Fig. l.'U. Lion's Head—Temple of Diana at
Epliesus.
(British Musinim.)
the t i m b e r ends suggest the dentil orna-
ment. alx)ut w h i c h m o r e m a y be said
later o n . and i t has side bearers, as i f
it had been i n t e m l e d that i t should be
carrieil upon men's shoulders. I t is held
by m a n y that the A r k o f the Covenant
was o f this character, and there is. at
any rate, a suggestion i n the r o o f f o r m
o f the p o i n t e d a r c h . W h e t h e r this r o o f
represents the deep keel o f an u p t u r n e d
boat o r an o r d i n a r y hut r o u g h l y covered
w i t h bent boughs, is an entirely open
question. F o r the m o m e n t , however,
these m a t t e r s are beside the m a r k , i n -
terest c o n v e r g i n g upon the heads o f the
lions. This t o m b , i t may be noticed. ha>
been b r o u g h t f r o m A s i a , and is probably
o f earlier date t h a n any o f the recog-
nized ( i r e e k b u i l d i n g s ; w h i l e the lions'
head spouts, as o n the M a u s o l e u m o f H a -
licarnassus. are f o u n d almost i n v a r i a b l y
on Greek w o r k o f the Ionic order, vvhicli
also seems to have had an A s s y r i a n o r i -
g i n . . \ detail o f a f r a g m e n t o f another
such head, f r o m the T e m p l e o f D i a n a at
Ephesus, is s h o w n i n F i g . 131.
T h e Greeks rarely used a n i m a l or h u -
man f o r m s i n o t h e r than a purely deco-
rative w a y — t h a t is, i n close alliance w i t h
Fig. 130. Lycian Tomb.
(British Museum.) the construction—so that the capital
_'|S THE ARCHITECTURAL RECORD.

F>om an antiquarian point of view,

the interest i n this capital centers v e r y
much in the use o f the bulls" heads,
w h i c h are quite c o m m o n l y employed i n
Roman buildings, sometimes (as s h o w n
in F i g . 133, w h i c h represents a crater
or u r n now standing in the entrance ves-

Fig. V.Vl. Bull Head Capital from Salamis.

(British Museum.)

shown i n F i g . 132 mu.st be looked upon

as e n t i r e l y exceptional. .According to the
in.scription w h i c h i t ^ pedestal bears, as
it now stands i n the Ephesus R o o m at
the ISritish M u s e u m , i t is a Greek v a r i a -
tion o f an O r i e n t a l design belonging ti)
the f o u r t h o r t h i r d century 1'.. C. It
was f o u n d at Salamis i n C y p r u s i n 1890.
and presented by the C y p r u s E x p l o r a -
t i o n F'lind. I t is i n the f o n r i o f t w o
winged bulls, w i t h a fantastic c a r y a t i d
in relief upon its p r i n c i p a l or e x t e r n a l
face, w h i c h is that s h o w n i n the i l l u s t r a -
t i o n , the hands being upraised to g i v e
the appearance o f support to the abacus,
antl the dress t e r m i n a t i n g i n acantlius
foliage.

Fig. l.T'i. Roman Urn or Crater.

(British Museum.)

Fig. l.'U. Etrusean .'Vntefi.x.
iN'l'ioria and Albert Museum.)
tibule o f the B r i t i s h M u s e u m ) as l i f e -
like rej)resentations w r e a t h e d f o r sacri-
fice, but m o r e f r e q u e n t l y as isolated
masks i n a f r i e z e . T h i s u r n also i n d i -
cates that the Grecian idea o f p l a c i n g
l o w r e l i e f s on a surface was r e t a i n e f l ,
but the sup])orts o f the actual crater are
 THE EUOLUTION OF ARCHITECTURAL ORNAMENT. 219

'9

F I G . i:ir.. SCROLL ENRICHMENT OF A MONUMENT I N T H E C H U R C H O F STA. MARIA D E L

POLPULO. ROME.

curidii.s human A l l a n t o . o r male figures, e lassic. w h e t h e r Greek or Roman. H i t h -

c a r r y i n g the u r n on t h e i r backs. The erto we have been able t o trace a close
attitude, i t w i l l lie noticed, is a correct connection between Renaissance and
Classic: n o w the connection is m u c h le>s
one f o r w e i g h t s u p p o r t i n g : the c l o t h i n g ,
a])parent—the w o r k becomes less t h a t o f
such as it is. consists o f acanthus leaves,
and v e r y m u c h recalls that o f the carya-
t i d on the capital shown i n P i g . 132: but
the figures stand u p o n lions' legs a n d
f r e t , which are e n t i r e l y out o f p r o p o r -
tion to them. . A l t e r n a t i n g w i t h these
figures are h i u n a n masks or busts, l i f e -
like and crisp. A n o t h e r smaller m o n u -
ment which may be seen j u s t behind the
pedestal o f the crater shows w i n g e d a n i -
mals as angle supports. T h e Romans
were, in f a c t , m u c h m o r e f r e e i n t h e i r Fig. step E n d . P a l . Gordl. Florence. 14'.Hi
adoption o f ornament w i t l i an a n i m a l A. D.
basis than were the (ireeks. but i t gen- (VlcU)riu and Albert Museum.)
erally consisted o f one o f the types the sculj)lor and m o r e that o f the carver.
shown here. T h e human head was. h o w - T h e s p i r i t o f this new style o f w o r k is
ever, by no means i n f r e c p i e n t l y used also w e l l indicated by F i g . 135. T h i s shows
in antefixial ornaments. T h e r e are .sev-
eral e.xamples o f these i n the B r i t i s h
-Museum, but the one selected f o r illus-
t r a t i o n i n F i g . 134 is E t r u s c a n , and has
been preserved at Soutli K e n s i n g t o n : or
perhaps i t w o u l d be m o r e correct t o say
that what is preserved there is a m o d e r n
^ cast i n unbaked clay f r o m t h e o r i g i n a l
t e r r a cotta m o u l d f o u n d near O r v i e t o .
n o w in the C e n t r a l P^truscan M u s e u m ,
i'lorence. I t is believed to belong t o
about the t h i r d c e n t u r y B . C. T h e head
is surrounded liy a halo o f spiked Iea\ i ~.
I t is somewhat a s t o n i s h i n g t o find t h a t
in the w o r k o f the I t a l i a n Renaissance
the h u m a n and a n i m a l m o t i v e is used PiK. 1:57. Italian Bracket. Uith Century.
much mi^re decoratively than in the (Vii'tor;a and Aiborl Museum.)
 220 THE ARCHITECTURAL
a small p o r t i o n o f the scroll enrichment
o f an i m p o r t a n t m o n u m e n t i n the C h u r c h
o f S. M a r i a del P o l p u l o . R o m e , and i t
is t y p i c a l o f a large a m o u n t o f similar
carved ornament to be f o u n d t h r o u g h o u t
a great p a r t o f I t a l y and. w i t h certain
local v a r i a t i o n s t o be presently pointed
o u t , i n France also. T h e f o l i a g e o f t h e
scroll w o r k c o n f o r m s to the types al-
F I G . L-IS. BRO.N'ZE E N T R A N C E G A T E S TO LOGGIA O F T H E C A M P A N I L E . V E N I C E .
ready mentioned i n a previous chapter
o f this series. T h e h u m a n face is i n -
troduced as the central o r most p r o m -
inent incident, but masks are f r e ( | u e n t l y
f o u n d as terminals, while doljihins
s p r i n g out f r o m the f o l i a g e as i f they
were f l o w e r s , and other i m a g i n a r y beasts
occur where leaves a n d f l o w e r s w o u l d
m o r e n a t u r a l l y g r o w . A l l these are mere
incidents i n the scroll w o r k p a t t e r n ; they
RECORD.
are not the c o n t r o l l i n g features o f the
e n r i c h m e n t : there is no s c u l p t u r a l repre-
sentation o f a scene or p o r t r a i t , b u t they
are i n h a r m o n y w i t h the f o l i a g e design.
( )ther examples are shown i n Figs. 136
and 137, b o t h sketched i n the \ ' i c t o r i a
and A l b e r t M u s e u m , one representing
the end o f a stone stair and t h e other a
bracket. I n one case a head a n d i n the
other a grotesque a n i m a l is the m o s t
p r o m i n e n t f e a t u r e i n the design, yet the
t r e a t m e n t is essentially decorative a n d
scroll-like, a n d f o l i a g e is f r e e l y i n t r o -
duced i n c o n j u n c t i o n w i t h the represen-
tation of imaginary life f o r m s . The
f a n c y has been a l l o w e d f r e e play, m u c h
m o r e so than was ever p e r m i t t e d t o i t
d u r i n g the t r u e Classic ages.
T h e representation o f the complete
 THE EVOLUTION Of ARCHITECTURAL ORNAMENT. 22 I

figure was not, however, e n t i r e l y aban- Perhaps i t may be called the most c o m -
doned in the a r e l i i t e c t u r a l embellish- m o n of all the f o r m s o f Renaissance o r -
ments of the I t a l i a n Renaissance. A nament w h i c h have an a n i m a l basis, and
g o o d example o f its use is s h o w n i n F i g . i t w o u l d be c e r t a i n l y d i f f i c u l t to imagine
138, w h i c h is f r o m a p h o t o g r a p h o f the a n y t h i n g m o r e suitable t o the position
bronze entrance gates and the loggia to w h i c h it is designed to occupy.
the Campanile at N'enice. w h i c h was de- C o n s i d e r i n g h o w i m m e d i a t e l y France
stroyed when that b u i l d i n g f e l l a f e w owes i t s Renaissance d e c o r a t i o n t o the
years ago. I t w i l l be noticed t h a t there inlluence o f I t a l i a n s , it is not astonishing
were w i n g e d figures i n the spandrils over
the arch, t h a t the keystones were carved
to represent h u m a n heads, that there was
statuary in the niches, and, moreover,
that the design o f the gates consisted o f
a medley o f h u m a n f o r m s s u r r o u n d e d
by f r a g m e n t s o f a r m o r and weapons,
while the l i o n o f St. M a r k ' s , w i t h the
open book ( i n d i c a t i n g t h a t Venice was
at peace when the gates were m a d e ) ,
appears as a s u p p o r t e r o n either side.
The gates were amongst the most f a -
mous pieces o f bronze w o r k i n the w o r l d ,
and t h e i r destruction is most seriously to
be deplored. T h e y were excellent ex-
amples o f a somewhat u n s a t i s f a c t o r y
system o f i n t r o d u c i n g the h u m a n figure
i n t o design, and they showed h o w , i n
the hands o f a great artist, an i n d i f f e r e n t
system o f o r n a m e n t a t i o n m a y be r e n -
dered b e a u t i f u l , p a r t i c u l a r l y w h e n com-
bined w i t h excellence o f w o r k m a n s h i p .
T h e usual c o n f u s i o n t o be f o u n d i n the
w o r k of this p a r t i c u l a r t i m e and style
was not u n d u l y apparent.

T h e d o o r w a y f r o m Genoa, shown in
F i g . 139, is i l l u s t r a t i v e o f a m u c h m o r e
satisfactory m e t h o d o f dealing w i t h the
sculptured figure. S t a t u a r y is here em-
ployed as ornament most s a t i s f a c t o r i l y ;
the upstanding V i r g i n , i n t e r i ) e n e t r a t i n g
the pediment w i t h a c r o w n held above
her head by w i n g e d angels, being i n per-
fect h a r m o n y w i t h the general scheme
of the d o o r w a y , w h i l e the l i t t l e figures Fig. 135). Door of a Palace in Genoa.
w h i c h support the pediment serve ad- (Victoria and Albert Museum.;
mi ral)ly as acroteria. T h e r e are other
t i n y figures carved u p o n the greatly en- t o find that the ornament w h i c h is based
riched columns, w h i l e w i n g e d masks are u p o n a n i m a l f o r m s is v e r y s i m i l a r i n
to be f o u n d here and there amongst the the t w o countries. F i g . 140, f o r ex-
foHage enrichment. P r o m i n e n t in this ample—and i t is only one o f a large
i l l u s t r a t i o n is the great shell i n the t y m - n u m b e r o f s i m i l a r e x a m p l e - \\ liich m i g h t
p a n u m . A n o t h e r e x a m p l e o f t h i s has be cited—shows a small p o r t i o n of the
a l r e a d y been i l l u s t r a t e d i n F i g . 68, and i t decoration o f the Cdiateau de V i l l e r s
is of quite freejuent occurrence both i n Cotterets, b u i l t i n the t i m e o f Fran(;ois
I t a l i a n and French Renaissance w o r k . I . , that is. about the year 1520. I n many
222 THE ARCHITECTURAL RECORD.

' - Fig. 141.'. Corbel to Confessional Box.

'••[ ^ • St. Loup, Xamur.

the n i c h e : but the grotes(|ue animal

" w h i c h occu]>ies rather nmre than the
• ' •
Portion of the Decoration of the ChSieau de
Villers, Cotterets.
re-pects i t suggests the d o o r w a y at
Genoa, both i n the figures above the
t y m p a n u m and i n the shell w h i c h fills
whole o f the tym|)ammi sjiace is the
w e l l - k n o w n vampire w h i c h occurs on a l l
great b u i l d i n g s erected f o r the use o f
the great b u i l d i n g K i n g o f I'Vance. and
must, t h e r e f o r e , be considered as an ar-
m o r i a l signification more than a piece
o f pure decoration, t h o u g h it is decora-
t i v e l y i n t r o d u c e d . T h e scroll f r o m the
M a i s o n Fontaine l l e n r i . w h i c h appears
in F i g . 141. is o f m u c h the same date,
and is j u s t as clearly o f I t a l i a n o r i g i n ,
being closely a l l i e d to the more b e a u t i f u l
one shown i n F i g . 135. T h e animals i n
I "ranee are not always quite sn n a t u r a l l y
connected w i t h the f o l i a g e as they are
in I t a l y , though they could h a r d l y be o f
m o r e grotesque f o r m s . \ ' a r i a t i o n s are.
o f cour.se. innumerable, f o r once the
fancy is alk)wed any extent o f license,.

FIG. 111. I^OW R K L I K F STONK FRIEZK. .Vl.MSOX F O N T A I X E H E X R l , XE.^R CAEX.

 THE lifOLrriON OF ARCHITECTURAL
such as is indicated here, it is possible
to proceed to any extravagance.
Natural treatment of the htunan f o r m
and face is found more frequently in
some of the later work of France, and
FIG. 144. CAPITAL TO COUNCIL CHAMBER
{1-y.M
also of BelgiuuL The small example
shown in Fig. 142 is Belgian; it is a large
scale representation of a small corbel
upon one of the series of confessional
])oxes of another of which an illustration
ORXAMENT. 223
is given in Fig. 62. in the Church of St.
Loup. X a m u r : hut there is a consider-
able amount of similar work to be found
in carved wood all over these two coun-
tries, always perfect in modeling. There
DOORWAV—.\l'DK.\.\RDE IK'TKL \>E VWA.E
A. D.).
is also a considerable amount in F.ni;land
iilentified with the name of the ^rcat
carver—(Irinling (iibbon.s—whose school
flourished during the later years of the
seventeenth and the early parts of the
224 THE ARCHITECTURAL RECORD.

subjects. I n connection with a Renais-

sance building, the result was generally
a medley of figures, not always easily
decipherable, as may be seen in the up-
per part of Fig. 145, which illustrates
tlie south door of Beauvais Cathedral.
Horses, men in armor and crowds of per-
sons occur here in profusion; the i)anels
are pictures in wood carving, and not
true architectural ornament. I t would
be impossible to pass by this type of en-
richment without reference to it. but
much more truly architectural treatment
is shown on the lower panel o f the
V nearer door, the vampire upon which
shows that it belonged to the Francois I .
period.
The (jermans adopted this pictorial
.system of carving enrichmcnis and car-
ried it to great excess. The example
Fig. 113. Priest's Chair, Bayeux Catlieilnil. shown in l-'ig. 146 of a mural tablet out-
eighteenth century. A later example of side the old Cathedral at Manover. is
t l i f use of the human head in l*"rench quite insignificant compared with the
large carvings of the same type to be
Renais.sance carving is shown in Fig.
seen in several churches at Xuremberg
143, f o r , though the Priest's Chair at
and i n the more southern parts of the
liayeux is, properly speaking, a piece of
country. The only portion of this which
furniture and not architecture, the ti'eat-
ment is such as is frequently found in
architectural fittings. Some of the fig-
ures here are supplied with large wings
and have animals' feet, while foliage
grows out in a natural manner f r o m
behind other figures.
Natural representations of the lower
animals are more rare, but they occur
occasionally, as in the Belgian example
shown in l*'ig. 144. where there are
(•;ilve'>" heads u])on the .small capitals.
The example is an exceedingly early one,
the date being 153 r A , D., the doorway
to the council chamber at Audenarde
being the earliest piece of Renais.sance
carving in Belgium. I t is contemporane-
ous, or practically so, with the work at
Villers Cotterets and Maison Fontaine
I lenri, shown in Figs. 140 and 141.
I t was left to I'rance to originate an-
i.tlicr type of sculptured ornament f o r
the enrichment of a building, carved
panels being introduced either in stone
or timber, having scenes illustrated upon
them pictorially. Something of the same
sort had already been done in ( i iiliic
times, generally representing Scriptural Fig. 14r». South Doors, Beauvais Cathedral.
 THE EVOLUTION OF ARCHITECTl'RAl. ORNAMEXT. 225

. 1 ^

FIG. 14ti. FLORAL T A B L E T , OUTSIDE THE OLD CATHEDRAL, HANOVER.

226 77//-: AKCHITECTURAL
KiK. 1-17. Full Corbel to W a l l Tablet.
on Dom Platz, HnllcisiMili.
is truly architectural ornament is the
male figure acting as a column and car-
rying an exaggerated Corinthian capi-
tal. A certain amount of the same
sort of thing is also to be found in
England; the two most pronounced
examples occur on the ba.'ies of Wren's
Monument to the Great Fire, and the
statue of King Charles 1. in Trafalgar
Scjuare. Sculptured represeiuations of
crowds of folk may be very well in their
proper places, but they ought to occur
in isolated panels and not to be used f o r
•I'M'* ' H ^ l
L human face being introduced with a
• .: . I ^
Fig. H S . Bronze K n o c k e r and Plate. House in
R a t h - H a u s Strasse, H i l d e r h e i m .
RECORD.
architectural adornment. It is the con-
fusion of the two elements which ren-
ders the mural tablet shown in l"ig. 146
so entirely unsatisfactory. That the
(Germans did, in their Renaissance work.
u>c- the human form reasf)nably and in
suitable positions at times, is shown by
the small face corbel illustrated in l-'ig.
147. M.xamples such as this are rare:
it i> oiic 111" a series of little scul]iture<l
heads in a facade at Haberstadt in the
5"^ *'«-v. w
House
Fig. 14!l. Coat of A r m s in Carved Stone.
C o u r t y a r d , H e i d e l b e r g Castle.
Hart/. .Mountains. The door knocker
shown in i-'ig. 148 is f r o m the same dis-
trict. It is more typically (ierman, the
humor which is more Gothic than Ren-
aissance : it is best expressed by the term
••quaint." which is one that can rarely be
applied to Classic or Renaissance work.
Something of the same .spirit is also to
be traced even in armorial bearings, as
J exemplified in Fig. 149; and again iliere
is a suspicion that this is c|uite as much
(iothic as Renaissance in its feeling, the
truth of the matter being that (iermany
never took kindly to the architectural
Renaissance of Classic ideas, at any rate
until nu'dern times.
 The timorous indi- And I c l i m b e d to the t w e l f t h story.
vidual whose mind Is Alas, 1 no longer pitied the timurous In-
THE
haunted by the visions ilividual, afraid of night flres, for the en-
SHAME OF iif night lires, of lad- joyment he missed.
ROOFS ders w h i c h all but reach I almost envied his scare-prompted wis-
his bedroom window dom after two glances out of the window.
EXPOSED
and of safety ropes The first glance resulted in wonderment at
which merely lend grace the hugeness of the city, never before real-
til a deadly tumble, and therefore dwells ized.
close to t h e g r o u n d , misses one of the great The second glance-
joys of a n arti-st's existence: looking at the Owners of apartment houses i n this n e i g h -
r^iofs o f a c i t y — I do n o t say o f e v e r y city. borhood take particular pains to impart to
.Some fifteen years ago, I had to climb facades and entrance halls an appearance
seven flights of stairs to r e a c h my students' of forbidding and trashy exclusiveness.
lodgings in the old Quartier Latin. But Those elaborate afl'airs in mixed Waldorfian-
then, w h e n the light mellowed, at the end of gambling house T u r k i s h bath style gi\<' the
some afternoon in fall, how well repaid I uncomfortable impression that an enormous
was for a slightly panting breath and a e f f o r t has been wasted. A t least it was an
weak feeling in m y knees by the symiihony effort towards some kind of artistic (?)
of colors the roofs of L u t 6 c e played bcni'aiii beauty (?). Whatever the thing is, which
my '"perch": roofs of new clay tiles, rutllant real estate companies and architects agree
and cheery; roofs of old mansions of a rich to mistake tor beauty, they strive toward
deep brown, some overgrown with muss, until the last floor is reached. Then
touched here and there with vivid red. an atrocious cornice of hammered tin tops
where the roof-mason (there is s u c h a call- t h e edlflce as a pasteboard crown lends dig-
ing in the o l d w o r l d ) had replaced worn-out nity to a Madri-Gras king in a New Orleans
rectangles: roofs of slate, purple, ochre or masciuerade. . . . And then above that last
violet, which after a shower would be fairly floor, architects and builders let loose with
iridescent. a vengeance a brood of monsters such as
indiscrete epicures may dream of after a
Later the Wanderlust, coupled with that
midnight feast. Some of them are quadru-
instinct which makes the bird of passage
peds with cylindrical bodies, no heads and
favor the topmost twig, caused me to abide
jointless legs made neither to jump nor
in eyries from which I could behold the
crawl. Their Latin name is, I believe,
pointed roofs of Gothic cities along the
"Tankus Americanus." Then there are
Rhine or the terraces of Algerian houses.
obsessing cobwebs which monumental
One day the first skyscraper apartment
spiders must have been weaving during our
house shot up in the surge of its twelve
sleep and which capture ever>' Monday
stories above t h e m o n o t o n o u s sea of the six-
swarms of white fluttering things.
story Harlem flats and three-.'story west side
Some of the monsters can hard'y be de-
dwellings.
 228 THE ARCHITECTURAL RECORD.

scribed: they reminii one mostly of country that It would prevent chimney soot from
outhouses. flirting with the white b u n t i n g on the spider
The flora of the.se altitudes, very unlike web; that children. Instead of romping on
that of Serairamls' gardens, consists exclu- the dusty roadway might play their high
sively In w h a t f o r lack of a better name we jinks under the covered roof where they
shall call "roof aapuragus." a tall plant with would not have to dodge automobiles.
hollow stem and whose roots seem to lose Of course 1 have no business t o be o n the
themselves somewhere in the depths of the roof. O n l y a f e w years ago very few people
basement. c o u l d see t h o s e m o n s t r o s i t i e s the existence of
The only human beings who associate with w h i c h is h a r d l y s u s p e c t e d b y t h e m a n on the
the monsters in peaceful or mutually indif- street. A t the d a y o f this w r i t i n g the crime
ferent intercourse are white skinned or can no longer be hushed up, for sky.scraper
dark skinned females, too muscular for apartment buildings are rising one after
social distinction and generally burdened one a b o v e the river siJe houses; hundreds of
with heavy baskets. people will have the shame of the slovenly
Now and lln-n some bully armed with a roofs thrust upon them; their artistic feel-
stick vents an unexplainable rage on dignilied ings will be o l T e n d e d by this Indecent archi-
carpets who.se mute protest expresses itself tectural exposure.
only in clouds of dust. The roof must be r e g e n e r a t e d as the back
Now and then a would-be Loreley, well yard has b«'en lately. A l l the roof aclivitii-s
versed i n the hygiene of the scalp, combs in are legitimate but unbeauteous. Shall we
the sun her m o r e o r less l u x u r i o u s h a i r , ex- b e a u t i f y one part o f our city and allow the
erting no baleful charm on the mud-scow oiher part to remain an eyesore? It will
pilots of the Hudson. not be long before the neglected roof area
Fortunately I can by tilting my rocking b e c o m e s as conspicuous as the street or park
c h a i r a t a d i f f e r e n t a n g l e escape the s i g h t o f un a. Before skyscraper tenants combine to
the monsters, of the basket carriers, of the sh.ime architects into roof decency, a more
wraihful males and of the thin-haired Lore- potent factor will bring about the regenera-
leys and rest my eye at day on the slum- tion I mentioned. 1 mean the flying ma-
bering river or watch the bewildering con- chine. Motorists judge a city as seen from
stellations the boat lights create and destroy the foot of its buildings. At a height of
capriciously after the sun has set. five hundred feet aeroplanists will gather a
Tanks, roof doors, elevator pulleys, clothes widely different impression of the cities in
lines, what shall we do with all those which they used to crawl.
things? Well, I know that in the crowded .\lready a f e w builders have felt the pangs
metropolis there is no place for the white of remorse. One uptown house clothes the
<erraces where in the pearl gray nights of nakt-dtiess of its tanks with turrets too
Africa Moorish women lounge like lazy clearly adventitious to constitute an im-
felines while beturbaned Arabs scratch out provement; one house has surrounded the
•. f nameless instruments invertebrate tunes grazing range of its monsters by high walls
in m i n o r key. pierced by fantastic cipenings. This is a
The prosaic builder reminds me that the step towards reformation, but It w i l l not do.
elevator shaft has to terminate somewhere The apartment house is e v o l v i n g a l o n g the
above the roof, unless top floor tenants are I'nes followed by the office b u i l d i n g : twelv
willing to j e o p a r d i z e t h e i r social prestige by stories to-chiy. lo-m irrow twenty, the day
walking up the last flight; he reminds me after to-morrow thirty or forty. And as I
that clothes have to hang where they can said before, if the dweller of the ihlrty-flfth
drip copiously without provoking protest; fioor could be kept In ignorance of the roof
that there must l)e s o m e s h e l t e r e d gangway conditions prevailing on some forty-story
enabling the white and colored females to house, the aeroplanists could not be de-
emerge f r o m the depths on M o n d a y and feed ceived.
the mysterious spider. He reminds me In Jai)an it is n o t uncommon for a land-
Anally that the nightmare quadrupeds are lord lo charge you an extra yen or t w o be-
there to watch out for another monster, the cause from your front door you can enj<iy
fire rooster of old world legends, ready to the sight of a blossoming apple tree. Will
spit their slime at his burning combs of the day ever dawn in Manhattan when
flame. renting agents will take you to a window
I object, however, that the slanting roofs and. p o i n t i n g to the ocean of roofs, add with
of Europe, with their symphony of red tile, a connoisseur's smile: "and no roof tanks
purple slate or livid zinc, would shelter at in s i g h t for a hundred blocks."
a low cost the menagerie of roof freaks; A til l i e Tridon.
 NOTES AND COMMENTS. 229

The AuKiisl tuiniber In this department in

of " A r t and Progress" July, there was con-

ART ADDRESSES AT tained an account of
opens with an article
IN by John Barrett. Di-
FEDERATION the first annual con-

rector of the Bureau nf OF A R T S vention of the "Ameri-

SOUTH
American Republics, on c a n Federation of
AMERICA MEETING
Art in Latin America. Arts." which was held

He stales that It was in Washington in May.

hastily prepared and pretends to be only a The Federation has since issued as a sup-

superhclal and cursory glance at an import- plement to Its inaga/.ine " A r t and Progress."

ant subject, but it is illustrated with some the f u l l proceedings o f the convention. These

new and very interesting photographs, and make a handsomely printed pamphlet of one

t h e r e is a good deal in the text itself which hundred and twenty pages, and most com-

is suggestive. M r . B a r r e t t observes that the mendable Is the promptness with which it

Latin A m e r i c a n himself, descended f r o m the appeared. As one goes over the addresses,

artistic L a t i n s nf .southern Europe, "Is more thvre given in full, one finds much that It

artistic In his nature than the average would be pleasant to quote. I t surely Is a

Anglo-.Saxon or Teuton. His first thought, good sign of the times to find a Secretary of

provided he has the means, is to maite his the Treasury saying such things as were

particular environment attractive." The said by M r . M a c V ' e a g h , f o r , as he remarked,

low, one story, thiclt walled house and build- the Treasury Department "is the greatest

ing which is characteristic of the small builder in the world. None has ever rivaled

t o w n or city of L a t i n A m e r i c a may not seem it. It is a builder every hour, and more-

10 t h e traveler very beautiful or attractive, over it is not building simply for utility."

but, s a y s M r . B a r r e t t , he should compare it The department has "more to do with art,

with the ramshackle, thrown-together, un- more to do w i t h the c r e a t i o n o f beauty, than

beautiful dwelling i n the average small c-ity all the other d e p a r t m e n t s in the Government

and t o w n of the U n i t e d Stales. A n d il' this put together." i l was M r . MacV'eagh, who

traveler will pass within the portal of this is at the head of this department with so

house, he may find there an ex(|uislte court marvelous an opportunity, who affirmed:

yard or patio, overhanging verandas and "After all, as people of intelligence know,

open corridors dei-orated w i t h uld tiles which art and beauty are much more nearly the

will gratify his most artistic taste. The ultimate things of life than the material

writer tells the familiar story of the great things, or than any other things. They are

public worlis whli-h the larger sized ^'outh the things which persist." Again, it was he

American cities are c a r r y i n g o u t o n so am- who described i t as a favorite idea of his,

bitious and superb a scale. Even the <"iiy "that It is most important for the whole

of Mexico, he says, is doing more In |)ro- nation that Washington should be made a

portion to its population to malie itself one model city, a standard city, a city t h a t shall

• if the beautiful cilies of the world than is w o r k out and establish the standards f o r the

any city in N o r t h America, w i t h possibly the municipalities of the country." He thought

exception of Washington, 'and it Is doubt- it a responsibility of the Government to

ful i f there appears even in Mexico City, make Washington all this. Again, it was

with its large Indian population, half as Mr. M a c V e a g h who asserted that in the last

many crudities in architecture as are to be seven or eight years there had been a very

seen in our national capital." Mr. Barrett great Improvement in the spirit of the Gov-

says that i n none of the large cities of South ernment in respect to Its architecture, and

America is i t p e r m i s s i b l e " t o erect any kind It was he who said: " W h a t I should like to

of residence or business structure unless It see is the same care and thought and in-

is approved by an Art Commission, which terest shown In e v e r y little building that is

makes sure that it does n o t d e s t r o y the gen- put up, in any small place in the country,

eral effect." He thinks that the people of as i n the great buildings that are erected in

the United States have made a mistake in the larger cities." Mr. Blashfleld's address

seeking only commercial cimiiuests with was notable f o r some practical suggestions

Latin America. He thinks that both sides on the subject of collaboration in interior

would have m u c h to gain t h r o u g h a develop- decoration. He pointed out that where

ment of artistic r.'lationshlps, and he ob- t h e r e are e v e n t w o c o l l a b o r a t o r s t h e r e is loss

serves that whenever our artists and sculp- of power, since either man has to restrain

tors have gone to L a t i n America, they have himself to the extent of not jarring upon

received a far greater reception than have the other's personality; that if there are

o u r buslneb's a n d c o m m e r c i a l men. three, the case is just so much worse, and

 230 THE ARCHITECTURAL RECORD.

that if there are ten '"all have to keep The Bureau of Manu-
themselves down relatively at least to the factures of the Depart-
level of the least able man in the group. MUNICIPAL ment of Commerce and
He thought that the remedy w a s , j u s t aa far Labor has issued in
ART
as possible, to give all the work within the compliance, it is sig-
radius of vision to one man. H e said, "Per- COM.'^ISSIONS nificant to note, with
sonally. I a m a n x i o u s to aet under the arehl- many requests for in-
lect only, to have nobody els?, no person, ftirmation a pamphlet
no fir.n. between me and the general decora- containing two series of special Consul.ir
tion of the room in which 1 have a panel. Reports that deal respectively with Mu-
But if I am to be a p a r t o f a g e n e r a l scheme nicipal A r t Commissions and Street Lighting
which others share I want t o see a direcini in European Cities. Consul S w a l m of South-
chosen, and then I mean to loyally follow ampton, in picturing the old condition of
him in everything, or else drop out of the affairs in English towns, very well describes
scheme entirely." Very practical also was the present situation in most of our cities.
the short report of the Committee on Sculp- "It was found." he says, "that all sorts of
ture, H'^rbert Adam.s. Chairman. It said: gifts in the way of monuments, more or less
"We find in cities where there is great atrocious when considered artistically, foun-
civic pride, whore the authorities keeji the tains for man and beast, m e m o r i a l s of brave
public buildings, parks and streets in splen- things badly cnmmemorated in stone or mar-
did condition, thiit Ih.' bronze statues are ble, were erected I n p u b l i c i>laces, a n d ther<-
never cleaned, are so covered with soot and stood, ghastly reminders of p u b l i c or private
dirt that the bronze Is not only dead and generosity gone wrong." It was to meet
lifeless, but often positively unsightly." The that situation in FCnB.and. in various Conti-
Committee pointed out that proper care of nental cities, and more recently in our own
bronze is very simple. "Xot even skilled cities that Municipal A r t Commissions were
labor is required. .\!1 that is necessary is created. In examining the reports of th-
a careful man. Give h i m p l e n t y of water, a Consular officers in a hundred European
little mild soap and some brushes to get cities, however, it appears that there is mi
into the deep places. .Simpl.v wash the one s.vstera in general vogue, although there
bronze and then give it a good rub with a is a good deal of general uniformity in the
dry soft cloth. This .should be d o n e n o t less methods employed. Primarily, the power to
t h a n tw.) or three times a year, the more the accept or reject gifts of statues, monum-nts,
better." The address of R a l p h A d a m s Cram fountains and the like Is v e s t e d i n the gov-
on "The Relation of Architecture to the e r n i n g officers, w h o correspond to our Mayor
People" was on a very high plane. He and City Council. These councilmen are
thought is clear that a great epoch was usually of a m u c h better educated class than
dawning before us. The awakening of the with us; but. perhaps for that reason, they
moral .sense o f t h e A m e r i c a n people, said he. are (piick to recognize their artistic llmlta-
is the most profound, the most significant, tiims. and to seek advice outside th'lr nun
thing that is happening to-day. in thi.-^ membership. .Artists, sculptors, painters,
great work of regeneration, the part of ar- architects, directors of art institutions and
chitecture is n o t s e c o n d , he thought, to that others competent t o pass j u d g m e n t are called
of any of the arts. It has always preceded into consultatiim. This has resulted in the
the complete development of the other arts. formation of a great many A r t Cimimisslons,
" I do n o t k n o w w h y t h i s is. I t is a l l a part sometimes temporary and sometimes perma-
of the great mystery of beauty, and of art, nent. As a rule these commissions act only
which is b e a u t y made manifest." The archi- in an advisory capacity, but their judgment
tect, he c l a i m e d , "is r e a l l y i n a sense a cus- is considered linal. In l^aris, tlie Insiii-i i n r
todian of public morals. . . . The man wiio of Fine Arts Is aiway.s consulted on such
offends i n his art, particularly in his archi- matters. He Is a permanent official of the
tecture, is an enemy of society. He is no municipal government. In Havre, commis-
better than the owner and publisher of a sions are appointed by the mayor as occa-
yellow journal. He is bringing to bear ;in sion may arise. In a number of French
influence for evil on society, instead of an cities there is a permanent Commission of
influence f o r good. . . . The architect must Fine Arts. Breslau and Hanover in Ger-
do the best of which he is capable. He many have permanent commissicms. and the
must always do s o m e t h i n g better than he is Chemnitz city council has recently decided
told to do by the man who employs him." 111 :M>r>oint a permanent >rt I'ommission. Ii
The trust that is the spirit with whieh is interesting to note that the C<msul there
every architect enters into his task. reports that "A Commission of experts was
 NOTES AND COMMENTS. 231

api)o!nted to sup'rinteiul the planning and The American Institute

construction of the stately new opera house. of .\rchitccts has pub-
A similar Commission was selected also to RAILWAYS lished in pamphlet form
oversee the bui'.dlng of the C i t y A r t Museum the papers which were
AND CITY
iiow nearly completed." In Italy, Milan read at its annual meeting
has a p e r m a n e n t A r t Comml.sslon of f o u r t e e n DEVELOPMENT last December, un the
members. The.se m e m b e r s a r e e l e c t e d by the subject of the "Relations
city council for a term of three years, and of Railways to City De-
are not eligible for re-election until a year velopment." The pamphlet, which is fully
has elapsed after the expiration of their illustrated, contains not only the papers that
term. T h e commi-ssioners serve without pay, were formally presented, but the addresses
and are ver>' carefully selected. Florence that were made at the banquet, and which
and Leghorn also have Commissions. touched particularly on this subject. The
titles of the papers and their auth'irs are as
The consular reports on street lighting
follows: "Railway Terminals and Their Re-
have main'y t > do with costs, power, etc.,
lation to C i t y Planning" by Frederic A. De-
bji this t|uotatlon from an account of the
lano, President of the Wabash Railroad.
lighting on till- rue de la Palx, In Paris, is
"Location and Arrangement of Freight
iiiii i v s i l n g : "The posts are of iron, cast In
Houses and the H a n d l i n s of House Freight"
<l< i I r i i l i v e patterns and. like practically all
by M . A. Long, Architect f o r the Baltimore
iiiht r lamp-posts In Paris, are painted first
& Ohio Railroad. "Railways and the Con-
with a warm b r o w n color, which being re-
.str\alion of Natural Resources" by M. V.
jiainted with a tint of dull dark green gives
Uirhards. of the Southern Railroad. "The
with t i m e the effect of old bronze. . . . H TO,
Terminal." b y J. V . Davies. who represents
as on a l l l e a d i n g .«hoii|ilnK s t r e e t s a n d boule-
the Hudson T e r m i n a l Co. "The Relation of
vards of Paris, great dependence is placed
Buildings, Retaining Walls, Bridges and
during the evenings upim the blaz- of light
T h e i r .Surroundings to City Development" by
which pours from the briliantly lighted
J. R. Rockart, Architect for the New York,
windows of shops, stores, cafes and restau-
New Haven and Hartford Railroad. "The
rants, and whii-h Illuminates the sidewalks
Terminal in Buffalo" by George Cary, the
until far into the night. For this reason
Buffalo .\rchltect whose plan it is. "Inter-
the street gas lamps, especially on streets
L'rban Stations and Trolley Traffic in City
which have also electrical arc lights at in-
Streets" by Albert Kelsey of Philadelphia.
tervals, are not lighted until late in the
At the d i n n e r the speeches were b y President
evening, thereby securing an Important
Finley of the Southern Railroad; Senator
economy to the municipality." Vienna also
Newlands. whom Mr. Gilbert introduced as
has Its measures of economy, the report
"The Patron .Saint of the Institute;" Presi-
reading: "As the arc lamps burn only until
dent Delano of the Wabash, and W. H .
midnight, there are two arms for incandes-
Boardman, Editor of the "Railway Age."
cent gaslights, to be used a f t e r m i d n i g h t , o n
The whole makes a very interesting and sug-
lamp-P"sls near police stations, emergency
gestive compilation.
li 'siiitals, street corners, etc."

Interesting is t h e an- The New Y.jrk So-

nouncement that the ciety of Architects has
OPPOSE
city of Tacoma. Wash., sent a petition to the
PRIZE FOR has offered a prize to TENEMENT C h a r t e r Legislative
the local architect who HOUSE Committee asking that
A CITY DOCK
shall submit the most In the new city charter
DEPARTMENT
pleasing design, from of New York the tene-
the 8tancJpo.inis of both iin n t h o u s e a n d building
.an and u t i l i t y , f o r a propo.sed city dock. The departments be combined. The petition,
first unit of the structure is t o be x ."SO which is q u i t e long, describes the Society as
feet in size, and three stories high. Tlie "an organization made up of many of the
material is n o t s p e c i f i e d . The first floor will architects d o i n g business in the city of New
be f o r the h a n d l i n g o f f r e i g h t ; the second for York." and it declares that the suggestions
passenger service, and the third for a pub- presented In the petition have been sub-
lic market, or any other purpose which the milled "to upwards of twenty-five civic
city may designate. The Interesting thing bodies, such as Boards of Trade and Asso-
is T a c o m a ' s w i s h to get good looks into this ciations of Builders, and h a v e b e e n aiqjrLived
jtind of a structure. and endorsed by all that have acted upon
 THE ARCHITECTURAL RECORD.

them, aiiil ib.ii nunib'-r aggregates upwartls enable the owner of a piece of property to
of luciiiy." The petition also declares that make an appeal f r o m a decision of the tene-
the Society is " I n sincere accord with the ment house commissioner.
spirit and purpose of the tenement house
law." and 9oes not desire to have any of its The Philadelphia chap-
benefieent provisions modified or restricted. t e r Of t h e A . I. A . , has a
It recommends combining the two depart- GOOD WORK C o m m i t t e e on the Preser-
menst In o r d e r to a v o i d d u p l i c a t i o n o f labor, vation of Historic Monu-
FOR
loss o f t i m e , a n d sometimes a needless fric- ments, which has had not
tion between the departments themselves. ARCHITECTS only the Inclination, but
I t expresses the opinion that the w o r k of I n - fortunately the opportun-
spection by the building department inspec- ity, to p e r f o r m a valuable
t o r s Is m o r e t h o r o u g h , a n d o f m o r e practical service to the c i t y a n d to the A m e r i c a n p u b -
value than is that by the tenement house lic i n general. There was a project afoot for
inspectors, o w i n g to the f a c t t h a t the f o r m e r the r e s t o r a t i o n of o l d Congress H a l l in Phila-
are (pialified by personal experience, in some delphia, and the Committee offered its
branch of the building trade, to pass upon services to the city without otiier cost than
the questions pri'senlfil. .-;e(oi)<l. the peti- the actual expenses of the survey and the
tion urges that If the two departments be preparation of d r a w i n g s . The offer was ac-
not combined, the l a w be so amended as to cepted, and now an approprlati m has been
I»rovlde thai th- tenement house commis- made o f s u f f i c i e n t size to c a r r y out the plans
sioner s h a l l be "a practical builder, a n engi- and to provide proper lighting systems for
neer or architect, h a v i n g at least ten years Independence Hall and Independence Square.
experience in his calling." Third, the pe- In cities w i t h a long past, w o r k of this kind
tition asks that If t h e departments are to is surely one of the most valuable forms of
remain separate, there be added to the public service which architects can perform
tenement house law a provision which will for the community.