UNIVERSITY OF LIBRARY ILUNOIS HISTORICAL SURVEY r INDUSTRIAL THE BUILDING INTERESTS ILLUSTRATED Tqe (Soodpoed Publishing onqpaqy 1891 COPYRIGHTED. All Rights Reserved. JOHN MORRIS COMPANY PRINTERS AND BINDERS UNIVERSITY OF IUJNM6 "77.3) HE Publishers, with much satisfaction, herewith present to their patrons the first two volumes The Building Interests of their proposed series of works on Industrial Chicago. So well was our plan received before a line had been written, that success was assured from the beginning. It will be, then, but a short time until the entire series makes its appearance. Many citizens have ordered in advance the whole set of about fifteen volumes, and valuable contributions for all the proposed issues are being received daily. Great advances have already been made in the preparation of the volumes to be devoted to the Manufacturing Interests, the Commercial Interests, the Professional Interests, the Public and Official Interests, and our great work on the History of the World's Columbian Exposition. All these volumes will be issued as fast as a large staff of experienced writers can prepare them, the last the history of the World's Fair going to press immediately after the concluding ceremonies of the exposition. We acknowledge our great indebtedness to all the newspapers and trade periodicals of the city for valuable miscellaneous literature connected with the history of the building arts. It would be impossible, at this day, to prepare a great work of this character with- out access to the articles of contemporaneous history published in the local journals and serials during the last forty years, now in possession of the Chicago Historical Society. This source of information has proved invaluable. Contributions from many critical specialists will be found duly credited in the pages devoted to the Building Interests. The volumes now being prepared will be identical in style, size and binding with the first issue, each set will be complete in itself and all will be superbly illustrated. No expense will be spared to render the succeeding volumes superior, if possible, to the first in quality of mat- ter embraced, classification, mechanical execution, etc., and, as in the case of The Building Interests, local writers of exceptional fitness will assist in the task of preparation. The Pub- lishers, who are residents of Chicago, have had years of experience in the compilation of his- torical works, and herewith announce that the entire series will be the product of Chicago writers, artists and enterprise. THE PUBLISHERS. I 088763 ABLE OP OOTENTS. INTRODUCTION. I-A<;K. TACK. Imitations of style 11 Byzantine architecture 34 Growth of architecture 12 Byzantine architecture, schools of 36 Egyptian architecture 12 Indian architecture 37 Assyrian and Persian architecture 17 Gothic architecture 38 Comparison of Asiatic and African styles 20 Gothic in general 38 ( ; redan architecture 20 Gothic, early 40 Etruscan architecture 24 Gothic, decorated 41 Homan architecture 24 Gothic, late 42 Human architecture, distinguishing features of 27 Renaissance architecture 44 Romanesque architecture 28 Florentine style 44 Romanesque, early 29 Venetian style 45 Romanesque, late 30 Roman style 46 Romanesque, schools of 32 Rococo style 48 Revival of the Komanesque 48 CHAPTER I. CHICAGO ARCHITECTURAL STYLES. Li >g cabin 50 Early brick houses 52 Beam and brace houses 50 The first resident architect 52 Balloon frame houses 51 Carpenters' Gothic styles 54 Historical and comparative review 54 CHAPTER II. CHICAGO'S KAHLIEST r,\ II.DINGS. The mission house of 1071 75 The second United States fort, 1816 77 Fort de la Durantaye 75 Cabins here in 1826 78 Fort Guarie 75 Buildings of 1831-2 79 Sable's cabin 76 The first brick .yard 80 The first United States fort 7(i Chun-lies, taverns and public buildings. 1833-5 80 Cabins of 1803-12 70 Statistics of houses here in 1837 s:; Review from Van Osdel's recollections.. 84 vi TABLE OF CONTENTS. CHAPTER III. CLASSICAL ORDERS AND CARPENTERS' GOTHIC. I'AOE. TACK.. The buildings of 1843-4 86 Buildings of 1851-61 95 The buildings of 1S46-50 88 Buildings erected during the war 106 The great building year, 1849-50 92 Building operations in 1867 425 CHAPTER IV. DESTRUCTION AND RESTORATION. Statistics of building, 1867-71 108 Buildings begun in October, November and Crosby's operahouse and other great buildings. 108 December, 1871 125 Buildings destroyed October 7 to 10, 1871 116 Buildings begun in 1872 127 Statistics of destruction 117 Descriptions of the leading streets before the Architects of 1871-2 121 tire and of the houses erected after the fire 126 Building permits, October 10 to 26, 1871 123 Statistics of rebuilding, 1871-2 146 First business house after the fire in burnt dis- Joseph MciliU's statistics of loss and gain by trict 123 the fire, compiled October 9, 1872 146 An Austrian review of two years' progress in Chicago 147 CHAPTER V. CJOTHIC AND RENAISSANCE. Statistics of building, 1872-8 149 Federal building 151 County and city buildings 150 Description of principal buildings, 1872-8 152 CHAPTER VI. COMMERCIAL ARCHITECTURE. Great buildings of 1881-5 168 House moving, 1833-91 233 Town of Pullman 172 Great building syndicates 236 Great building, 1885-91 186 Friends and enemies of the sky scraper 238 CHAPTER VII. MODERN FLATS AND RESIDENCIES. What the modern fiat is 240 Descriptions of apartment houses 241 List of pioneer apartment houses 241 Modern residences 257 Descriptions of a few homes 260 CHAPTER VIII. MODERN MISCELLANEOUS ARCHITECTURE. Modern church buildings 265 Convent buildings 274 Schoolhouses 272 Medical college buildings 274 New college buildings 273 Hospital buildings 275 Charitable buildings 276 TABLE OF CONTESTS. vii CHAPTER IX. I!K<:lNNIX<;s OF SritrRHAN PAOB. I Seasons for the existence ofthesuburbaiilioii.se 278 Orowth of the suburbs and description of old and new houses . .878 I'AGK. Statistics of building operations, 1877-91 290 Comparative tables 291 Permits for sky scrapers 292 CHAPTER X. AI!< IIITKCTS AND liriLDEKS ASSOCIATIONS. Introduction to chapter 293 Architects of Chicago, 1859-79.. 294 American Institute of Architects 295 The Chicago chapter of the American Institute of Architects 299 Western Architects' association . . . 300 The Illinois State Association of Architects . . . 304 The Illinois chapter of the American Institute of Architects 305 The Chicago Architectural Sketch club 306 Art guild 308 Permanent exhibit of building materials 309 Polytechnic schools 323 CHAPTER XI. CARPENTERS, Aboriginal carpentry Pioneer carpenters of Chicago Carpenters and builders of 1859 r Building contractors, 1871-2 Carpenters & Builders' association Boss Carpenters & Builders' association Pioneer Masons of Chicago Masons' association The Master Masons & Builders' association. . . . The Chicago Masons & Builders' association . . MASONS AND ROOFERS. 325 The Builders & Traders' exchange 339 325 The Central Council of building interests.. . 343-345 330 The National association of builders 343-345 331 Pioneer plasterers 345 332 Contracting Plasterers' association 346 337 A paper by James John 346 337 Roofs and roofers 348 339 Pioneer roofe- 350 339 W. B. Lord's paper on slate 352 339 Modern roofers... . 356 CHAPTER XII. III! 1C K AND Ancient brickmaking 357 Special paper on adoban houses 358 Brick in the United States 359 First brick buildings in United States 360 First brick structures in Chicago 363 Chicago manufacturers 363 Brick machinery 370 Reminiscences of brickmaking :!7'.' Pressedbrick 375 Enameled brick 377 National Brick Manufacturers' association .... 378 Local associations 378 Nomenclature in brickmaking 379 Description of bricks ''#'> TERItA COTTA. History of manufacture 386 Stiff clay process and other methods 387 Fuel of the future 392 Efflorescence in walls 395 Terra cotta 400 Terra cotta lumber 414 Recent fireproof building 403 Mineral wool 406 Hollow tile 409 Asbestus 415 Magnesia covering 415 ( ; lass material 415 Paper material 416 Staff material . . . 417 TABLE OF roXTK\Ts. CHAPTER XIII. .IOUHNAI.1SM, I.ITKHATrUE, ETC. I'AGK. I'Ar.K. List of local journals devoted to the building Report of Knnim.i ,/,,,, ml on building opera- trades 418 tions for 1867 425 Hooks on architecture, etc., by local authors.. . 424 Broad art criticism 435 The modern use of established architectural styles 437 CHAPTER XIV. NATURAL AND ARTIFICIAL 8TOSK. Introduction to chapter 443 Special paper on stone 447 Illinois building stone 445 Quarrymen and dealers, 1843-91 455 Crushing and tensile strengths 446 Stone men's associations 460 Naperville quarries 446 Artificial stone 461 Sioux Falls jasper 447 Mortar and lime 463 CHAPTER XV. 1MKUS, FOUNDATIONS, WINTF.lt lini.DIXdS, KTC. Foundation work prior to 1886 466 A Chicago method applied in Kansas City 478 Special paper 467 A new wall-supporting system 479 I). Adler's paper on foundations 473 The arch and its relations 479 Winter building in Chicago 480 CHAPTER XVI. BUILDING OKDIXANCKS AM) LAWS. Municipal ordinances, 1833 481 Lien law, 1845 520 M unicipal ordinances, 1835 481 Lien law, 1874 5'.':: .Municipal ordinances, 1849 481 Lien law, 188*7 52:! Municipal ordinances, 1851 ...' 481 Amendments, 1891 52:! Municipal ordinances, 1861 481 Decisions in r<- mechanics' liens 529 Hi-vision of the ordinances, 1880 482 Alignment 53:! Present building ordinances 483 Special assessment 533 Laws affecting architects 507 Statistics, 1862-90 534 Relations between architect, builder and painter 508 New special assessment law 535 Party walls 509 Special assessments levied in 1890 531 New building contract 512 Report on system 537 CHAPTER XVII. I.AISOK AND ITS OHGAXI/ATIOXS. I'ACK. I'AIIK. Introduction to chapter ..................... 54(1 Metal cornier workers ....................... ."U!l Eight-hour club ............................. 54(1 HcsumO ..................................... 55(1 Trades unions of 1SG7 ......................... 541 Special paper on " Duties" of Employes" ...... 552 The eight-hour day a law .................... 541 Strike of 1877 .............................. 555 Labor riots, 1S(>7 ............................. 54L' Negotiations with employers ................. 55(> Tlie Carpenters' union .................. i ..... 544 I'urington on labor troubles ............ ..... 5S1 t'liited Order of American Bricklayers ........ 545 Profit -sluirinjr system ........................ 5S!I Trade building .............................. 54li Pro)>osed labor temple ...................... 5H!I 1'lasterei-s \- Lathers' union .................. 54S Trade it Labor assembly ..................... 5!l(l The Architectural Iron Workers' union ....... 54!l American federation of labor ................. 5!H Review of defeats and victories .................................................................. 5!ll CHAPTER XVIII. AKCHITKCTS AM) KX(!IXKEHS. Historical and biographical sketches .............................................................. 598 CHAPTER XIX. liHICK MAM"KA( Tl'UKKS AM) DKAI.KHS AM) MAscIN ( 'oXTItACToUS. Historical and biographical sketches ............................................................. (i4:! CHAPTER XX. CAKl'KXTEHs AM) l!l Il.DKHS. Historical and biographical sketches ......................... '. ................................... 701 CHAPTER XXI. DKAI.KIO IN STOXK. SAM). Fl HKl'lll II IKI N(i. I'l.AST KlilXO, CKMKNT, ASPHALT, I,IMK AM) KIXDIiKI) MATKISIAI.S. Historical and biographical sketches ............................................................... 751 PACK. I'AOK I.ojr cabin facinjr 2! Sinjjer, II. M faciujr 448 Ilijrh school buildinjr facinjr 75 Kimball, C. B facinjr 44.1 Crosby's operahouse .faeinjr !IO Younjr. Iliijrh facinjr 450 Catliedral of Holy Name facinjr 100 Hawle. John facinjr 7li(i Iron block facinjr 154 Moore, 15. J facinj;' 4I>5 I, eland hotel facinjr 15!l I'urinjrton, I). V facinjr i>48 Honore bnildinjr facinjr 170 Prussinjr. G. C facinjr (>li(i Art Institute facinj; lS(i McKenna. J. J facinjr C>47 ( 'hamber of Commerce facinjr 10S Courtney, T. E facinj;' W>2 Stone's buiKlinjr faciujr 220 Downey, Joseph facinjr <><>!' Madison hall facinjr 227 Messersmith. Georjrc facinjr H7I Masoni<- temple facinjr 2:11 Sturtevant, K facinjr si Leiter block facinj; 2(i(> Blair, C. II facinj; 70S Grannis, A facinjr :!25 Mavor. William facinjr 7 IS Clark, Thomas faciujr J531 C'amiibell, M unlock facinj;' 7,'4 Mortimer, W. E faciujr ;i3S (lindele, John G facinjr 75 1 Tapper, Georjre 1'ucinjr 845 Gindele. F. V facinjr 754 Alsip, Frank facinj;' :ili:! (iiudele, C. W facinj;' 75(i Fireproof Cut facinj; 875 Harper. H. C facinj;' 774 INDUSTRIAL THE BUILDING INTERESTS. INTRODUCTION. c I EFOBE entering upon an analysis and a description of local architecture, it seems appropriate to present the leading features of the styles generally, that the non- professional reader may know at a glance the origin of the chief architectural forms to be seen mingled in such confusion throughout Chicago. In this description it is the deliberate intention to credit each nation, or each people, with the principal members invented by it, or in use by it when the focal light of history first reveals its civilization, and to notice the principal improvements in special forms devised by the genius or art of subse- quent peoples. How well this is done in the following pages, must be left to the judgment of the reader. It is not possible to classify with precision architectural styles, the extremities of which dovetail or blend together. Those writers who have undertaken the task have encountered a most serious obstacle, which, if they succeeded in surmounting, has left their attempts in a more or less chaotic or confused state. The fact that every old nation borrowed its fundamental building principles and forms from many antecedent and contemporary peoples, and that all modern nations have copied extensively and invented sparingly, lends to imitations in the United States, and particularly in Chicago, a most bewildering or confused air. Sufficient time has not elapsed in this city to permit the evolution of an established style from a multi- plicity of forms; or, if it be insisted that time has been sufficient, then opportunity has been neglected, unless the last decade saw the advent in Chicago of a variation sufficiently pro- nounced to be entitled to the dignity of the title, 'commercial style." But even this style is largely teehnic. A gigantic skeleton or box structure of steel is ornamented with columns, pilasters, piers, capitals, band-courses, arches, panellings, gables, moldings, etc., gathered from every nation of the earth and from every chronological cycle. To this the term "Chicago construction," or "skeleton construction," or " box construction." or " commercial architect- ure" is applied (the latter suggesting a mneh better apprehension of correct and dignified 12 INDUSTRIAL CII/r.\<;<> : system than either of the former). If the structure be covered with Roman building forms, there are architects in this city who call the tout ensemble " Roman style;" as many more call it "commercial architecture." In the residence portion of the city many buildings have a combination of the principal features of a half dozen styles. One architect calls the combi- nation Romanesque, another Norman, another Italian, another modern. The confusion is thus confounded. The first bases his judgment on the arches of a conspicuous story; another on the columns and entablatures of a different story; still another on the general style of the facade and the last on the united effect of the various members. Were all to form a society grounded upon a certain code of principles and upon definite lines of professional action, tin- time would not be far distant when out of the gloom of mixed types and styles the sun of a golden age for Chicago architecture would break. It is this want of system or united action that prevents a fusion of the views of architectural authorities and affords the critic or jester his prized and sublime opportunity. However, the leading forms used by Chicago architects are clearly defined and will be pointed out. No attempt will here be made to furnish a basis for the clear-cut classification of styles, the principal object of this introduction being simply to describe the leading features of each style for the edification or instruction of the non- professional reader. It is certain that making cloth and constructing shelters were the first complicated arts suggested to the ancients the barbarians of Asia and Africa and, for generations, the tribal chiefs counted their wealth and their strength from the possession of better ornamented goods or larger cabins than the plebeians. As years grew apace chiefs developed into kings, became powerful and ambitious, and, desiring to awe their subjects and draw social lines tighter, saw in palaces and temples and the dazzling splendor of structural adornment a means toward the end. Again, national ambition arose as individual ambition had formerly done, and China essayed to outrun Hindostan in the qiiality and number of buildings devoted to rulers and religion. The latter country erected structures which, in that day, were marvels. China accepted the challenge and built higher and broader; Egypt outdid her; Assyria and Persia put forth their gorgeous styles; distant Mexico, isolated from the other nations of antiquity, unable to imitate, built artistically; and finally the superb Greek orders blossomed with a color so rich, a feeling so tender and delicate, an artistic sense so simple and true, a form of such exquisite grace and proportion and a strength so vigorous, dignified and noble, that the world yet stands amazed in the shadow of her wondrous art. A critical study and comparison of the ancient architecture of Egypt and the Orient dis- close an important fact. It is certain that before the ancients had learned the lithic art. they had previously, for centuries, developed by slow degrees their skill and artistic sense in the construction of beautiful buildings of wood and brick. The age of wood in the Nile valley was prior to the fourth Egyptian dynasty, (3">()0 B. C.), when that marvelous people shook off their ancient lethargy and, at one bound, perfected the technic art of stone construction. Then the great pyramids lifted their heads above the Nubian hills and the valley of the Nile, and the oriental nations began to borrow styles and ideas. But the civilizations of India, THE RUILDINO INTERESTS. 13 China and Assyria were as unbending then as now, and the innovation of stone walls, columns and piers was permitted only by degrees. Assyria, with a succession of fertile valleys and desert wastes, and with no stone within her borders, advanced little beyond the use of stone as revetments; but Persia, from extensive quarries within her domain, added to her profusion of decoration the more substantial grandeur of palaces and temples of stone. During the transition from wood to stone, the architects who were wanting in stone models and types, and were unable to invent suitable designs, undertook to reproduce in the lithic form their wooden columns, architraves, cornices, pilasters, piers, panels, lintels and even arches. It is this use of wooden models or forms which proves the previous existence of wooden structures, all vestiges of which disappeared thousands of years ago. No Egyptian residences of the fourth dynasty nor of the previous centuries of historic darkness have ever been found. All back of that is chaos and old night. The Asiatic nations afford no relief. Their archi- tectures, showy and perishable, continued wholly to disappear long after the pyramids were erected. The sturdy Egyptians, impressed with the awful solemnity of immortality, shaped all their affairs under the guidance of their despotic kings or their religious teachers. All was done for eternity. The pyramids were erected to withstand the convulsions of time. The bodies were embalmed to await the resurrection. Their language, in songs of praise for their king and peace for their nation, was chiseled into the enduring stone of the facades, columns and obelisks. The tombs, cut from the solid rock, were made eternal. Their steadfast and sublime belief in a future state, led them through great tribulations to the study of per- manent building forms. But previous to the great lithic age of the Egyptians, their architecture had advanced through unknown centuries to a high degree of perfection. The styles invented 6,000 years ago are imitated to this day. The sarcophagi of the kings and the facades of the rock-cut tombs, disclose perfect imitations of Egyptian wooden residences before the lithic era. There are the tall, narrow pilasters or piers running up from the ground to support the entablature; there is the rich, angled panelling of the facade; there are the doorways with their light jambs and architraves; there is the heavy cornice of ornamental sculpture and moldings; there are the bundle pillars made in imitation of wooden originals; there are the ends of the wooden beams carved into the entablatures ; there are the several stories united by easy stair- ways ; there is the abacus corresponding to the wooden cap, to distribute the vertical pressure ; there are the walls made of square posts, grooved and jointed together in perfect imitation of wooden models; and there are the light, rounded lintels. The lightness of the structures alone, is convincing evidence of the existence of wooden prototypes. From the ancient Egyptians (about 3500 B. C.) came some of the most interesting and useful constructive ideas employed by modern architects. Their technic ashlar work cannot be surpassed. They designed the column afterward called Doric, with its base, shaft and capital, and first gave to mankind that simple arrangement of two fluted columns supporting a plain lintel between two walls or piers, used by every nation since that date. Their titanic 14 INDUSTRIAL CHICAGO: stone structures were often revetted with granite or syenite, polished as smooth and bright as glass, and conveyed from quarries 500 miles distant. This was the origin of the idea of wainscoting. They invented and used the arch, richly ornamented moldings, a cornice con- sisting of several enriched members, a strong, square abacus to disperse the superincumbent weight, the rectangular doorway with its jambs and lintel, walls of several pieces grooved and jointed together and a columnated portico and rectangular panelling of great intricacy and beauty. Their architecture is something more than a technic art. The gigantic size of the structures and of the materials employed, the marvelous constructive skill and the extraor- dinary and massive simplicity pervading the whole, express, in the highest degree, limitless power and eternal durability. Succeeding the age of the pyramids, the lagging centuries of the seventh, eighth, ninth and tenth dynasties ebbed away without leaving any trace, except a great black vacancy in the building activities of Egypt. During the eleventh and twelfth dynasties (2000 B. C.), the great obelisks were erected on the east bank of the Nile. The erection of these gigantic monoliths and the commencement of the temple at Karnac, may be said to date the beginning of the golden age of Egyptian building art. But art grew slowly. The Egyptians, allied in origin and civilization to the Chinese, had reached the culmination of their mental type. It was necessary to change their conditions, the influences bearing upon them, to stimulate the artistic sense which, through many centuries, had peacefully slept or slowly developed and strengthened. The change came in the invasion of the shepherd kings, who, for 500 years, trampled upon them, desecrated and profaned their sacred places, scorned the rugged grand- eur of their massive architecture, derided their deified kings and introduced and forced upon them the gaudy glory of Asiatic architectural dress, tinsel and show. But the trials were art schools to the patient, placid Egyptians, and when at last the invaders were expelled, the art of building rose to a height never since wholly surpassed. The artistic sensibilities of the Asiatics had been impressed iipon the rugged grandeur of the Egyptian character, just as afterward the Pelasgians impressed the Greeks, and the Etmscans the Romans. The mag- nificent temples erected during the eighteenth and nineteenth dynasties (about 1850 B. C. to 1820 B. C.) are the admiration of all the centuries since. During a period of little more than 500 years, the Pharaohs redeemed the previous ages of lethargy by a restless activity, and hundreds of gorgeous temples, carved with triumphant battle scenes and imposing, idol atrous ceremonies, rose on the banks of the Nile. War, the great educator and civilizer, had wrought the change. A surprising profusion of new and better building forms took the place of the old, and scores of noble details sprang into existence to glorify this grandest age of the oldest civilization. From Egypt spread out a thousand ideas, and viewing her alone in her ancient glories, the spectator must confess that every other nation of antiquity was an imitator or a plagiarist. The glories of the temple of Karnac were never duplicated, and it is a question whether the noblest Corinthian column at Rome can compare with the central column supporting the roof of the nave in that famous temple. The great pyramidal pylons of the Egyptian temples were each often more than 100 TUB BUILDING INTERESTS. 15 feet long and twenty feet wide, and between them was a wide and stately entrance; back of them was an open court, surrounded on two or more sides by rows of columns, outside of which was the external wall. Over the columns and the wall was spread a roof, but the great central portion was left open to the sun and the storms. Back of the court were others, usually of smaller dimensions; but all with ranges of columns to support the roof, which cov- ered either a portion or the whole of the space between the high outer walls. Invariably, on the colonnaded sides of the courts, were porticoes on the second story, where openings let out the gaze and in the fresh air. In some of the hypostyle halls of these temples, there were oft(>n eight or ten ranges of columns and piers on each side, and a great flat roof covering the whole. Colossal figures in front of the piers and historic paintings and sculpture in great profusion and of wonderful richness and beauty, covered the walls and columns. Another Egyptian templar plan was a closed structure (cella), on two or more sides of which were ranges of columns or piers, and over all was spread a flat roof with a projecting cornice. This plan of temple became known as "peristylar," and furnished subsequent nations with the initial idea of their principal buildings. There are some remarkable features to be noticed in connection with these Egyptian temples. Both the Greeks and the Romans imitated the peristylar forms extensively. Nearly all the most beautiful structures of lx>th nations were built in this form a colonnade of extraordinary beauty surrounding a cella. But quite often a colonnade within the cella surrounded an open court. Thus both Egyptian styles were imitated by the Greeks and Romans in one building. At a later date the Gothic architects copied in a noticeable degree the principal features of these structures. By them the two great pylons of the temples were replaced witli two gigantic towers, crowned with spires, at the corners of the facade of their cathedrals; but the idea came from the Egyptians. By the Gothic architects the rows of columns were reduced to two in their typical structures, and used to support the clearstory as the Egyptians had formerly done. There is the rectangular plan; there is the central court, atrium or nave; there are the two rows of columns separating the nave from the side aisles; there are the interior porticoes; there are the outer Walls; there is the clearstory, through the side of which light and air were admitted; there are the private halls at the farther end, correspond- ing to the chancel or apse; there are the beautiful and historic sculptures and paintings, and there are the same uses of worship or idolatry or sacerdotal deification, all invented by the Egyptians and borrowed and changed by the Gothic builders. But the latter were not the only borrowers; all nations and ages since have robbed the golden age of Egypt of its glory and ascribed its persistent and enduring ideas to the architectural pirates of succeeding ej>ochs. The architects and builders of Chicago are borrowers in the same sense. Through- out the city are many buildings, ecclesiastical and otherwise, founded upon the general struct- ural principles invented by the Egyptians nearly 4,000 years ago. Many of the churches are conspicuous plagiarisms. The Chamber of Commerce, the Rookery and scores of others of similar designs are but modifications of the square or rectangular or box palace- temples of Egypt with their open courts. There is the same rectangular ground plan, the 16 I2fHCsritl.il. same inner court, the same division into aisle and nave, into court and offices; but the pylons are now a beautiful facade, the rows of columns are columnated walls, and the " sky-scrapers " rise far above their prototypes on the banks of the Nile, as if endeavoring to awe them or overpower their grandeur. The inner colonnades of the Egyptians have been walled up and partitioned into offices by the Chicagoans. The borrowers here have the right, through usage and royal inheritance, to use the endur- ing ideas of the ancients. Great ideas are persistent and immortal, and are handed down as a jeweled legacy, from generation to generation, though wrung from the ancients in blood and tears. All nations and all people have been borrowers of building ideas of all classes of ideas. The character and talent of an individual are the resultant of a ceaseless stream of ideas, beating upon the impressionable tablet of his mind and memory. This endless rain makes little or no impression upon mediocre minds; but falling upon the soil of genius pro- duces a luxuriant verdure of fresh conclusions, new ideas. All great ideas are the fruit of genius. Genius is the great architect; talent the skillful builder. No one knows whence came his ideas; they rush in from a thousand sources, tumbling over each other in weak or ignorant minds, grouping or classifying in cultured or strong ones, ever uniting and combin- ing under the focal light of reason, when held up to mental view by the representative faculty. The power of their combinations, their artistic arrangement, their skillful classifica- tion from contrast or resemblance, their bearing upon life and happiness, justice or prejudice, are the parents of opinion or belief. A genius invents a pocket knife of one blade; another a button hook; another a scissors; another a corkscrew; another a file; another a tweezers all invented far apart and at differ- ent periods, from the necessities of alien peoples. Another, a philosopher, originates the idea of so shaping and sizing all these instruments as to unite them into a single one for the pocket. This compound instrument is the product of the combined genius of seven persons, each of whom represents the ripe intelligence of his people and his time. Each invention was the slow product of time wrung in trials and sorrows from necessity, the mother of inven- tion. The purchaser of this knife will find it very handy, will admire it; but he will not lose much sleep in dreaming of the years of toil required by his fathers to perfect it. But the ideas live and benefit mankind though he may sleep and not dream. Thus it is with the principles of architecture; but the local architect in planning a " sky-scraper " will lose no sleep over the ancient models of Thebes, Memphis or Persepolis, which furnish him his funda- mental ideas. The Egyptians, then, to recapitulate, preceding the year 1600 B. C., gave to mankind ideas of light, airy, wooden residences with walls of separate pieces, doors and windows capped with lintels or moldings, two or more stories one above the other united by staircases, strong upright posts serving the purpose of piers, awnings of light wood or cloth to shut out (lie sun and rain from the unglazed openings, cornices having the general features of those used to-day, carved panelling and wainscoting, rich paintings on the interior walls representing scenes of domestic life or war, the upper story a colonnaded gallery used as an observatory THE BUILDING INTEKESTS. 17 and as a cool, airy apartment in hot weather, and ideas of temples with rectangular ground plan, an inner and an outer colonnade, a cella, aisles and nave, an open court, a richly paneled triforium, the clearstory plan of admitting light, sculptured real or fanciful beings, caryatic columns, the two pylons or towers of the facade, the imposing public entrance, the Doric column, the honeysuckle leaves and volutes of the capital, fluted shafts, the pointed arch of two slabs leaned together, the curvilinear arch and the pillared porch or portico found usually in the rock-cut tombs, the bell-shaped capital covered with a profusion of pond or marsh leaves and vines and containing the germ of the Corinthian order, great masses of battered masonry, etc., or, to be more explicit, they gave the world ideas of pillars, Doric columns, square piers, pilasters, capitals, cornices, curvilinear or pointed arches, colonnades, porticoes, galleries, porches, peristyles (adopted by both Greeks and Romans and by all sub- sequent peoples), distyle in antis, vestibules, pylons which become corner towers or bays, heavy battered walls of masonry, open and closed courts, moldings, wainscotings, revetments, mosaics, tilings, terra cotta, lintels, coping, abacus, flutiugs, pedestals, architraves, clear- story, attic-story, bas-reliefs, panels, caryatids, base, shaft, capital, ovolo, fillet, volutes, carved leaves, brick, ashlar work, nave, aisles, chancel or apse, stone polishing, sculpture, frescoing, obelisks, monoliths, monuments, immortality, engineering, architectural decorations, storied walls, temples, palaces, pyramids, tombs, etc. When the light of history first falls upon the lower valley of the Euphrates, about 2500 B. C., it was the home of a light, wooden architecture of grand but gaudy beauty. The nations of Chaldea, Persia, Syria, Babylonia, Judea and India reveled in the same tawdry show, a wilderness of color and form, of fairy structures, the playthings of an hour, of decor ative effect so brilliant yet defective, so grand yet garish, that the barbaric glory of that mem- orable time has descended to the nineteenth century in the lore of the Jews and the mystic tales of the pre-Christian kings and caliphs. Art had run mad in its youth; it remained for the Egyptians to heal and the Greeks to cure. The flimsy nature of the Asiatic struct ures doomed them to swift destruction within a few centuries after their erection. The sun- dried brick, the cement, the stucco, the light wooden beams and other frame-work, the rich and elaborate decorations fell soon after the cities were razed by hostile invasions, and now only scraps of material and building outlines reward the historic investigator or the archae- ologist. The Asiatics, gifted by nature with the best artistic sense then known to the world, produced the first elaborate art decorations; but they went mud in the performance and gave to history a succession of the most gorgeous yet barbaric spectacles. From the florid archi- tecture of the Euphrates valley and Asia Minor came many of the most useful and beautiful building ideas or suggestions. The Assyrian and Persian sculpture and alabaster revetments made a powerful impression uj>oii the plastic sensibilities of the Dorians of Greece. There grew up on the lower Euphrates an artistic sense so delicate, pervasive and romantic, that it traveled eastward to India and China, southward to Egypt and westward far across the Mediterranean, and produced a permanent effect upon the civilization of mankind. They were enthusiastic, impulsive, heroic and warlike, delighting in conquest and in the gloriti- 18 INDI'XTRIM. <'II 1C Ann. cation of their caliphs, and in their bloody invasions came in contact with many fragmental nations from whom they obtained, like a medley or crazy quilt, their gorgeous patchwork of architectural forms or details and their subtile yet incongruous building tastes. The Baby- lonians, having no stone, early brought their brick and wooden structures to a high degree of perfection. But the Persians had inexhaustible quarries of good building stone within their national borders, and, as a consequence, their structures have better withstood the withering touch of time and decay. After the conquest of Egypt by Cambyses (about 525 B. C.) the Persians began to imitate the lithic structures of that country; but their own previous archi- tecture and that of the Assyrians was too vital a part of their civilization, was too dear to their artistic natures to be wholly thrown aside, and so they began to copy in stone their chief building features. The conquest of Cambyses had given the Persians, as well as the Egyptians, a new architectural and artistic impulse. Beautiful palaces of fresh designs, decked with a profusion of sculptured animals, costly ornaments and imperial ceremonies, all in florid and barbaric splendor, sprang up in all quarters of the kingdom. The ruins of Nineveh and Persepolis reveal an architecture of great similarity; in fact all the western Asiatic people seem to have been so nearly allied in governmental forms and social and religious customs as to have had practically the same architecture, which differed only in minor details. The great temples of Chaldea, Assyria and Persia, have many notable features. The substructure was a broad platform approached by a staircase of extraordinary proportions, and carved and sculptured in the highest art known to these artistic people with ceremonial observances and heroic battle scenes. Upon this broad platform rose a huge square or rectangular brick wall, extending upward in some cases several stories, and inclos- ing usually a paved court. Unquestionably, within this inclosure were formerly either ranges of wooden columns, at a distance of ten to twenty feet from the outer wall, or a second wall which took the place of the wooden columns. In the latter case the space between the two walls was partitioned or filled with masonry, and roofed and surmounted with a second story, inclosed oiitwardly by the wall, but opening inwardly through a colonnade of great beauty and peculiarity. Sometimes a third or colonnaded story crowned this structure. The court was invariably the scene of the most costly and elaborate sculpture and decoration. A beautiful entrance, yet to be described, led past characteristic colossi to the great court. Other large temples and the wonderful palaces of the caliph or his dignitaries possessed no open court, but were divided by walls sufficiently close to permit the entire structure to be roofed. Within the gigantic palaces, which were more or less fortressed, were all the rooms necessary for the caliph and his household. Many of the Chaldean temples were six or seven stories high, square, or nearly so in outline, with each story smaller than the next one below, and all united by broad outer staircases, which led to the crowning structure of the whole, the holy of holies of the caliph. The massive superstructure of story above story of brick was supported by walls within walls. As in Egypt the architecture of the lower Euphrates valley. 'JOOO B. C., shows every evi- dence of having been borrowed from a wooden original, or of having been mainly of wood THE nc/I.I>l\<; f. \TKBESTS. 19 itself. An imitation of wooden members may be seen in the details of all the ruins. The most notable features of practical value to Chicagoans in the Asiatic structures before the Greek orders arose are as follows : Massive battered walls of vitrified brick, the frequent use of strong, square buttresses or offsets to support the high brick walls, beautiful and intricate panellings in many respect unsurpassed to this day, artistic bas-reliefs representing court scenes and domestic life, rich paintings and frescoings, ornamental pavements of vitrified tile, the perfection of the cement and stucco work, the immense size and easy ascent of the won- derful staircases, the unexpected yet purely artistic harmony of both color and architectural proportion, the marvelous beauty of the alabaster wainscoting and revetments, the frequent use of large semicircular arches and archivolts of enameled bricks worked in richly colored and perfectly figured designs, finished masonry and carpentry, commodious balconies and galleries with fluted columns having triple capitals which contained the germ of the Ionic volutes, numerous and ornamentally carved balustrades, a carved cornice with rounded moldings, richly dressed frieze and pyramidal, battlemented crest, portal guards of gigantic winged bulls and grotesque giants strangling lions, a broad vamp along which chariots and horsemen reached the great courts, bronze and brass ornaments and casings, silver, ivory and gold settings and embellishments, broad roofs covered with earth which supported a luxuri- ant tropical vegetation of flowers and aromatic trees, hanging gardens which were one of the >e\ m wonders of the ancient world, towering astronomical observatories, surprising technic skill in the erection of permanent brick structures of seven stories, the method of vitrifying entire brick structures after they were erected, a very interesting system of ornamentation by reed- ings and multiple sinkings, a peculiar and elaborate mosaic of small cones in blent colors and unique patterns, the elaborate use of colors, particularly yellow, on a blue ground, in all buildings capacious vestibules and porticoes, dwarf pillars for the upper portion of walls, entire apart- ments lined with sculptured alabaster slabs, representing royal ceremonies and national prowess, vaulted or arched passages connecting the several courts, the admission of light by the plan of the clearstory, free-standing statues of bold, grotesque, but artistic designs, broad terraces dot- ted with clustered shrubs and intersected by serpentine walks, galleried bridges uniting adjacent porticoes, the geometrical perfection of all decorative designs, complete architectural orders of base, shaft, capital and entablature, the original of the familiar arrangement of two circular columns between two square piers known as " distyle in antis." the prototype of the Corinth- ian capital, colossal lions in front of piers or pillars, great awnings of wood or cloth to shut out the sun and rain, the characteristic architecture of the temples, the great bight and singu- lar beauty of the columns which supported the roofs of the halls, the loftiness of the halls themselves and the dazzling effects of light secured, the Egyptian plan of inclosing a beau- tiful colonnade within a high wall, recesses for statuary in the thick walls, a series of cells around the halls for the private use of dignitaries, etc. Among the special members used were the following: Sun-dried and kiln-dried brick, mortar, cement, stucco, vitrified and enameled brick, tile and terra cotta, buttresses, offsets, niches, sculpture, bas-reliefs, carved moldings, reeded pilasters, fluted columns, stvlnkiti's. sculptured jambs, semicircular arches, archivolts. 20 INDUSTRIAL CHICAGO: compound panelling, frescoing, mosaics, wainscoting, revetments, the Ionic volute, the Cor- inthian capital, balustrades, architrave, abacus, ovolo, fillet, cornice, frieze, stairways, port- icoes, galleries, balconies, porches, bridges, correct vaulting, piers, pillars, roofs, pavements gabled roofs, pediments, pedestals, base moldings, rectangular doors and windows, dentils, window and door caps, beveled or chamfered edges, etc., etc. A comparison of the architecture of Egypt and the Euphrates valley reveals striking characteristics. The Egyptians brought the lithic art to a high degree of perfection; the Asiatics excelled in ornamentation. The structures of the former are famous for their massive- ness, colossal size, durability, structural beauty and grandeur; of the latter for their evanes- cence, gaudy beauty, wealth of adventitious adornment and splendor. The Egyptians knew the use of the arch, but, like the Indians, believed it endangered the stability of their build- ings; the Asiatics used it often over the portals of their palaces and the large gates of their city walls. The Nile valley gave to art the Doric order, the Corinthian bell, the honeysuckle leaves, the huge water-plant leaves, the clearstory, the two templar designs a covered cella surrounded by a colonnade and a walled colonnade either surrounding an open court or all roofed over. From the latter came the three-aisled structure and the clearstory. The Euphrates valley gave the Ionic order, the springing volutes of the Corinthian order, buttres- ses and offsets, wonderful staircases, tropical roofs, correct vaulting, etc. The perfection of the architectural details of the two valleys from '2000 B. C. to 3000 B. C. proves a long period of previous development and the remoteness of human origin. The earliest specimens of architecture in Greece show two distinct, clearly- defined forms one rich, ornamental, light, gaudy, resembling closely the styles of Asia, and the other strong, bold, massive, simple, with the leading Egyptian characteristics except special orna- mentation. Each style was typical of the people using it. The Pelasgians were full of sentiment, heroic conceits, were valiant to rashness, lovers of home, superstitious and emotional ; the Dorians were practical, inartistic, cold-blooded, adventurous, hard, grasping and dominant. The union of the two people, the fusion of their mental types, soon became a potent force in the development of civilization, and, in the end, gave to Greece her crown of undying glory. From the Trojan war, nearly 1200 B. C., until the erection of the Doric temples at Corinth, alxnit 670 B. C., the national character, mental cast and artistic instinct of the two antagon- istic elements struggled for union and refined expression. It was not until after the Persian War of about 480 B. C. that perfect fusion was accomplished, and the purest architect ural era of the world unfolded its splendors. The Greeks took the massive building forms of Egypt, embellished them with the refined details of the Asiatics and gave to the world the noblest architecture known to man worthy of that crowning age of superb philosophy and divine sculpture. But they were borrowers of ideas ideas of architecture and ornament, of color and proportion, from Africa and Asia, ideas of philosphy and religion from India, Judea and Egypt, ideas of sculpture from the brilliant paintings, gorgeous bas-reliefs and beautiful caryatids of Thebes, Nineveh and Persepolis; but the Greek mental genius was artistic and so they purified and perfected everything they touched. THE BUILDING INTERESTS. 21 About the year 070 B. C. there was erected at Corinth the first Doric temple in Greece a massive Egyptian structure with Dorian refinements the first of a series of improve- ments which culminated in the perfected Doric order. About fifty years later another was erected at .ZEgina, less massive and strong, showing the effect of Asiatic art upon the cumber- some Egyptian forms. At this time also a beautiful temple was built at Athens, and soon throughout all Greece the lofty structures rose, each more refined and pure than its prede- cessor, but all showing a marked and marvelous improvement, until the war with Persia doomed nearly all to dire destruction. Thus was lost to the world much of the infancy and youth of the truest art period of history a time full of meaning arid impulse, the generative era of simplicity and beauty in art, of the sublime artistic sense of the Greeks. After the war the aesthetic sentiment, at a bound, perfected itself and left to succeeding cent- uries scores of immortal works, a priceless legacy to purity and refinement and the joy of humanity. The architecture of the Greeks was characterized by charming simplicity and purity, great strength and durability, perfect proportion, harmony of color, form and outline, and by the perfection of permanent types. From the crude Egyptian column at Beni Hassan they evolved the famous Doric order, and from the scrolled capitals of the Euphrates basin the beautiful Ionic order. From Egypt came ideas of the base, the fluted shaft, the necking, the ovolo or echinus, the abacus, the architrave and the cornice; but these members were reor- ganized, were reunited in perfect harmony of form, color, outline and proportion. The base was omitted in the Doric order, the hight of the column fixed at from four to six and a half times its diameter, the abacus made plain and square, the ovolo very little curved but quirked at the top. Plain fillets and small channels were placed under the ovolo, and a small dis- tance below a deep, narrow channel was cut in the shaft; but the flutes of the shaft, twenty in number, were continued up to the fillets, were separated by a sharp edge and not a fillet, and were less than a semicircle in depth. Over the architrave was a plain fillet called tenia. The frieze was ornamented with flat projections, cut by three vertical glyphs, called tri- glyphs. Between these were the metopes. Guttse were placed under the tenia of the architrave, a broad fillet placed over the frieze, mutules cut on the soffit of the cornice and under these were carved several rows of guttre. These additions made by the Greeks were improvements in the line of harmony of proportion, but the essential principles came from Egyptian or Assyrian prototypes. It is certain that the architrave corresponds to the beam, the triglyphs to the ends of the joists, the columns to posts, the pilasters to brick piers, the abacus to the slab used to distribute the downward pressure and the members of the cornice to the molding of the ancient wooden buildings all imitations, but all improvements. The Ionic capital came from Asia, but was so transformed, beautified and ennobled that a pure and permanent type was evolved. The Asiatic originals of this column show a base consisting of a plinth, a carved and elongated cynia reversa, a torus, and a fillet, then a fluted shaft, a bell carved, ornamented and lengthened often to ten or fifteen feet and some- time separated into three portions usually two an inverted and necked cup, a series of 22 INDUSTRIE CHICAGO: scrolls and lines resembling a harp, and a double-bull crown or cap. The Greeks reduced the Tolutes to four and established the ornamented ovolo or echinus as the principal molding, placing it under the spirals. Very often on a necking below the echinus vines, flowers and honeysuckle leaves were engraved. The shaft was lengthened from eight and a quarter to nine and a half times its diameter, and was either plain or fluted, in the latter case there being twenty-four flutes separated by fillets. Various bases were used usually the attic, but often the enriched Asiatic. The members of the entablature were either perfectly plain, or the bed- moldings of the cornice were beautifully carved or given a row of dentils. It is certain, also, that from Asia came the first idea of the Corinthian capital and its shaft and base. In the Asiatic orders the volutes were repeated under each other and had the upright springing form given them by the Greeks, but the acanthus leaves were missing and often the base was much like the capital inverted. It is not improbable, however, that the Asiatic original of the Corinthian volutes was only a modification of the Ionic volutes. In this order the Greeks showed greater originality, though less perfect art, than in the Doric or Ionic orders. Fertile in artistic resources, with a surprising facility for blending or unit- ing harmonies, proportions and beauties, masters of elemental art, throbbing with the blood of expanding genius, the Greeks boldly took the bell-shaped capital of the Egyptians, com- pared and combined it with a similar one from Persia, reshaped and beautified it, attached the enrichments of carved honeysuckle leaves and reduced Ionic volutes, adorned the whole with rosettes and sculptured moldings, and gave to art their great Corinthian order. This act was the expiring pulsation of Greek art. The order lacked harmony of form and proportion, but was perfected by the Romans. In the Greek type the capital was in hight more than the diameter of the shaft. At the top of the shaft were apophyges, a fillet and an astragal, which, in effect, figured as part of the capital. Above the astragal rose the bell set with two rows of acanthus leaves or caulicoles with eight in a row and a third row of leaves supporting eight small open volutes, four of which were under the four horns of the abacus arid the other four between them with a flower on the abacus above. The volutes sprang out of twisted husks placed between the leaves of the central row. The abacus consisted of an ovolo, fillet and cavetto. The base was half a diameter high and the entire column about ten diameters. The base was often attic, but usually consisted of two scotise between tori, which were sepa- rated by two astragals. The entire entablature was very rich with sculpture, paintings and moldings. The architrave was divided into two or more faciue. The lower part of the frieze ended in an apophyge and the cornice was ornamented with both modillions and dentils. This order though very beautiful lacked the true, expressive and pure art of the Greek Doric and Ionic orders. It was simply an attractive union of familiar architectural features, whicli lacked harmony of form and proportion. Even the decorative arrangement was defective. The principal ideas of the Doric and Ionic orders had been borrowed; but the Greeks so reshaped, readjusted and harmonized all the incongruous lines and angles, the cumbersome adjuncts and ungainly proportions, as to express in a degree never before seen a marvelous wealth of strength, beauty, simplicity, harmony and power. They had perfected a phonetic /.\77-:/.'AN7 T S. . 23 art. It was different with the Grecian Corinthian order. Without inventing, without design- ing, they combined the perfected elements principally of the other two orders; but failed in true effect and left a form for the Romans to perfect. But the amazing genius of the Greeks is best shown in certain special constructive details designed to add to the general effect of the whole structure as a work of pure art. A. civiliza- tion that could produce the divine sculpture of Greece, could also produce architects able to grasp the harmony of details, their marvelous contributivo union to a symmetrical whole. Accordingly it is not surprising to learn that the outlines of a Grecian column were slightly convex the line being either hyperbolic or parabolic, and the columns themselves were slightly inclined inward to give an expression of greater security. The architrave was always slightly arched to correct the strong pedimental slope. All the parts were adjusted to each other in exact ratio, the columns were so many times their diameters apart, all measure- ments and distances were proportionate, oblique lines of distinct building members were parallel, the shafts of the columns tapered toward the top, the marble masonry was perfect, sculptured acrotina, metopes, pediments, moldings and rich colorings beautified the whole. An architect who could master all this possessed the power to give united expression to every feature of a structure. This was the genius of the Greeks a crowning attainment never since surpassed. Architecture for the first time became perfect in Greece. The Greeks were purifiers; they gathered the crude but valuable architecture of the world like so 'much gold, threw out all debasing elements and quickly evolved perfect forms like fresh coin from the mint. For the plans of their temples the Greeks used both forms found in Egypt and Asia a cella surrounded or partly surrounded by a colonnade, and a colonnaded court inclosed by a wall and roofed over. They frequently combined the two forms in one temple, and repro- duced the three aisles of the Egyptians. Sometimes the middle aisle became a cella, which was itself colonnaded. The Greeks perfected the low, broad gable, ideas of which they had obtained from Lycian or Pelasgian tombs, and made the sculptured pediments one of the most interesting and beautiful features of their architecture. Their usual method of light- ing their great temples was the clearstory internally, but so arranged outwardly as to deflect the rain without interfering with the outline of the roof. They used caryatic figures, but not often as columns, though sparingly as supports and often on pedestals in front of columns. They adopted the Asiatic facade of two columns between two square piers. Per- haps their most noticeable architectural member was a row of columns supporting an entabla- ture, which in turn carried a low gabled roof. This beautiful member is now generally used in large city, state or governmental buildings. It seems, then, that the mission of the Greeks was to perfect the forms of architecture handed down by the ancient nations of Europe, Asia and Africa. Their fundamental ideas of columns supporting an entablature came from both Asia and Africa, of gabled roofs from Lycian tombs, of their two templar designs from Egypt and Persia. Their Doric order was Egyptian, their Ionic, Persian, their Corinthian, the decorated Egyptian bell and the Persian 24 INDUSTRIAL CHICAGO: volutes. From the older nations came their bas-relief, caryatid, column, base, pedestal, capital, fluted shaft, abacus, ovolo, fillet, colonnade, balcony, gallery, arch, cornice, frieze architrave, staircase, clearstory, cement, stucco, panelling, sculpture, pilaster, mosaic, fresco, pier, and scores of other special building members. To recapitulate, they perfected and ennobled the Doric and Ionic orders, devised the Corinthian order, improved the clearstory method of lighting, transformed the Egyptian halls into beautiful temples, increased the number of moldings, divided the entablature into three members by addition and elimination, greatly enriched the cornice, formed two or more divisions of the architrave, established the pediment as a fixture in architecture, made the art of masonry technically perfect, blended necessary and ornamental elements, attained a marvelous simplicity, secured tasteful decoration, reduced building details to mathematical accuracy, carried the harmony of form and proportion to the highest state ever reached by man, and gave to humanity the purest, simplest and truest architecture yet seen upon earth. Etruscan architecture furnished the foundation for the subsequent Roman style. Upon this at a later period, were grafted Grecian and Egyptian members. The Etruscan style was used in Italy from the founding of Rome until about the Christian era, when it became thoroughly fused with the Grecian and Asiatic forms. Its features are useful and important. The walls were of titanic blocks of stone, laid horizontally and often very skillfully ashlared. The segmental or semicircular arch was used often in sewers and conduits, but did not apparently reach a system. Sometimes they spanned a space of twenty feet, and were made of the usual wedge-shaped voussoirs and capped with a keystone. An Assyrian original of the Ionic capital was used by the Etruscans. In many cases rudimentary domes and vaults were employed, but without a clear perception of their importance. Etruscan temples were square or nearly so, while Grecian temples were rectangular. The Etruscans furnished the Romans with the Tuscan column or order, though under the latter it was changed and improved. The Etruscan tombs were cut out of the solid rock, and had flat or sloping roofs like gables. In all cases wooden originals were imitated. Roman building taste received its initial impulse from the art-loving Etruscans, but was greatly influenced by constructive designs from all the older nations. The spoils of the world and the aggregated artistic sense of many peoples of widely different type of mind were combined with too much haste and too little study to give true art a fitting recognition or observance. The jumbled architecture of the Romans represents their impatience, their indiffer- ence to study and care, their hollowness, their insane haste for change and wealth, their polit- ical ambition all done with a rush for power and glory, with a disregard for perfect details, but with a brilliance and a grandeur never exceeded. They were wholesale borrowers of types, styles, ideas, materials never stopping to realize their individual beauty, but uniting all into an incongruous whole, though on such a gigantic scale and with such a display of wealth and ]K>wer as to stagger the succeeding centuries. But true art with them was as often missed as hit. Still their numerous inventions and combinations had a marked effect upon the archi- tecture of the earth. Instead of defining and simplifying the noble elements of constructive THE BUILDING INTERESTS. 25 architecture they rushed with less art to an excess in adornment, mass and grandeur. Dis- similar building types, possessing few if any harmonies, were combined on a scale of such magnificence, with such a lavish display of adventitious adornment, as to produce bewildering results. They did not, like the Greeks, ennoble all they touched, neither did they impress upon the world many fresh types of pure art; but nevertheless there is much to excite wonder, kindle enthusiasm and enrich the treasures of architecture in the extraordinary ruins of Borne. They had no time amid their heroic pastimes and bloody conquests to invent fresh, pure ornamental types of structure, but with ruinous despatch seized the templar designs of Asia and Greece, and tirst placed one upon another, and then embellished them with a grand pro- fusion of beautiful details. The Greeks, with truer artistic sense, had first perfected their structural types from Doric designs and then had glorified them with a most enchanting sim- plicity of select adornment. Perhaps the most distinguishing characteristic of Roman architecture is the combination of simple and distinct members into a complex or compound whole. Many of these have been used by the architects of all the nations since, including the United States. These com- plex features may be seen throughout Chicago in thousands of buildings and will be recog- nized when indicated. The Roman architectural period was essentially one of development the infancy of a perfected complexity, if the statement may be allowed. The subsequent Christian orders carried complex forms and adornments to the limits of excess. The Roman combinations and multiplications of special ideas show the evolution of building designs from the simple Egyptian and Grecian types to the compound styles of Christian architecture and reveal the origin of the intricate plans of Chicago architects. It may be truthfully said in general of the styles used in Chicago, excepting ecclesiastical architecture, that the principal complex features came from the Romans. If this be borne in mind what follows will be more readily understood. The Romans devised the important decorative arrangement of the Grecian screen of two columns supporting an entablature before the Etruscan arch supported by square piers. This feature has been used extensively by all nations since, but has no structural importance. Among the Romans the column was used more as a decorative member; among the Greeks it was a structural necessity. Accordingly the former people used the plain Doric and Ionic orders sparingly, but brought the Corinthian order into greater prominence and perfection owing to its superior decorative effect. They increased the size of the column, did not always flute the shaft, enlarged the volutes and constructed the capital after an inva- riable model. The moldings of the Roman columnar construction were unlike those of the Greeks; they were stiff, studied and regular, and had no meaning except adornment. The columns wore placed on pedestals, while the Greeks placed them directly on the foundations. Half columns were often used by the Romans. They devised the Tuscan order from an Etruscan original, but gave it the triglyphs and other features of the Greek Doric order. The shaft was slender and the base had the plinth, torus, fillet and apophyge. Roman col- umnar construction was essentially the blending of the Grecian and Etruscan styles or orders. ^ii INDUSTRIAL CHICAGO : They replaced the Grecian expression of simplicity of style with a magnificent complexity of proportion and dimension. The composite arcade of the Grecian screen before the Etruscan arch met with many alterations late in the Roman period or early in the Romanesque. The piers and pedestals disappeared; the columns were placed under the arch ; over the arcade was extended the entablature; the members of the entablature were often separated; some were omitted; sometimes the entablature was curved to form the arch; sometimes the archi- trave was reduced to an impost upon which rested the arched frieze and cornice; sometimes the arch was concealed and placed above the entablature to sustain the superincumbent weight- All these were Roman or Romanesque devices, and show a daring, adventurous skill, a brave departure from fixed types and a transitional stage of such brilliance and promise that only wonderful results could be expected. The Roman period was the infancy of what may be called compound architecture, and the Romanesque was its youth and early manhood. They made a great advance in utility by enlarging the cella and diminishing the peristyle. This arrangement, by making it necessary to cover greater space with a roof, led them to the use of the vault in arching and the advance to the dome was then an easy accomplishment. They also devised the apse and the apse arch, for within this space the qusestor or magistrate sat to administer justice. This building was their famous basilica a three or five-aisled structure with an apse at one end and porticoes at the other or on the sides. In many cases, except on the portico, the columns were attached to the walls of the cella, thus bringing out prominently the importance of the latter member. This style was called peripteral. Some- times a rotunda or circular cella was entirely surrounded with a peristyle either free or attached, and sometimes the cella itself was made octagonal and the columns were replaced with pillars, pilasters and piers, with or without pedestals. The Romans took their temples of rectangular plan from Greece, though the idea came from the Egyptians. They adopted the Grecian gable or pediment, which was also a distin- guishing feature among the Pelasgians and Etruscans, who seem to have made the first great advance in those members, but the Romans increased the pitch of the roof. The Egyptians and the Greeks used the rectangular designs, while the Asiatics, of whom the Etruscans were a prominent branch, furnished square plans with a portico on but one side. The Romans united the principal ideas of the two plans the Grecian rectangle with the Etruscan portico, but this they afterward elaborated. They carried complexity still farther by attaching the Grecian or Etruscan portico to the circular ground plan or rotunda used by the latter people in the con- struction of tombs. Their amphitheatres and theatres were elliptical. The arch constituted the greatest expressive feature of Roman architecture; it was structural with them, while the column was decorative. The idea of curvature taken from the arch was extended to the vaulting of halls, to domes, to circular ground plans, to inter- secting vaults and applied to all kinds of structures temples, tombs, palaces, residences, theatres, amphitheatres, basilicas, baths, commemorative structures, bridges, gates, etc. Through all is seen the semicircular arch in every conceivable relation. The Romans must be given credit for this most important improvement; it was an advance which lias left a *W>r <"i' ^j==, TYPE OF PI0JSKE3 L06 :;,V>-< LIBRARY OF THE OF ILLINOIS fHE BUILDING INTERESTS. 27 markod effect upon the architecture of all periods since. It is this invention of complex relationship which enabled the Romans to erect buildings so wonderful in their variety and amazing in their grandeur. Another important advance of the Romans was the idea of the reduplication of parts, as arch over arch, column over column, etc. Perhaps the greatest defect of their architecture was the incongruous use of the perfect orders of the Greeks and the jumbled or heterogene- ous association of dissimilar building members. This is illustrated in their origination of the Composite order from the Ionic and Corinthian orders; the principal elements, the Ionic vo- lutes and the Corinthian bell with its acanthus leaves, were placed together without either harmony of outline or aesthetic expression. Both Greeks and Romans built numerous large and costly theatres, the general arrange- ment of which is imitated today. The Romans surpassed all others of the ancient nations, Egypt alone excepted, in the mass of their structures. Their amphitheatres were simply titanic, and here it was that the carpentry of Rome had free range upon the seats, domes, stairways and framework. This aggressive and warlike people, glowing with the ardor of conquest and victory, representing a savage, cruel civilization, took little interest in the mimic representations of civil or domestic life on the stage, when, in the amphitheatres, in the presence of thousands of inflamed and yelling people, actual and brutal butcheries and bar- barities could be witnessed. The distinguishing features, then, of Roman architecture may be summed up as follows: The extensive use of the semicircular arch to all kinds of structures and its elaboration into domes, vaults and circxilar designs; the application of the Greek screen as an ornamental member only; the juxtaposition of inharmonious members; the reduplication of special parts; the enlargement of the domed nave or atrium and the invention of the apse; reticulated masonry; wealth of adornment and structural massiveness; multiplicity of constructional designs; the debasement of the Greek, Doric and Ionic orders; the improvement of the Cor- inthian order and the invention of the Tuscan; the studied, regular form of the moldings; the frequent use of pedestals and half columns; the excessive ornamentation of the entablatures; the extensive use of the portico instead of the surrounding row of columns or peristyle; a row of half columns on the sides of the cellas instead of the Greek peripteral style; temples en- tirely surrounded by a colonnade or peristyle; the steep pitch of the pedimental angle; the evolution of the columnar arcade; the use of projecting pilasters with base, fluted shaft and capital, instead of the Grecian antae; the columnar construction of the attic story; arched windows and doors; love of the magnificent instead of the beautiful; elaborate band-courses which encircled huge buildings between stories; the collection of arch thrusts to a point, to be received by a buttress; the use of ornamental vaulting shafts; the fault of such an en- largement of special members as to dwarf the whole structure; the use of three or four-story piers and of battlemented walls; the variety of uses to which wood was applied; the immense quantity of brick and stucco used; the technical perfection of masonry and carpentry and the origin of the historic basilica. 2 _'s INDUSTRIAL riltCACO: There is no arbitrary line separating Roman architecture from its descendant Roman- esque, as the evolution was gradual after the time of the Christian era, and the first period of the new style complete about the time of Constantine. The term Romanesque is here applied to any deduction of the pure Roman styles by any people, which do not have an admixture from other types. It originated from the attempts of the Christians, to derive a suitable building for their wants from the classical orders and the special Roman members, and was continued in Western Europe until the thirteenth century, thoiigh not withoiit great improvement and variation, and the adoption of a few of the characteristic Gothic features, as early as three or four centuries before. In fact, innovative forms began to creep in as early as the middle of the sixth century. Under this classification Byzantine, Saxon, Lom- bardic, Norman, Pisan, Milanese, etc., must be considered variations of the Romanesque, for these styles certainly originated from an imitation of Roman types. Byzantine was tin- earliest to show its characteristics. Soon after the destruction of Jerusalem by Titus, lines of dernarkation from the Roman were drawn at Byzantine or Constantinople; but it was not until the reign of Constantine, that the style assumed its permanent form and garb. In the west the fragmental nations resulting from the destruction of the Roman empire, continued to imitate its arched construction until it was fully replaced by the Gothic in the thirteenth century. But there are two distinct periods of Romanesque in the west, the first of which ended about the year 575 A. D., when Alboin the Lombard mastered Italy, and the second continued through the dark ages until supplanted by the Gothic. Under the influence of Roman art, the western Christians, from the start, took the basilica and adopted it for their church. They spread over the central aisle, which they soon desig- nated the nave, a gabled roof; retained the Roman altar where offerings had so often been made to the gods of justice and war; dedicated the apse to the exclusive use of their bishops and holy ceremonies; separated the nave from the dais by cancelli or pillars; formed two aisles of the interior colonnades, one for men and one for women; set apart for special use the choir; devised the famous, historic crypt; spanned the intercolumniations either with a horizontal architrave or a series of circular arches; beautified the triforium, and introduced the primary transept, which shaped their ground plans like a Tan cross and gave to later Christian Churches their cruciform designs. The gabled roofs were made of wood, and con- sisted of beams, ties, rafters, braces and posts, all usually left uncovered and plain, but some- times feebly but tastefully ornamented. At the center of the transept, just in front of the apse, was established the choir, on the sides of which were located the pulpits. But the central idea was Roman, as the latter had been Grecian, Asiatic, Etruscan, or Egyptian. The form given the early Christian basilicas was dictated by necessity; the Christians were perse- cuted, impoverished, and, at the point of death, forced to take whatever they could get. In their earnest hands the Romanesque basilica became a germinating architectural seed, from which grew the great cathedral of medijeval times. Its expression was simple, plain, humble: but often the stately interiors were artistic and beautiful, under the influence of ennobling Christian ceremonies and sentiments. The walls were often covered with paintings, frescoes, THE BUILDING INTERESTS. 29 / and sometimes mosaics, representing ideal scenes of Christian sacrifice, martyrdom, or history. Particularly was this the case in the decorations of the semi-dome of the apse, where, usually, the Savior was shown instructing his disciples, or triumphantly ascending to heaven from His tomb in Gethsemane. The columns were usually Corinthian, taken from some dismantled pagan temple; yet necessity often placed a Doric column beside an Ionic or a Corinthian. But the most striking characteristic of the early Romanesque basilica was a notable poverty of ornamental details, and a plainness of painful severity, which, doubtless, in those emotional times, greatly increased the reverential awe of the worshiper or the spectator. Brick and wood were the principal materials used; plain stone arches capped the doors and windows. These were the principal characteristics of the Romanesque style generally. The ancient Thermae gave early Christians the model for their baptisteries circular, octagonal, quadrangular, ete. ; but the same plain architecture and sober expression as seen in the basilicas were duplicated in these structures. They were placed near the basilicas, but after a time wholly disappeared and were replaced by the baptismal font. The Early Romanesque style in circular buildings avoided all external decorations. In the first churches, a small portico, a relic of the Roman peristyle, was used, but soon disap- peared. The architects rarely, if ever, tried to vault their rectangular structures, but some- times spread domes over their circular ones, in which case the outline of the roof did not conform to the curvature of the dome. In reality, it was not a dome; it was merely a vaulted ceiling of large dimensions, covered with a wooden roof. The Romans, a century or more before the time of Constantine, gave to their roofs the same form as to their domes. This style was promptly imitated, and rapidly developed into a perfect type by the Byzantines. Romanesque architects, on the contrary, used vaults internally, over which was spread the gabled roof, which important feature had as much influence on the Gothic styles as the vault- ing mania itself. Another distinguishing feature of the Romanesque was the multiplication of round arches and the introduction of arched buttresses. The architects of the basilicas soon adopted the cruciform plan, developed square piers, carrying groined arches, introduced altars at the foot of the aisles, placed half columns at the sides or beveled angles of the piers, built chapels off the choir or the narthex or vestibule, erected belfries or sanete bell cots and stone spires, and often transformed buttressess into pilasters. From the start, they employed interior columns to support the vaults or domes of their structures, while the classical or Byzantine designers used them only as ornamental features, and not at all in their circular buildings. In the Romanesque the use of the Grecian screen of two columns supporting an entablature was abandoned; but the semicircular arch was employed to span all openings, and was placed directly upon the imposts of the columns. No doubt the idea of the Roman atrium was the origin of the Romanesque narthex or vestibule. The name basilica, used by tlic Romans, was adopted by the Christians, who admired its beautiful meaning kingly hall. As time passed, the bema or sanctuary was merged into the transept, or lost much of its earlier importance. Generally, classical pillars, pilasters and entablatures were adopted in the Romanesque buildings. Other notable features were rectangular faces and square-edged SO INDUSTRIAL CHICAGO: projections, small wall openings, massive architectural members, sculptured flat surfaces, the lack of multiplied component parts, a conspicuous predominance of horizontal lines and absence of vertical ones, flat, inconspicuous buttresses, short, one-storied pillars in the recesses and walls, terminated with strong horizontal bands, tablets or cornices. These were the principal characteristics of the Early Romanesque period in the west, until near the close of the sixth century, at which time the nations which had arisen began to dress their buildings with certain local forms, to which the terms Byzantine, Lombardic, Venetian, Tuscan, Norman, French, English, German, etc., have been very properly applied. Late Romanesque architecture, which, under this classification, began about the begin- ning of the seventh century, retained many of the earlier forms imtil new members or designs supplanted them or the appearance of Gothic styles drove all into disuse. The basilicas of the early Christians were used without material alterations by nations both of Italian and Teutonic origin in all western Europe until about the beginning of the tenth century, when important improvements in old forms were made, rather than the substitution of new ones. France was the leader of new architectural developments in the west. Tetitonic and neo- Celtic elements began to appear early in the tenth century, but the Romanesque did not yield with- out a struggle; in fact, it even enjoyed a brief renaissance late in the twelfth and early in the thirteenth century, after which it speedily gave way to Gothic forms. One of the first changes was the increase in size and importance of the transept and the prolongation of the nave. The altar was removed to the east side of the choir, and over the intersection of the transept and the nave a tower was erected. The transept wings were given the same width as the nave, which was itself double the width of the aisles; the apse was raised higher and often another was built on the west end of the church. Late in the elev- enth century the vaulted basilica succeeded the flat or gable-roofed basilica, but did not assume the form of the Byzantine dome. These changes led promptly to striking results. Molded piers as high as the nave walls took the place of pillars or columns to support the nave vaults or arches. This extension of vertical lines was a Gothic innovation. Cross vaults were soon in general use, and rib moldings soon gave a livelier aspect to the broad vault expanse. The projection of arches from the vault faces increased the vertical effect, The aisles were similarly vaulted, and a little later the tower over the junction of the nave and the transept assumed the form of a polygonal dome, a slight recognition of the conquest of Byzantine art. Perhaps the most striking general feature at this time was the clear and evi- dent system of the vaulting; it had become an expressive organic whole, an attractive trans- formation, a harmony of curved lines, rounded forms and dressed angles. The semicircular arch was extensively used and was often stilted. A little later the earl}- pointed or the foli- ated arch could occasionally be seen endeavoring to crowd out the semicircle. Another important change was the increase of intercolumniation the distance between pillars and piers having been placed at half the width of the nave. Soon piers and columns were used alter- nately with strong and beautiful effect. Piers were first plain, quadrangular or octagonal, but soon half columns were set in the recessed corners or on the sides, or double or triple THE liUILDING INTERESTS. 31 half columns on both the angles and the sides gave a richly molded effect to the whole pier. This became one of the most distinguishing of the special members at this time. Moldings began to adorn the groins, ribs and even intrados. and, altogether, a richer dress lent increas- ing beauty to the great expanse of walls and vaults. Around all entrances moldings multi- plied rapidly, door and window jambs became doubly or triply recessed to receive rounded shafts, and over the arches ran a continuous architrave of fillets, grooves and rounds. Sculpt- ures, grotesques, symbols and coats of arms appeared on the cusps, spandrels and angles. The first rose window a circle foliated like a wheel became an important advance in the eleventh century. The towers were usually small, and square, octagonal or circular without a long spire. Groups of round-arched, narrow, stilted windows were soon used in all varia- tions of the Late Romanesque. Over the grouped windows, which were recessed, appeared multiple half-projecting arches on the walls. Later, this became such a distinguishing feature that it was elaborated and called pilaster strips. Sometimes two towers were built on the west end of the church, and over the nave and transept intersection a hexagonal or octagonal tower with low concave roof rose. Enrichments from the animal and the vegetable kingdoms masks, dragons, men, fabulous beasts, flowers, stalks, leaves were carved on capitals, spandrels, etc. This was undoubtedly an imitation of the Byzantine style, which reveled in this class of decorations. The cubiform capital so extensively and variously used in the Late Romanesque was borrowed from the Byzantine. It was not long till it took the bell shape in order to give full play to the won- derful profusion of carvings on the capital. The abacus became higher though less project- ing than in the Early Romanesque, and exhibited repeated alternate fillets and cavetti. The base of the column was invariably a modification of the old attic base with its quadrangular plinth, but the corners were rounded with carved foliage or animal heads. The shafts were given no entasis, but all had the astragal and very often 11 broad molding ran round the clus- tered shafts. The shaft flutings were of all shapes, sizes, angles and directions. The band courses, cornices, etc., used were in the main Roman, but the fillets and rounds were differ- ently combined. Colored glass began to be used in the windows in the eleventh century. Late in this style the special moldings or ornaments used were the tooth, billet, chessboard, scallop, cable, nail-head, lozenge, zigzag, grotesque, corbels, pilaster strips, blind arcades, arcade galleries, corbel -tables, masks, faces, foliage, etc. The general effect of Late Romanesque architecture was repose, beauty and solemnity. The interior was well propor- tioned and the expression lofty and grand. In Late Romanesque, when circular churches were used, a dome supported by a range of pillars rose over the choir. Cloisters with vaulted passages and castles with Roman battlements supported by corbels united by arcades were to be seen. These were the principal features of Late Romanesque in general, but special forms in the several countries remain to be noticed. The forms of Early Romanesque architecture in Italy did not yield so readily to Gothic innovations as in other nations. Its features were similar to Romanesque in general. The old basilicas were used until early in the thirteenth century without material alteration. The 32 INDUSTRIAL CHICAGO: jt choir was raised above the nave, to which it was connected by a flight of steps, but the tran- sept did not appear till late. Pillars were alternated with piers to support the nave roof. Old Roman forms were closely imitated. In Tuscany very often the entire facade consisted of pilasters or half columns supporting arches or a horizontal entablature, rising story above story to the roof. Exterior and interior were richly dressed in layers of white, black and green marble. Even the facade, and the walls were inlaid^ with marble of various colors, producing a decorative effect of wonderful richness and beauty. Oval domes rose over the choir. The corbel-table did not appear. Columnar shafts were twisted and cabled and capitals were richly but fantastically carved. The entablatures were beautified with colored mosaics in figured patterns. This was late in the style. Tabernacles and canopies were built over altars in the twelfth century ; they con- sisted of columns holding an architrave and a frieze formed of a row of small shafts sup- porting a cornice. The ambos were dressed in costly mosaics. The Venetian Romanesque could not resist the invasion of Byzantine and Arabian forms and features. However, the Early Romanesque basilicas were retained, thougli the Greek cross was often used for a ground plan. Sometimes as many as five domes rose over the structures. This was strongly Byzantine. Galleries were built over the piers supporting the domes. Mosaics of wonderful beauty covered the floors, pillars and walls. Often the lower part of walls was cased with colored marble slabs and the upper part inlaid with colored marble mosaics on a gold ground. The effect was enchantment. Columns of the Greek order and marble slabs were taken from the old temples and used extensively. In the middle of the facades open spaces were frequently left, around which Byzantine pillars, in several stories, supported semicircular arches with straight or prolonged haunches. The Lombard Romanesque style abandoned the early Christian types and adopted the basilica. The facade exhibited the distinct feature of compactness, and terminated in a guble instead of a high center and low sides. Small, long arcade galleries ran round under the gabled roof, or round the dome and choirs, or decorated the facade above the porch or else- where. Tall outside pilasters marked the division into nave and aisles. These arcades became a characteristic feature. Sometimes the arcades were connected by pilaster strips. Often on the west front a large rose window appeared, a distinguishing feature of the Lom- bard style. Over the main and side portals were columns supporting baldachin arches and forming porches, above which were covered balconies; the columns rested upon the backs of lions crouching upon pedestals. The towers were separated from the basilicas, but stood near them. Octagonal baptisteries and towers were arcaded externally and internally. Upper Italy early showed Gothic innovations in its ornamentation of grotesque animals and in the perpendicular side-faces of its capitals. Norman Romanesque in Lower Italy and Sicily early showed a combination of Arabian, Roman, Byzantine and Norman members. In some basilicas the dome was erected over the choir, as in the Early Romanesque, but in others stood on four pillars at the center of the ; nriLi>i.\<; ground plan of a Greek cross, as in the Byzantine. Arches were not molded, had no struct- ural connection with the pillars and were stilted by means of perpendicular haunches. The exterior was embellished with columns, half columns, pilasters, alternate layers of light and dark stone, intersecting arches and very beautiful mosaics in Arabian and geometrical pat- terns. On the interior there was a profusion of rich gilding, shafts, casings'of colored marble, real and fanciful figures in mosaics and Byzantine and Arabian details. At the west end were two towers, between which was the portico containing the main entrance. This was a Norman feature. The Late Romanesque of France had all the features of the Late Romanesque in general, together with a few important alterations. In the South, Roman ornamentation and pecul- iar moldings were closely followed. Finally, the ground plan of the Early Romanesque basilica was adopted with some modifications. The Roman barrel vault became a most prom- inent member in both nave and aisles in all the structures. The nave vaults and the trans- verse arches between them were set on piers. The cube-shaped capital was avoided, while figured Corinthian capitals prevailed. Cornices were set on corbels, external galleries were omitted and arcades were rarely used. The distinguishing features were the interior con- structional designs, "the rich dressings of the facades, the multiplied ornamentation of the doorways and the use of many designs of fantastic sculpture. The Norman Romanesque of France became, perhaps, the most important of the Late Romanesque special styles. Generally, Roman forms were imitated, but details were vastly increased. Piers and arches were extensively molded, ground plans took the shape of the Latin cross, apses became rectangular, aisles and naves were cross-vaulted and sustained by square piers upon the corners of which were cut half columns. Rich yet simple ornamenta- tion of billets and the various moldings zigzag, lozenge, nail-head, chessboard, etc., lent all an attractive appearance. Cubical capitals sloping underneath and cornices supported by corbels without arcades distinguished this style. Sculptured ornamentation was rough, mechan- ical and grotesque. On the west end two square towers with narrow windows and niches, and short octagonal spires with four smaller spires at the corners, rose over the facade. Rows of windows divided the facade into stories. In this particular the facade was much like that of the Lombard, though in the latter the towers were missing. Norman Romanesque in England was characterized by the richness, variety and happy effect of its moldings. One over another appeared on the arches to the number often of a dozen, but all came from the Late Romanesque style in general. The piers were heavy, and circular or octagonal, often alternating with columns, as in the Early Romanesque basilicas. The capitals were curiously molded, a very distinguishing feature. The naves were not vaulted but were roofed, and the ceilings were painted, gilded, etc. Over the aisles a gallery was built and sometimes the main arches inclosed minor arches. The entire design, particu- larly the choir, was made narrower and longer, and the apse terminated in right angles. The characteristic diamond and scale enrichments covered the walls. The arches were highh .34 INDUSTRIAL CHICAGO : ornamented with moldings, the most conspicuous being zigzag. The shafts were spirally fluted or carved with reticulated, lozenge or beaded zigzag molding, diagonal lines predom- inating. The style was heavy and massive and had less old Roman and more Saxon ele- ments than any other variety of Late Romanesque. Tapering buttresses separated the small round-arched windows. A quadrangular tower rose over the center of the structures. Nar- row, blind arcades, often interlacing, with one range above another, lent a cheerful aspect to the facades. Late Romanesque, in Germany, under Saxon influences, took on peculiar forms as early as the tenth century. The early Christian basilicas were used until the eleventh century before vaulted basilicas succeeded them. Large arches resting on piers and running up to the architrave, took the place of the mass of masonry above the piers, dividing the nave and the aisles. Columns arose between the massive piers, to support small arches, which in turn sustained the large pier arches. Round, octagonal or quadrangular towers were placed at the end, or ends, of the basilicas; this distinguished the German from the early Christian. Generally all imitations of special Roman members exhibited higher art than earlier speci- mens. In Saxony the choir was elevated, the nave and transept each prolonged, and a crypt placed underneath, and on the west a vestibule was built and surmounted with an arcade gallery. Piers divided the aisles from the nave, and the intercolumniation equaled the width of the nave. Cubical capitals were used almost exclusively, enriched with leaves. Along the Rhine the alternation of piers and columns rarely occurred, and wooden roofs abounded, but all the Rhenish basilicas were vaulted. Cross-vaulting occurred on aisles and nave, supported by four-angled piers. Archivolts rose from the half-columns attached to piers; the latter were simple or clustered. The walls were bare and ornamentation poor, but a rugged strength was strongly expressed. Externally, pilaster strips and half-columns abounded. The Rhenish basilicas had small arcades outside, supported by pillars running up to the eave moldings, similar to those in Tuscany and Lombardy. A little later vaulted basilicas appeared, and galleries were built over the arcades. The style was strong and picturesque, particularly in the cloisters and castles, where the facades were arcaded and the doors and windows often heavily molded. Occasionally the pointed arch was found, intro- ducing the Gothic style. It is now quite certain that the Byzantine style began to assume its characteristic feat- ures nearly as far back as the destruction of Jerusalen, by Titus; but it did not reach a strong expression until, in the reign of Constantino, the church of St. Sophia, at Constantinople, was built. Later, this church was burned, but was immediately rebuilt by Justinian, with a degree of artistic expression and decorative splendor surpassed by but few structures ever erected by man. Unquestionably, the Byzantine style was the first to reach completion out of the cosmopolitan architecture of the Romans. The latter people, when their empire went down in ruin and desolation, were on the point of establishing the dome as the central idea of their architecture. They had perfected the arch, had introduced the vault and had even been permitted to build the dome of the Pantheon. But before this critical stage, their empire was THE BUILDIM: TyTKliKST*. ' rent asunder by the barbarians of Northern Europe. The Eastern Empire, with capital at Byzantium or Constantinople, took up the work left by the Romans, and enlarged, perfected and segregated it into a permanent and beautiful type, the chief feature of which was the vault or dome. Four huge piers, sustaining wide arches, over which rose the great dome, covering the central space and vaulted side-aisles or spaces, characterized the style. Columns were made subordinate; the construction of the vaults influenced the entire structure. Among the Byzantines, also, the principle of the collection of arch-thrusts to a point was fully per- fected. They carried it far beyond the Romans by buttresses and counterpoises. Projecting cornices were either abandoned or made flat and tame; in fact, the entire idea of Roman decoration was'given up. Columns and capitals lost their great significance. Curvature was seen everywhere. Ground plans often took the curvilinear form; in other instances they were octagonal or oblong, but always sustained a huge dome over the center. On the sides or ends of the domed central space were semi-domes, and to these were often attached smaller semi-domes, through the medium of barrel-vaults. The apse was retained, and the side aisles were given two stories. The walls, piers and floors were inlaid with stones of the richest colors, and the vaults or domes were enriched with intricate mosaics on a ground of gold. The columns were of costly marble, and the nave was lighted by windows in the domes, arranged with such skill and taste as to exhibit the marvelous colorings and forms of the interior with the most striking and impressive effect. The general result was the prominence of the central part of the church or the great dome space and its loftiness, while in the Roman basilicas, the comparative importance of all parts and the longitudinal effect were con- spicuous. The huge central dome was the leading feature, to which all others were subjected and made tributary. The domes, externally, were uncovered by roofs. The principal one sprang from a square support, and round it, externally, ran a gallery. Another ground plan which became common was shaped like a Greek cross, and the vault system was extended to five domes, neither one of which was so much larger than the others as to he called central. One dome rose over the center, and one over each of the four wings. The front had a narthex. Later, the domes of the Byzantine style assumed the hemispherical shape, instead of the flat- vaulted outline. The vault windows pierced both the external wall and the vault, giving the jambs an irregular surface and originating the drum. Domes, vaults and cross-vaults were left uncov- ered externally. Aside from the domes, the roofs were plain slopes at first, but were rounded later. The exterior was simple and grand; the interior rich, elaborate, and very beautiful. Arabesques, mosaics, and Arabian geometrical patterns of glass, marble or precious stones in harmonious colors beautified walls and piers. The use of mosaics led to the origin of a dis- tinct local style. The Romans associated the vaults and the Grecian columns; the Byzantines disassociated them, and perfected the vault or dome. The Grecian architrave could not be used by the Byzantines, who also abandoned the classical column. They often used a strong support between the abacus and the arch springer, which became a peculiarity of the style. Cubical capitals covered with incised or carved foliage prevailed. The apparent love of 36 INDUSTRIAL CHICAGO: splendor and gaudy decoration recalls the lavish, florid architecture of the Euphrates valley long before the Christian era. All ornamentations were rougher, less artistic and pure than in Greek and Roman types. Byzantine architectural members found their way into the west Italy, Germany and elsewhere. The style had several variations Russian, Arabian, Saracenic, Spanish, Indian, etc. In Russia the style was much changed late in the fifteenth century by the adoption of the Tartar bulb-dome, and many fantastic, inartistic forms. The bulb-domes were invariably larger than the drums of the superstructure supporting them. Often they took a curve of inverse flexure at the top, terminating in a point. Many of such domes on tall drums rose over the structures in systematic designs, usually in groups around a larger central bulb and drum. The groups always decreased in size from the central one. Over all was spread a rich, gaudy coloring of yellow, red, and white, or, on the domes, blue with gold stars. Except- ing with pilasters, the exterior of walls were unornamented. The windows were small and arched with semicircles. Another important feature of Russian -Byzantine was the use of the hip roof to support a system of tall drums carrying bulb-domes. Lofty piers, either circular or angular, on the interior, supported the domes. Sculpture was not used. An iconostasis was used to separate the altar from the congregation. The churches had bell towers, usually square or octagonal at the base, but becoming round at the top. Arabian-Byzantine generally was stamped with its peculiarities. Its exterior was plain, while its interior was richly decorated. The arbitrary conjunction of building members injured the harmonious union of the whole and destroyed the effect of strength and system. The principal and almost the only ornamentation was that of flat surfaces, while the style in general was distinguished by the pointed arch used for decorative effect. Caprice, contrast and versatility, seemed to have been the handmaids of the Arabian architects, and arbitrary results their object. Arabesques, horseshoe arches, looped vaults, and varied colorings mark the style. The Saracens and Arabians based their architecture on the Byzantine basilicas, but made important variations during the seventh century. The mosque and minaret became notable architectural objects. The mosque took two forms one a large rectangle of walls without a roof, surrounded on the interior with arcades and planted with trees, enclosing a well covered by a cupola, and the other modeled after the Byzantine domed basilicas, having vaultings and arcades; minarets were added, often from two to six at each corner. In all this architecture mingled Byzantine plans and Indian details were clearly recognizable. Walls and minarets were battlemented and pierced with portals and embrasures. Interior decoration was rich and gaudy. Columns were sometimes short and heavy, at other times tall and slender. The arch for windows was early used by the Arabians. In Egypt and Sicily the style was low pointed, in Persia and India keel-shaped, and in Spain the horseshoe, but the use of pointed arches was arbitrary instead of systematic. The walls were covered with arabesques, which have been extensively imitated in Chicago for a number of years. They were low relief in THE liCll.llIM; ISTKllKXT*. 37 stucco or rich painting. The roofs were either straight slopes or vaults, the latter possess- ing the marked feature of small recesses or diminutive domes rising one above another until terminated by a complete inner vault at the top. This feature was very striking and was the most noticeable special member of the style. They were of wood or plaster. The domes externally were flat and plain and semicircular or pointed. Spanish-Byzantine was a direct descendant of the Byzantine style, but came through the Arabians about 755 A. D., and had their distinguishing elements. As its form was richer and its varied beauty more attractive, the Roman forms were mainly driven out, though some of the simpler features were long retained. The horseshoe arch was used extrava- gantly was a characteristic member. Slightly pointed arches, recessed with smaller arches, were used early, but not with any apparent system until later. In the twelfth century the Moors conquered the country, and soon fresh innovations in former styles were to be seen. In a short time the various architectural elements were united or fused into a type of decided beauty and unique form. Spain was the wonder of the world in the fourteenth century. Its architecture was extremely rich and peculiar. The Alhambra, from many points of view, has never been surpassed. The people were romantic, full of emotional impulses, and their architecture, to correspond, assumed a garb of intricate fairy forms and harmonious colors. Decorations were exquisite and unique. The capitals were cubical with rounded lower cor- ners and decorations of leaves. The columns were long and slender. A rectangular slab on the capital held the stilted arch. Stucco decorations enriched the arch soffits. Interlaced and filigree work covered walls, shafts and arches. The lower part of walls was inlaid with a choice mosaic of richly glazed tiles. The domes were often multiple, composed of many small segmental domes, united into an arched symmetrical whole. Broad, beautiful friezes and panels ran round the walls. While the plans were intricate and multiple, the general effect was unity and harmony. The complexity was really systematic. In India the Arabian styles took on certain special forms and features in the mosques, palaces and mausoleums. At Agra, particularly, wonderful buildings were erected. The Tartar races exhibited great technic skill and peculiar artistic genius. In the sixteenth century a clear type was evolved. The walls were divided both horizontally and vertically, and the domes were often spherical, and battlemented bands of pointed, oval-shaped leaves were numerous. Simple-pointed and keel arches covered the openings. Bound or octagonal towers rose at the corners of the quadrangular structures. Square, heavy piers invariably carried the arches. Mosaics and arabesques abounded. Indian architecture, shown in their rock-cut tombs and erected edifices, reveals a few familiar and many interesting features. The cave temples of the Brahmins were open in front and consisted of a large space covered with a flat roof or ceiling supported by columns or piers, the front row forming the facade. Later temples had no open exterior. Globular and flat surfaces abounded, and large animals, particularly lions and elephants, were used as supports and guards, or engraved on a smaller scale on capitals and friezes. Colossi, used with telling 38 INDUSTRIAL CHICAGO : effect, lined the walls. The piers or columns were peculiar, and, as they have begun to make their appearance in Chicago, should be fixed in the mind. Generally they were very massive, so much so as to appear too short or squatty. The base was usiially quadrangular, though often octagonal, and was higher than it was wide. Upon this rested a short, circular, bellied shaft at the top of which was a deep prolonged necking, graced with astragals above and below. Sur- mounting the shaft was a capital, shaped like a flattened or crushed sphere, around the center of which ran a strong astragal, and over which was a quadrangular abacus, usually carved at the corners. The entire shaft and capital were almost always fluted and in places engraved with stalky foliage and animals. Sometimes the capitals were cubes ornamented with rams' horns or scrolls. In the Buddhist temples the columns were slenderer and did not appear so squatty. The architecture as a whole was massive with gigantic carvings and symbolic repre- sentations. In the early Indian style there were many right-angled projections; but later a general design of rounded points and angles was manifest. This general rounding of archi- tectural members was also a characteristic of the Late Romanesque, and its application may be seen on the exterior of the Rookery. The Indian pagodas came down from the remotest antiquity. Often they were large and impressive structures. A large wall inclosing several courts, at the corners of which were towers, was the type. Often huge pyramids rose over the entrances. Colonnades, halls, shrines, walls, passages, fountains and temples appeared on the interior. The ornamentation was symbolic, excessive, tasteless and fantastic. Gigantic and hideous idols were to be seen in the temples. Curved roofs were common. In general, massive members, pyramidal designs, arbitrary outlines and details, rounded forms and squatty columns characterized the Indian style. The Gothic or Pointed style is generic, and embraces many variations and striking char- acteristics. It grew up in western Europe late in the dark ages, and was designed to sup- plant those styles which imitated the Roman forms or members. The term Gothic, referring to its origin among the barbarians, was given it by Palladio about the middle of the sixteenth century and was one of reproach, which has clung to it, in spite of all opposition, to the present day. The earliest changes were perceptible in the eleventh century. The pointed arch, so far as now known, was first used by the Assyrians in their aqueducts and elsewhere. It was also known to the Egyptians, to the Pelasgians and Etruscans, and later to the Greeks and Romans; but was used arbitrarily or without system, and infrequently. It is also true that the Arabs were the first to apply the pointed arch to structural uses; but they failed to give it system, though they improved it and used two styles the low pointed and the keel, and no doubt gave the Normans, who made the first great advances in the new style, their original impulse in the direction of Gothic peculiarities. The innovations of prolonged vertical mem- bers in the Romanesque, while perhaps foretelling the coming change, were not used with such system or with such frequency as to found a permanent departure in favor of the new style. They were simply arbitrary variations of the Romanesque. The general principles of Gothic will first be noticed, and then the peculiarities of differ- ent periods and nations. The pointed arch in all its many variations was one of the most dis- THE /ir//j>/.\<; I.\TK /; /;>-/>. 39 tiugnishing features. The systematic proportion of interior spaces, instead of members as in the classical styles, was another. On the exterior, horizontal lines, bands and members were mainly avoided and in all cases made subordinate to vertical effects. Columns, piers, towers, buttresses, bays, and numerous slender inventions pushed upward like vegetable growths, until terminated by spires, pinnacles, tiuials, crockets and sharp gables. On the interior the inter- section of vaults led to the invention of molded ribs to support them. Soon the transverse and diagonal ribs were so multiplied as to become the most conspicuous object of the vaults. They were spread out from a point of union like a fan, and the intermediate vault spaces or ogives were often reduced to a minimum. On the richly molded ribs, cusps, bosses and other ornaments appeared. The ornamentation was peculiar and characteristic, and consisted of the two essential elements geometrical figures and vegetable forms, arranged to increase the rising effect. The moldings, also, were as characteristic as any other feature, and were known by their outlines. Generally they consisted of convex members alternated with deep bottoms, and showed sharp contrasts of light and shade. The narrow rectangle took the place of the four-square bay for all purposes of cross-vaulting, by which substitution the entire superincumbent weight was placed upon the transverse ribs, diagonal ribs and pier arches. This division of arch-thrusts and their distribution to many points led to the frequent use of heavy buttresses and to the invention of the flying buttress. The use of numerous heavy buttresses reduced to inconsequence the exterior intervening spaces, and brought out in strong relief all angular and projecting members. The frequency of rectangular, instead of square, interior spaces, gave a narrower and higher effect than in Romanesque churches. The detached piers were richly molded vertically, and clustered columns or piers abounded. The ornamentation of the capitals with leaves of the oak, ivy, hazel, beech, grape, marshmallow, whitethorn, thistle, etc., was made subordinate to the glory of the rib vaiilting. The abacus was light, sharply molded and angular. Later, diagonal ribs were groined and greatly increased in number and in rich molding, which led to an increase of cusps, bosses and heraldic ornaments. The but- tresses were divided into stages which were crowned with gablets or small pyramidal towers. The interior mural spaces between the buttresses were devoted to windows and other openings, and the intrados of the vaults to panelling. The tracery of the windows marks the styles of the Gothic. The decorations of gallery, triforium, parapet, gable, door or mural spaces assumed the lines of window tracery to harmonize ornamental effects. The doorways were recessed by stages deeply molded, and later a vertical shaft divided them, and the jambs and spandrels were ornamented with religious ceremonial scenes, and over the drip stone rose a narrow, pointed gable, richly dressed with lx>sses, buds and finials. Oriel windows made their appearance as an architectural member. Window frames were richly molded and often gabled. Rose windows became marvels of intricate tracery and harmonious colors. Through the maze of pointed windows, doorways, buttresses, pinnacles, turrets, gablets, ornamented and enriched with crockets, bosses and finials, rose the huge sharp roof of the main struct- ure, enveloped in a multitude of similar ornaments. Under the roof were heavy moldings, often interrupted to render predominant the vertical effect. The towers find facades became 40 lM>rsTHIM. wonders of mazy ornamentation. Porches rose over the central doorways. The entire facade with its cloud-touching spires, its porches and richly molded windows and doorways, its but- tresses, canopies and gablets, its tracery and ornamentation, formed an organic whole of strik- ing beauty and grandeur. A small tower rose over the nave and transept intersection, graced with pinnacles and gables. The crypts were gone, the choir was lowered, the apse became polygonal, but the nave, aisles and transepts remained. A most striking effect of a Gothic cathedral was the lively, springing formation of the structure as a whole. The interior and exterior together, constituting a systematic unit, expressed in the highest degree picturesque- ness, stateliness, power and sublimity. But much was done that was not necessary. Fancy played with moldings, bosses and enrichments. Tesselated pavements, rich mosaics and sym- bolic paintings and frescoes gave character to the vast interior. The important Gothic prin- ciple of a unity of separate parts was usually, though not always, effected. Hight, upright features were eagerly sought. To secure loftiness, the horizontal entablature was thrown away, and from the capitals pointed arches were thrown. Human forms and faces appeared on the corbies, brackets, spandrels and moldings. Statues rose up in niches as if imbued with life. Gargoyles and grotesques were found in out-of-the-way gutters and angles. Battlements, parapets and oillets brought up visions of mediaeval castles and fortresses. These, in general, are the characteristics of the Gothic or Pointed style. The Early Gothic which sprang up in the twelfth century, has some distinct special feat- ures. The narrow lancet window, above which appeared the first style of tracery plate consisting of circular openings cut in the walls between the sharp arches of groups of win- dows, was a distinctive character. The gable was usually an equilateral triangle. A little later the equilateral arch, the drop arch and the segmental pointed arch appeared. The capitals resembled the Norman style, but were less varied and had few, if any, incisions or carvings. Upon them, however, were bold moldings, plainly and deeply undercut, with foliage on the bell, and toothed ornaments on the rounds. The moldings usually appeared in groups or suites. If foliage were used as an ornament between the abacus and necking, the moldings were omitted. The foliage consisted of leaves, with strong, stiff stems deeply undercut, and with the stalks and most prominent parts detached. Corbel-tables, taken from the Norman, were occasionally seen; but were ornamented with trefoil arches and carved blocks, or, if the arches were omitted, with suites of moldings. The deep hollows in the moldings held carvings and flowers. Crockets sparingly appeared for the first time. Long stalks and short curled leaves were seen late in the style. Cusps were here devised with a trefoil or leaf ornament on the point. They were first used on the soffits, but later on the moldings. Diapering was introduced in this style. The moldings consisted of alternate rounds and sharp hollows, often separated by fillets. Trefoil and cinquefoil arches were conspicuous. Doorways were often divided into two by a small shaft, and had quatrefoils above them. They were recessed with shafts on the jambs and moldings of the arches. The shafts themselves were usually encircled with bands of moldings. Late in this style featherings appeared. Windows were used singly or in groups of two, three, five and seven, were tall and narrow, and over the group was another large arch, between which and the THE BUILDING tlfTBBSSfB. 41 smaller ones were circles, trefoils, quatrefoils, etc. This was the origin of tracery. It was geometrical. Groined ceilings were common, but consisted simply of transverse and cross springers and main diagonals with bosses at the intersections. The pillars consisted of small circular shafts around larger circular or octagonal piers. Buttresses were strong and promi- nent, usually ran to the roof without stages and ended in sharp gables above the parapets. Roofs were sharply pitched compared with classical pediments. The dog-tooth ornament was used in great profusion. In rich buildings coping courses were molded. Gargoyles first appeared. Mullions became such first in this style. Canopies were also used to hold statues. Circles, trefoils, quatrefoils, cinquefoils, etc., were employed in panelling, with backs of foliage, carvings or diaperings. Pinnacle shafts were given small pediments at the top of their faces late in Early Gothic. Porches were used. Dog-tooth moldings were used in the hollows of arches. Pillars were banded or cinctured. Columnar bases resembled the Norman, but were so deeply cut that they held water; they were enriched with leaves. Bell gables occurred. Buttress angles were chamfered. This style lasted about one hundred years, or from the middle of the twelfth century to the middle of the thirteenth. The Decorated or Perfected Gothic style employed and improved the principal features of the Early Gothic. The equilateral arch was used, and the ogee arch for the first time appeared. Plate tracery developed into bar tracery. The vertical principle was perfected in this style; all forms were made tributary to it. Buttresses became wider, were divided into many stages, and were embellished with niches, canopies and pinnacles. The cusps and bosses were large, rich clusters. The gable and the pediment maintained their sharp angles. Tht' abacus became circular, polygonal and octagonal. The moldings of the capital were plain, and on the bell was a rich and beautiful foliage, the ball-flower being prominent and characteristic. The rounds were ogees, between which hollows, not so deeply undercut as in the Early Gothic, and separated from the ogees by fillets, reposed. The foliage was broader, but less bold, oak, maple, ivy, vine, whitethorn leaves appearing. The cornice was usually a slope above and a hollow below, with an astragal under it. At regular intervals in the hollows were flowers or heads. Crockets, consisting of broad leaves, with attached edges, enriched the moldings. Cusps were multiplied. The most striking general character- istic of this style was that ornamentation became constructional, and not merely decorative. The window tracery appeared in wavy lines instead of geometrical figures, as in Early Gothic. Over doors, windows and niches were weather moldings or drip stones, which were distinguishing forms. The ends extended down to the base of the arch or the springer line, and rested on corbel heads or bosses of foliage. Often this molding was ogeed, crocketed and surmounted with an enriched tinial. In all rich buildings the pillars were clustered or molded: in others, circular or octagonal. The foliage of the capital was rich, well executed and more or less detached. Niches on buttresses or in mural ranges were often capped with crocketed canopies. In addition to the conspicuous ball-flower which alone distinguishes this style, appeared another having four leaves, the successor of the toothed ornament of the Early Gothic. Diapering 42 tNDftSTltlAL I'll It' AGO: became very perfect and beautiful. Finials and crockets multiplied in great profusion. Gables were usually equilateral triangles. Lancet arches occurred sparingly, but drop, equilateral and plain and pointed segmental arches were often seen. Ogee arches were richly molded. The columnar bases had few moldings but numerous varieties, and all conformed to the shape of the shaft. Double plinths were sometimes seen. Over the plinth a common molding consisted of a large projecting torus crowned with several beads. Bosses took the form of animal and human faces, shields, foliage, armor, monograms, etc. Buttresses were always in stages and usually had niches often as wide as the buttress, with crocketed carvings, canopies and pinnacles. Pedestals were common and were either carried by corbels or by columns. The angle buttress was set diagonally for the first. Canopies became especially numerous, varied and beautiful, and were occupied by altars, fonts and statuary. Sometimes the canopies were ogee and sometimes triangular. The ribs of the vaults formed a net work. Fan vaulting had not yet made its appearance. Moldings were diversified, ovolos common and ogees frequent. Splays and fillets increased. The roll or scroll mold- ing identified this period, as did also a long molding, convex in the center and concave on each side. Bounds and hollows often ran together as in Early Gothic. The enrichments were leaves, flowers, figures, heads, etc. Panelling was enriched with tracery, foliage, shields, heraldry. Stone panelling was a feature and the back was dressed with tracery, squares, circles, featherings, shields and diapers. Battlements were often ornamented with panels and pierced with foils. This style prevailed from the latter part of the thirteenth century to the latter part of the fourteenth. The Perpendicular or Late Gothic style exhibited a decline of the characteristics of the Gothic in general. Innovations and debasements grew in number. Simple pointed arches, plain and pointed segmental arches, three, four and five-centered arches, ogee arches and depressed arches, generally, were seen mingled. They were profusely molded, but not so bold or deeply-cut as the Early or Decorated. The four-centered arch was introduced in this period for the first time. Buttresses were peculiarly ornamented and richly panelled and pinnacled. Horizontal divisions across the mullions formed transoms. The windows, which were very large, rendered the transoms necessary. Over many of the pointed windows appeared, for the first time, square-topped hoodings, and in the angles thus formed were quatrefoils. Hoofs were lower and sometimes flat. Fan tracery ran from the pillars up to the ceilings or vaults, over which it spread. Flat ceilings became divided into panels by richly ornamented moldings. Pendants multiplied in great number in this style for the first. Bands of beautiful panelling ran round the buildings. Plinths appeared octagonal, high, and often double. The principal base-molding was the reversed ogee, often doubled and projected well over the face of the plinth. Its angles were usually rounded off, producing a wavy appearance. Bay windows first appeared in this style. Many bosses with shields and armorial bearings decorated the vault intersections. The canopies were without high pointed arches, but appeared in great number and variety, and were richly dressed with pendants, pinnacles, etc. Octagonal capitals witli foliage to correspond were sometimes seen. Ogee LIBRARY OF THE OF ILLINOIS TIIK WILDING INTERESTS. 48 hollows and beads prevailed. Tbe leaves became stiffer than in the Decorated. The cornice consisted of several small moldings divided by shallow hollows, and had flowers, figures and grotesque heads at regular intervals. Later a rich, ornamental frieze appeared in the cornice. A row of tudor flowers, characteristic of this period, was often seen. The important Gothic principles of vertical lines and unity of separate parts were violated and debased during this era. Capitals became smaller and sometimes were omitted. Stringcourses and bands were rarely seen. Arches became so depressed that they often appeared with square tops. Mil- lions ran straight up to the top of the windows, which upright appearance here and on panels, etc., gave rise to the term Perpendicular, applied to the style. A notable feature was the elaborate panelling of doors and mural surfaces with an ornamentation resembling win- dow tracery. The quantity of molding was smaller in this period than in the Early, or Decorated, but the ornamentation was more excessive. Tbe abacus was sometimes circular, but usually octagonal, even though the shaft was circular, and the moldings consisted of rounds and hollows, united without angles, and beaded underneath. Crockets ran in great profusion over ridges and moldings, and were iisually flat and without a projecting edge. Cusps multiplied. Late in the style panelling and parquettiug drove out diapering. Es- cutcheons appeared on the bosses, at the extremities of hood moldings and on panels and spandrels. Coping courses were built in a series of steps from the eaves to the ridges, or were sometimes built in a series of alternating convex curves and steps. This gave a very striking effect to the gables. Tbe form is used in some of the beautiful stone residences of recent date in Chicago. Large shallow hollows distinguished the molding; in short, all moldings had a flat profile when compared with the Early and Decorated. The ogee was commonest. The undulating molding of the abacus and hoodings was peculiar. Fillets were removed from the rounds. A common molding on jambs and arches was a wide hollow with a round on each side. Plain mullions were frequently seen. Horizontal lines, cutting the vertical members, appeared. Elliptical arches were occasionally seen. Tbe timber roofing was often fully exjwsed to view, and the intervening spaces were tilled with tracery, while the beams were molded, carved and ornamented with bosses, pendants, etc. The Perpendicular style commenced about the middle of the fourteenth century and ended near the middle of the sixteenth. The Early Gothic style has other names, such as First Pointed, Lancet, etc. The Decor- ated style has been termed Geometrical. Second Pointed. Perfect Gothic, etc., and at its close, Curvilinear, Flowing Decorated. Equilateral, Flamboyant (in France), etc. The Perpendicu- lar is also known as Continuous, Tudor, Rectilinear. Florid, etc. Many of these are merely local terms. The styles did not spring up at once, nor die at once, but overlapped each other. These periods of overlapping are called transitional, and by some authors are treated separately. In an attempt at classification, no good can be accomplished by giving separate treatment to transitional periods, where special forms and types of various styles are often grotesquely intermingled. Still, it is well to note the fact of the existence of periods of transition. 44 INDUSTRIAL CHICAGO : In northern France, Gothic architecture was first developed into a system. This, no doubt, arose from the Normans having learned the use of the arch when they invaded Sicily some time before. When the arch finally made its appearance in Normandy, it was applied, not to new building designs, but to the old Romanesque basilicas. The apse, at first semicircular, soon became three, five and seven-sided, and the aisles were extended past the choir or entirely round it. In place of the Romanesque quadrangular piers, with their half columns, heavy cir- cular ones were adopted. This was an imitation of early Romanesque, except that they were heavier. Early, the rib-thrusts centered on the abacus, but later the ribs and piers were oon- tinuous, or practically so. In Belgium and Holland the nave became very wide, necessitat- ing the use of wood in vaulting. Double transepts sometimes appeared. The English Gothic was an imitation of the French. Over the main French doorway was a large, circular win- dow; over the English, a pointed one. The Germans took their early ideas of the Gothic style from France. All things considered, France attained a higher degree of perfection in Gothic architecture than any other nation. The Italian Gothic made its beginning in northern Italy by adopting the vaulted naves of the Romans. This was the first departure, there, from the Romanesque, and soon resulted in the invention of compound piers, or clustered pillars, pointed arches, elaborate buttresses, towers, spires, pinnacles, traceried windows and high-pitched roofs, and other special features of the Gothic style. Stone-vaulted naves were common, and led to most important results. The Goths, Lombards and other barbarians kept steadily at work evolving Gothic forms from the Romanesque. But the departure was more difficult and less completely accomplished than in countries removed from the influence of the beautiful and imposing remains of Roman architecture. In fact, it is probable that not a single building of pure Gothic forms and principles was erected in that country. Roman members crept into all the structures. And here it was, also, when the Renaissance was heralded, that the first heavy blows wen- dealt the Gothic, and the varied classical orders were again earliest imitated. The art-loving French soon took an active part in the revival, and gave it name Renaissance. The term Renaissance is applied to a revival of classical styles begun in the fifteenth century and continued, to a greater or less extent, up to the present time. Under it are chissed the 'Florentine. Venetian. Roman, Roccoco, etc., and the Modern or Heterogeneous. In the Florentine style, which is usually classed by writers as a member of the Renais sance, there was often an imitation of Romanesque, as well as Roman, forms. For this rea- son, strictly speaking, it should either not be considered a style of the Renaissance or the revival must be extended to several of the Romanesque members. The general characteristic of the Florentine was a simple massiveness used with great effect on large buildings, but showing an excess of rugged strength in small ones. Entire buildings were const ructed of large blocks of stone having broad joints. At first the joints and beds only were dressed, but later, though given flat faces, the body was left to project beyond the joints. This special method of ashlaring became known as rustic work or bossage. The ]>ower of the Florentine styl.> was best shown in buildings having rustic work for the substructure or lower story and THE BUILDING INTERESTS. 45 plain work for the upper stories. Excellent examples of the style may be seen in Chicago. Very often, when the faces of the blocks were left undressed, they were allowed to project more than a foot beyond the line of the facade. Sometimes the entire facade was built of rustic work, at other times only the lower story. The style was too heavy for residences though used extensively in palaces; it was specially fitted for fortresses or large public build- ings. A variation of the style led to the limitation of the rustic work to the quoins of the facade or other angular members or extended it to the entire lower story. The windows had semicircular heads and deeply molded architraves, and often the voussoirs and the jamb quoins formed a continuous series, running up the sides and spanning the top of the opening. They were usually divided into two equal parts by vertical shafts, each part also having a semicircular head resting on the capital of the shaft, and the impost of the large arch enclos- ing all. Between the two smaller arches and the large arch a circle was usually cut in the wall, in which case the triangular spaces or spandrels thus formed were ornamented with tracery or foliage, or were left plain. The window jambs, the voussoirs, the quoins, the shafts and the intervening spaces were usually left plain, with great effect on the otherwise rugged facades. Small square windows were often placed on the lower story. As a general rule all the windows appeared small, owing to the stiff dignity and massiveness pervading the whole. In this style a massive cornice projected far over the line of the facade and was upheld by consoles or other bracketing. Sometimes the cornice projected so far as to appear insufficiently supported by the lengthened consoles. Sometimes the upper story, was an open arcade. The vestibules were either narrow vaulted passages or gateways; to them a small court was occasionally annexed. Often there was an utter absence of the Grecian columnar or pilnster screen over the window and the door arches, at other times it appeared over every opening, and above each row of columns was a complete entablature having an ornamental frieze. In case it was not used, the line between the stories was marked by an ornamental bandcourse. Often the columns of the screens stood on pedestals. Early in the style the gable-roofed basilica was used, but later Roman vaults and domes were invariably employed. Simple massiveness characterized the style. Venetian architecture, like Florentine, was principally employed in the construction of palaces. The facade was divided into groups of members corresponding to the interior spaces. The columns and arches took the Roman form. Richness and elegance seemed to be the principal effects sought. In the early period Romanesque imitations were common. The style was characterized by its striking decorative peculiarities, which consisted in beautiful panelling of red, green and other colored marbles or stones, arranged in many rich varieties of mosaics. This feature added greatly to the effect; the idea, no doubt, came from the Byzantines. The use of the semicircular gable was also adopted from the Byzantine style. The tasty and proportionate arrangement of the columns, entablatures, arches, balustrades and window and door caps lent a charming distinction to the facades. Sometimes the open- ings had half or three quarter columns supporting arches, the keystones of which assisted taller columns between the windows to support entablatures forming bandcourses. Across 46 INDUSTRIAL CHICAGO: tlic springer line, spanning the space between columns, between the capitals and the arch liases, architraves often appeared. Spandrels took on a rich dress of sculpture and mosaics. The Doric screen extended occupied the first story, the Ionic the second, the Corinthian the third, etc. Palladio adorned all buildings with the portals of classical temples and carried them up several stories often as tall pilasters resting on pedestals. This method of uniting several stories has often been employed since. Windows were given plinths and square tops, and were crowned with segmental, semicircular or triangular pediments, which forms, were usually alternated in the same story. The lower story was often rusticated and occasionally pilastered, while the middle and upper stories were nearly always colonnaded. Small, square windows occupied the space under the crowning cornice. Perfect proportion charac- terized the designs of Palladio. Venetian churches assumed two forms Byzantine and Roman. Another distinct variation of Venetian structures exhibited brick used principally as a building material. Enrichments of burnt clay ornamented the door and window cases. Brick entered into the construction of huge piers and formed console- courses to support the cornices. Horizontal bandcourses of decorative burnt clay divided the stories. In the brick structures the arched Florentine window, divided by a vertical shaft and pierced alx>ve with a circle, appeared. This style ran from late in the fifteenth century to the end of the sixteenth. Roman Renaissance, unlike- the Florentine and Venetian, which remained confined to cir- ciimscribed limits, soon became diffused throughout the world. This style of the Renais- sance was comparatively pure, having had less to do with Romanesque forms than either the Florentine or Venetian. Perhaps the most distinguishing feature was to secure on the facades the Roman columnar effect, not by the use of columns and arches, but by the artistic arrangement of architraves, cornices, plinths, bandcourses, proportion and rusticated corners. The windows were given right-angled tops and faced with perfect Grecian screens two classical columns on pedestals supporting a complete entablature, above which rose a trian gular pediment or the columns took the form of simple shafts carrying a tall impost which supported a horizontal architrave. Profuse richness, simplicity, solidity and dignity charac- terized the Roman Renaissance generally. Pro]x>rtion and dimension, particularly in the designs of Michel Angelo, followed definite rules and attained perfection. Classical moldings greatly predominated, but projected less than in the Florentine style. Later, however, they began to depart from classical forms and took on baroque outlines and peculiarities. Hori- zontal lines prevailed, but under the adventurous or independent tendencies of Angelo. windows were given semicircular, instead of right-angled, heads. This arrangement carried the window arch so high that either the entire entablature had to be abandoned or had to be interrupted so that the arch could rise above it. Often, also, the entablature was reduced to the width of the capital or limited to an architrave. Frequently the arched pediment and its cornice were cut or interrupted to receive a statue or other enriched figure. Balustrades, marked with pedestals supporting statuary, ran round the top of the cornice. Sculptured accessories were few. The lack of adventitious adornment was a distinction of the style. Another important structural form showed rustic work around the arched front entrances, THE BUILDING INTERESTS. 47 quadrangular windows supporting a horizontal architrave, Grecian or Koman screens facing the arched entrances, above which extended an entablature, crowned witli a balustrade, and stories separated by tasty stringcourses. In this style appeared the entresol or mezanine story a low one between the lower and second stories with small square windows. The vestibules of Genoa had steps leading up to them and a straight entrance through to the in- ternal hall. In the Roman style the interior was either vaulted or furnished with horizontal ceilings, and all were painted, panelled and arabesqued. A varied Composite capital appeared often in this style. It may be said, generally, of the Renaissance that, as it lacked variety of structural forms, it was forced to apply ancient members to decorate the creations of modern times. Sculpture and painting, as iu antiquity, were freely employed on interiors by architects of the Renaissance. A colored decoration of animal forms, men, masks, shields, vessels, leaves, vines, sphinxes of wonderful variety and freshness covered all interior panels and mural spaces. Even on the exterior the flat surfaces around doors and windows and the rounds and hollows of moldings were enriched with sculpture and paintings. Statuary rose here and there on the facade, imparting animation or life to the expression. A peculiar painting Sgraffito attained great prominence and favor. In France the Renaissance was preceded by a period of blended Gothic and Roman forms that produced a distinct style. The Gothic features were shown in the recessed door- ways, clustered columns, buttresses, ground plans, pinnacles, etc., while the ornamentation was strongly Roman. The French thus evolved a style very rich in sculpture. Over windows and doors, along friezes and bandcourses, on pedestals and pediments, sculptured figures appeared almost in excess. Here and there double caryatids sprang up to sustain entablatures. Perhaps the courthouse is the best example of French Renaissance in Chicago. An excess of external forms and members is here seen, but distance lends enchantment to the view, as it is only from afar that the really noble style of the architecture is shown. Distance kindly conceals the multiplicity of angles and forms, and presents in strong relief the pro- portionate framework of the building. But many principles of utility were set at naught by the designers. In France the style was particularly rich in historic groups of sculpture on or over circular and triangular pediments. Even the chimneys which rose through a mansard roof were thus embellished. A distinct form in France employed dressed stone like quoins to face windows and doors, and connected the stonework vertically from story to story. High, steep roofs, numerous dormer windows and tall chimneys were marked forms. Mirrors, for the first, were used to decorate the interior. In Spain, the Renaissance united Gothic and Arabian forms with those of the classical styles. The style was characterized by lightness, boldness and magnificence. Probably the decorative splendor was never surpassed, but organic or structural harmony was lost. In Germany the Renaissance assumed heavy forms and lacked in gracefulness of />. ~*>\ of the gable corresponded with the center window above it. The siding was placed hori- zontally, and, all in all, it was a great building for time and place, and the last of the large, old-style frame or beam -and- brace structures. It was the evolution of the log cabin, begin- ning in Norway and perfected in America. Temple found hundreds of houses like it in the East . and here were not wanting houses to suggest plans; but the wily Doctor made a gable end the front, and showed how a greater number of buildings, equal in size to the larger of the older houses, could be crowded into a block. Temple's idea of frontage won many followers, and even to-day it is a common practice to make the gable end the facade. During the spring and summer of 1833, no less than 1(50 frame houses were erected, in and around the business center. Such houses! An improvement on the log cabin, undoubt- edly, they conveyed but a poor idea of the balloon frames, which were to follow them. In September, 1833, the great Indian council assembled here, and the wigwams became characteristic of the village. Those wigwams were the only pieces of true architecture here. Perfect in form, natural as the aborigines could construct them, suited exactly to the life of the prairie nomads, they contrasted strangely with the tarantula-looking cabins of the pioneers or the box-like homes of the latter-day immigrants. Without them the eye of the visiting architect would lose its luster and grow dim; even the style of the quasi-military post could not ease the heartache caused by a survey of this conglomerate of habitations. The building beginnings of the second epoch were rude indeed, but faith in the city of the prairies held men here, who, in after years, made amends for their non- recognition of art and civilization in 1833. The balloon frame is the joint idea of George W. Snow and necessity. The multiplication of sawmills helped out the notion of lightness, and in July, 1833, a number of men are found erecting a church on Lake street, near State street, of scantling and siding. The ancient builders prophesied its destruction in the first gale, but it withstood the winds and proved the theory of its master workman correct. The rubble stone or great bowlder piers, supporting the heavy sills of the old frame, gave way in this to light cedar posts, carrying a sill 6x6 or 10x10. The sill of the balloon frame was mortised to receive the tenons of the joists, twelve inches apart, and again mortised on the surface at corresponding distances, to receive the tenons of the upright scantling, now commonly called "two by four," but then measuring 3x4 inches. Below the ceiling level each scantling was again mortised to receive the band board, on the upper edge of which the joists of the second floor rested. Such joists were also nailed to the uprights, the flooring placed on the joists, and the siding nailed to the uprights, thus giving a secure box, not too pliable or too rigid, and leaving the first story or floor ready for the 'lather and plasterer. Sometimes the scantling was carried from the sills the whole height of the building, leaving a 12x4-inch open space between lathing and siding. In the matter of weather-boarding there was a distinction, one party being in favor of the vertical battened l>oards and the other favoring the horizontal claplward. In later years a third party adopted the dropsiding, and within, the last decade the shingle siding was introduced. The proportions of the old time frame house varied. Sometimes a 52 INDUSTRIAL CHICAGO: high gable and steep roof appeared among the great number of low-gabled structures, and at intervals a verandah could be seen. As the style developed, the gable or pediment of the larger frame buildings of the period partook, in a certain degree, of the Grecian pediment; but features were introduced of which the Greeks never slept to dream; such were the ventilators or attic windows in the frieze, rectangular openings, sometimes tilled with glass, sometimes with lattice work. The cornice, however, was the grand stroke of the artist, and he made it heavy enough so that it would be seen. During the four years, ending in 1837, brick entered into competition with wood as a building .material, but did not make appreciable progress. The Doric columns in the court- house portico and the pinnacles of St. James' church were wrought out of native lumber, as artisans of that period would not venture to give details in brick. The county authorities were determined to have something Grecian almost sixty years ago, and the Doric responded in its wildest form. It was the period of Renaissance in the United States, when the news papers of Boston, New York and Philadelphia tilled the country with praises of Strickland and Latrobe and the public mind with ideas of the columns and capitals of Greece or Borne. The English church authorities labored to counteract the growth of the national Renaissance, and built after the forms which obtained in England in the seventeenth century, so that in 1837 the villagers had a grotesque Doric house on one side of the river, and a grim, perpen- dicular Gothic house on the other, telling in wood and brick that architectural ideas were alive and would some day grow and flourish here. All architecture is the development of previous work or the adaptation of previous work in all generations, just as history, by a partial writer, is an adaptation of recorded facts in a form to suit the requirements and sympathies of his readers. When J. M. Van Osdel arrived here, in 1837, he realized that builders were here before him, but he could not lind trace of an architect. There was no discrimination, no style, except that outlined in the very early Doric portico of the courthouse or the colonial house of W. H. Brown. He could not reform what was done, but his professional knowledge could direct that which remained to be done. In the rebuilding of the fallen block, spoken of in the history of city houses, a great in- fluence was exercised, and in the new Ogden house, built that year, he proved the beneficial uses of an architect. With all this, the citizens took an interest in building to the exclusion of architecture and remained in this rut for seven years longer, until it dawned upon them that building after plans is cheaper, in the long run, than building without plans. There was no thought of art. It was a realization of the material. The idea that the Swede or Italian can sweep the street cheaper and better than the owner of the abutting frontage, was the actuating one in the employment of an architect; for he could build better and cheaper than the owner. In 1843 or 1844 the carpenters and masons got this idea, and, henceforth, impor- tant work was carried out after plans by and under the supervision of architects. This was a necessity. The year 18434 witnessed the erection of (UK) houses, includ- ing a brick block of four four-story commercial buildings on Lake street, the Cathedral build- ing and the Dearborn street schoolhouse. The stone of Lemout and Joliet promised a new THE nriu>i.\<: /.\ 77-;/,'/->7x 53 material, and the time was ripe for architecture to take a foothold in Chicago and provide at least for straight, strong and useful houses. The Cathedral led the way, a pure Doric struct- ure with pediment and clock tower, well proportioned and large, showing the development of taste during the years which elapsed since the building of the first courthouse. In 1844 the schoolhouse on Madison street was completed, and a building style instituted which was observed religiously and became known as the School building style. Look around you! The majority of city buildings for the uses of public education partake of the same character veritable barracks, massive brick houses, minus every point which would lead the pupils to a conception of architecture. So it was with the brick commercial block on Lake street. It was built to shelter commercial workers and goods, rather than to memo- rialize the advance of the building arts. The religious societies aimed higher and succeeded, at least, in planting the orders here with poor settings. They brought the Doric form before the people with just sufficient clearness to show the plinth, shaft, fillet, ovolo and abacus, and in their representation of the Ionic capital they gave volutes which would impress the plebian while making angels weep. It is quite evident that sentiment had no place outside the very small minority who con- trolled the designs for church buildings here, and when representatives of this little minority saw their buildings completed in this western town, and contrasted them with European models, they realized that a new, and particularly a prairie country, could never become the home of Greek or Roman temples. The sense of immensity was too powerful to master by any building which Chicago of forty years ago could raise up. There was the prairie stretch- ing to the horizon, beyond this was the Father of Waters, still farther, the mountains, and then the Pacific the ocean. Go back forty years and stand on a sand dune near the mouth of Chicago river! You forget the village at your feet, you dream of the terra incognita beyond. You looked upon a collection of straggling houses and a few churches as transitory things expedients, and knew in your heart of hearts that the pre-Byzantine architecture was out of place where the mind could contemplate millions of square miles uutenanted by, and almost unknown to, civilization. This idea, bred in fancy, grew, for as necessity or fire removed the Doric and the Ionic temples erected here in the forties, they were not duplicated. They made way for the Romanesque-Byzantine and for that Gothic which could lose itself in the air or merge into immensity rather than crawl on the old marsh. Chicago architects long ago looked to the Italians and to the French for their models, and hence building arts of these nations ruled here. Their great art schools and their ceu- turied refinement left no choice, for they improved every type and gave a place to the orders and the Romanesque, to the Renaissance and the Gothic. The Classic Renaissance was, of course, their pet form, and hence it must have been the most beautiful to the eye of the French connoisseur and the most profitable to that of the French utilitarian. It is the result of centuries of study and experience. Chicago realized this in the fifties, and when her early architects were asked to revel in beauty, they selected one or other of the styles peculiar to the Italian or French schools, but adapted them to a climate of extremes and an age of high- :>4 INDUSTRIAL CHICAGO: priced labor. Thus the sculptured orders, and even the astylar appeared here, shorn of their grandeurs to be sure, yet fairly well observed by the adaptors. Carpenters' Gothic, the name given to the local architecture of less than forty years ago, was built up here on illustrations of English homes and ancient English monasteries, while the American classic style was founded on Stewart's Athens. The builders in brick and stone adhered generally to the Italian or French style in the simplest forms, while the carpenter builders adhered to the Snow-Temple ideals of 1833. At intervals the bricklayer was compelled to deal with gables, but whenever the architect con- trolled the sentiment of the owner, the gable was discarded, and the cornice or the segmental, semicirciilar or straight arch of the Latins adopted. It is true that the balloon frame did not improve much at first under the new lights. The Bull's Head tavern, with its gables and verandahs, could not compare with the Saloon building of an earlier date, and contractors, as well as architects, confessed that wooden archi- tecture had reached the limit of perfection in that year when the sun of the Whig party went down forever. Before the year 1854 was closed, a new timber structure pointed to the errors of their conclusion. The Myrick Castle, with its tower and its cujwla, its loggia and its veran- dah shed a new light on the possibilities of the balloon frame. There it stood, away to the south, telling how Myrick's cabin-saloon on 1 the lake shore grew into a castle. The main build ing was a low-gabled structure, with two high windows on the first floor, opening on the verandah, and two windows in the second story. Between this building and the tower was an annex, flat-roofed, with door opening on a Doric portico and windows above opening on a Roman balcony. The tower, with its Norman windows, completed the ensemble. Such a building was injurious in its influence on the times. Citizens of that day could not, of course, see the ridiculous side of a wooden building attached to a keep or campanile with embattled parapet, and hence its novelty and size, if not its picturesqueness, won their approval and led to the construction of similar houses. The three divisions of the city wel- comed such buildings, and, as there was plenty of space, the square dwelling-house with tower and portico multiplied exceedingly fast. The Carpenters' Gothic grew up like prairie weeds, covering the city and drowning out, as it were, the faint gleams of Thirteenth Century Gothic. One of its gables was still the facade, as in earlier years, but the verandah and stoop, cork- screw moldings, scroll-work, level brackets, chamfered or sash doors, and other attempts at exterior decoration were now presented, and it began to rise from a one-story cottage to a three-story-and-attic house. In some places the spirit of the Renaissance was living, and manifested itself in the pediment and portico a minority returned, in fact, to the orders, established here in 1843. To-day a few specimens of such classic houses may be seen. They are always associated with a surviving pioneer. The north and west divisions were given up to homes, some pretentious, the greater num- ber frame buildings with two and three-story, brick, stone-faced structures and green Vene- tian blinds thrown in. The lack of appreciation for, or means to indulge in. the ornamental, was evident in those rectangular or square houses, so much so that it would not require a THE BUILDING INTERESTS. 55 philosopher to discern their Dutch, Quaker or Puritan origin. They were rude without and inconvenient within, but sheltered a people who made merriness out of very little and enjoyed life with Jeffersoniaii simplicity. Solidarity of interests made them all one. The millionaire was not yet present to outbuild his fellow-citizens, and the French flat was an unknown quantity to 995* per thousand of the population. They were content with their surroundings, and he who complained of the " wild and woolly " conditions of life was at liberty to return to a higher civilization, if he were not actually requested to do so by some irate native. Among all this humility in architecture, there were a few classical buildings. The iron front block on the north side of Lake street introduced the Corinthian columns in the first story and the windows and pilasters of the Venetian Renaissance in the four stories above. The Palladian style was shown in another iron building on the same street, and the astylar in the marble block east of Clark street. During the sixteen years, from 1849 to the summer of 1865, comparative advances in the building arts were evident. Prospective builders talked with architects and were shown illus- trations of facades by every originator of style from Palladio to Richardson. An idea of architecture was inculcated in the owners, and the architects themselves, driven to study the authors, imbibed some salutary ideas. It was a memorable period. Enterprise battling under the disappointments of panic, or the dark shadows of civil war, fought with desperation and advanced against great odds. Chicago Commercial architecture aimed at greater ends than that of any other American city. Prior to the year 1805 there were not wanting evidences of a desire to forge ahead in the building arts; but amid the sea of tenanted, well- paying cabins, which covered the old city, it required more than ordinary courage to attain this desire. The iron buildings on Lake street, just referred to, the old Board of Trade, the Gothic church on Twelfth street, west of Blue Island avenue, the county courthouse, the Tremont House, and all those buildings described in the history of the period, were erected. Brick was fast displac- ing wood; house-moving became a distinct trade; frame dwellings were moved to the out- skirts of the city, and in their places rose up solid blocks of brick business houses. It was an extraordinary building epoch, when the time and place are considered; but architecture scarcely entered into the calculations of owners, except in the case of the few buildings named iilwve. It was the astylar age of Chicago, materialistic in a degree, severely plain if not actually primitive. The erection of the Crosby Opera house, in 1865, opened up an architectural Held, hitherto untried. The Italian-Byzantine, French-Venetian structure, built for the Board of Trade in 1864. was a pigmy compared with this product of the architect and artisan. Boy- ington introduced the Norman windows and doorways, and capped all with a graceful Mansard. The stilted arch was everywhere except in the attic, and even there, in the central pavilion, he introduced a double Norman window deeply recessed under a heavy frontal which was parried on caryatic figures. Statuary above the jx>rtico found a place here and. all in all. it was difficult for the citizen of 1865 to conceive a future that would give to Chicago a grander building than this opera house. They were soon undeceived. Old Chicago was, in r )6 INDUSTRIAL CHICAGO: a measure, a city of surprises like the New Chicago, and wonders crowded into it year. The age of columns' and pilasters and spandrels dawned; the Tudor gable was introduced, the second pointed style of the French type appeared, and all the lesser forms of the Romanesque began to take shape. Plans for great hotel buildings were explained; outlines of Thirteenth Century Gothic churches were made for use here, and a determination to build well and truly was manifest on all sides. The architectural circle widened, and in response, as it were, the ideas of owners were enlarged, and the city resolved itself into a great building committee. It was the reign of thought directed toward the building arts and the ornamentation of the city, and the establishment of beautiful suburbs, where the landscape architect could vie with the architect in bringing forth novel and pleasing designs. The Swiss style was introduced at Riverside in 1871, in the erection of the hotel; the Swiss-Gothic style in the construction of the water tower and the Gothic in the structure known as " The Chapel " in that suburb. A rude interruption was to come. All that was accomplished must be swept away. The Grand Pacific, Sherman and Tremont were completed, the Palmer House, the Nixon build- ing and many other houses of that class were almost ready to receive the roof; new church buildings were in the same condition when the terrible night of October 8-9, 1871, brought destruction with it. The fire-god looked over the Garden City, and, as if regarding art in the highest, determined to destroy the libels on art which the people tolerated. There were many houses, indeed, on business and residence streets, which showed the large expendi- ture of money. They were comfortable homes or substantial business blocks, showing architecture appreciated, but its principles broken to pieces in almost every line. Nature swept away what she could not tolerate, but did not provide, at once, a safeguard against the repetition of the building designs she despised. The necessity for a prompt rebuilding militated against art in a wonderful degree. The architect himself was as hurried as the owner and contractor; and the masons, bricklayer and carpenter were often at work before the draughtsman began the design. Thus, for some little time, after the great fire, Art suffered from haste and necessity. Men, sane in other affairs, tolerated the construc- tion of wooden buildings to resemble stone and stone buildings to resemble wood. A wild mixture resulted. What the Apache is to civilized man, those buildings were to architecture. A glance at the history of building operations from 1871 to 1881 reveals an extraor- dinary activity, a phenomenal metamorphosis of ruin into stone and brick life or forms, typical of western courage and western faith. It was not the conservative courage and faith displayed in 18(M(-71 which conceived elegant houses for favored corners; but that dashing attribute of enterprise, which, like love, laughs at locks and bars. Several very pretentious buildings were completed and great ones were begun during the three years, ending October !), 1874. Fire cleared a wide swath or road for progress, and thousands of inflammable structures were reduced to ashes, as in the Rome of Nero. A new Chicago sprung from the ruins of the old, and buildings, founded on the architectural principles of the time, were hurried to completion. Within a few years whole streets north of Van Buren street to the river and from Michigan avenue to the South Branch, showed continued and symmetrical THE BUILDING INTERESTS. 57 frontage. The jealous god of progress commended the young city, and imperial governments were awe striken at the energy which this western community displayed and the more than human vitality of which it demonstrated to be in possession. Within a year to a day after the old Chamber of Commerce was destroyed, a greater building was completed in the clas- sical style. Plans for other great buildings, the construction of which was in progress at the time of the tire, were extended, and ornamental details, unt bought of in 1871, were added. Men looked on the fire as a blessing in disguise. The present Palmer House, the Tremont, the Honore, the Howland, the Field, the Williams <& Ferry, the Rawson, the Oriental, the National Life Insurance Company's and many other houses, partaking in style of the Italian Renaissance; the Boyce, Superior, Lakeside and oth- ers outlining commercial Gothic, shed a luster on local architecture and local enterprise. Richardson contributed the front of the American Express office as his ideal of American style; another architect introduced that uncomfortable fiction known as Modern English Gothic, as in the Church of the Messiah, on Michigan avenue and Twenty-third street; plans for the City Hall outlined the greater Renaissance of France. The Grand Pacific, Sherman, Matteson, Leland and a few other houses betrayed French origin minus French ornamentation, and thence downward to the old Rookery the architectural scale descended. That inachia- veliau structure suggested a line of thought, which has since proved correct, that the author- ities of Chicago city were never capable of contemplating the possibilities of their city, while Individuals, almost crushed under the losses occasioned by fire, rose superior to the commu- nity and gave the first grand houses to the city. The fire ordinance of 1871 was not without its influence on the building arts. The law was clearly laid down that wooden walls could not find a place within the burnt district; hence the builders were compelled to employ stone, brick or iron. The estimates were far heavier than those for frame buildings, but they had to be tolerated, and with this sense of toleration came a heart -broadening which was not content with the higher estimate, but sought superiority at any cost. Again, money was easily obtained on inside property, and owners, taking advantage of this, built high and large though not always architecturally. The Lemont marble slab and the Ohio sandstone, with brick from Milwaukee and Philadel- phia, were called in to assist in this upbuilding. Bricklayers from Philadelphia came to Icacli the occidental tradesman how to work on the outside of buildings; the fireproofer was present with a hundred specifics against fire; the cornice manufacturer was in the zenith of his power and the architect was everywhere. In presence of such an army of designers, artisans and material, a cosmopolitan style sprang up. The American idea, or the French, combated with the Teutonic, or German and Dutch, so that it was not uncommon to see a gabled, or a severely plain square, facade acting neighbor to the Renaissance, or between a French and an Italian elevation. This form has come down to the present. True, much of all that was baroque has been removed or improved ; but the observer can not fail to notice the varied forms given to city houses during the decade ending in 1N7U or to distinguish between the classic and barbaric. 58 INDUSTRIAL CHICAGO: As order is placed above order, so style is found above style. There is the Norman - Romanesque first story, the Italian second story, the Gothic third story and the Mansard attic. Like the people, the architecture is cosmopolitan, sometimes running riot as the Anarchist; sometimes wild as the deer, again tame, and in all things confused, so that it is indeed a study in architecture to look upon one of those buildings, erected here between 1871 and 1881. The Boyce building, on the northeast corner of State and Madison streets, and the Superior building on Clark street opposite the courthouse, are called Gothic struct- ures by architects, simply and mainly because the windows of the third and fourth stories have pointed headings - all the other windows being decidedly Norman. The stilted Norman straight arches of the second-story windows of the Boyce building are very decisive, even as are the Italian-Renaissance windows of the fifth story, yet the building is called Gothic. This can only be explained from the architect's point of view. The third and fourth stories are, undoubtedly, ornamental, and take the eye first. Their tendency is Gothic, or rather a blending of the Romanesque and Gothic, and hence the feature most, observable decrees the name of the style. Building enterprise was not confined to commerce. Religion entered into the spirit of building with the twelfth and thirteenth century energy and contributed many of the finest Gothic houses in the West, The Cathedral of the Holy Name was the truest expression of Gothic, while the church of St. James told of its later perpendicular forms, and other buildings of its modern English expression or of the second pointed style of the French period. Of the four hundred churches in the city, many of the greater ones must be credited to this period. The North Side led in the erection of brick or stone slab dwelling houses. Whole blocks were covered with those attached, two or three-story-and-basement houses. The bay window and high stoop were characteristic of the time, yet several plain, common-brick fronts came down from that period. Dearborn avenue and Cass street, on the north side, and Michigan avenue and Wabash avenue, within the burnt district, are living examples of this style of citv house. Outside the tire limits the wooden house reigned. It assumed lower gables, heavier moldings and brackets and much more ornate verandahs and stoops than were tolerated before the fire. The square house, with square cupola and sometimes with campanile, still represented the higher idea of timber architecture, as it prevailed before the tire: but the two- story gabled house, with side projection or transept, was the most popular, as it was the true application of architecture to timber construction. The marble palace of W. F. Story, on Grand boulevard, is a milestone of the period, marking the tendency of Chicago's men of wealth to elevate the character of Chicago's buildings. Extraordinary and phenomenal as was the rebuilding of the city during the decade end- ing in 1881, it was overshadowed by that ending December 31, 1891. There were 61,000 buildings in the old city at the time of the tire. Of that number 20.000 were destroyed, including all the great buildings in the business center and the principal dwelling houses in CflURCfl, 1S44. CHICAGO DESIGN EGTI'TIAN DORIC. I, 1S4S. RYAN'S DESIGN. LIBRARY OF THE MMWF.RSITY OF ILLINOIS THE BUILDING INTERESTS. 59 the north and south divisions, thus leaving 41,000 small commercial and large and small dwelling houses outside the burnt district on October 10, 1871. At the beginning of 1880 oven the business center presented many vacant lots; but a new building era was at hand, and during that year 1,788 permits were issued. The eight succeeding years brought this number up to 89,708 houses (erected in nine years within the old city limits), which added to the 11,008 buildings erected in 1890 within the new limits, give a total of 51,371 commercial and dwelling houses constructed since January 1, 1881. Even this total gives but a poor idea of the advance; for both commercial and residence houses were built on a much larger scale than those of the former decade; large structures of the rebuilding period were increased in bight; remodeled elevator systems and interior decorations introduced, and a tendency to massiveness, rather than to exterior ornament, was manifested on all sides. The Roman- esque idea had taken possession of the people in that year, and dreams of great arches, batter walls, massive substructures and other magnificences were entertained. The suburbs presented a scene of unusual activity. Square miles of dwelling houses and improved grounds, rising as it were out of the prairie, appeared north and south and, even westward, the drama of settle- ment and house building was enacted. To illustrate the character of buildings erected here prior to 1880, let a few of the lead- ing houses be described. The Courthouse and City hall may be termed one building. The original design contemplated an open court between the rotunda and the streets north and south, on the principle shown in the fronts of the Pullman building and Woman's Temple, and in the eastern and western facades of the Rialto. The architect followed a definite style and, t hi-ivfore, insured the exterior against the machinations of the boodlers, so far as it was in his power to do. This building is the leading exponent of the French Renaissance, based on the Romanesque, in the West. The first and second stories are Romanesque; above, all is French, influenced of course by the Italian or Palladian forms and latter-day ideals. The ashlar work, piers, arches and keystones of the second story; the principal north and south entrances with attic columns, arches and sagitta; and the portico of the east front, tell at once of Romanesque influence of the Florentine species. Then comes the entablature with its frieze and cornice, defining the limits of the Romanesque and introducing the Renaissance in a series of colonnades. Two stories are now merged into one architectural story, defined by the grand entablature, and, above this is the attic story, the whole being an adaptation of the facade of the Tuileries, the Louvre and the church of St. Paul and St. Louis at Paris. Resting on the first entablature and corresponding with the ashlar piers below are heavy pi'ili^tals, carrying Corinthian columns of polished granite, thus giving two projections or pavilions each side of the central colonnade on the east front, and one each side of the center of the north and south fronts. Between each set of pedestals is a balustrade, carried out in extenso, forming balconettes in the side pavilions, and balconies in the colonnades. The win- dows of this section are Palladian, a style carried into the attic story. This attic story, rising above the second grand entablature or cornice, shows the figures of commerce, cornucopia, art and science insulated or as caryatides, with other columns and pilasters. The rock for the 4 (50 INDUSTRIAL CHICACO: city section was brought from Ohio. The stone for the county building Was quarried in the valley of the Dosplaines, and is known as Lemont stone. Unfitted for the exterior of such a magnificent building, the jx>wers that were had it used in the heavy cornices, and hence the disintegration of later days. The vandals responsible for its introduction knew nothing of architecture; the architect must be held guiltless. Their work of life was to prey upon the tax-payor. What citizen does not remember the days when the cornice came down in sec- tions, destroying the steps below and threatening human life? Who fails to remember the paint job, where oceans of paint were paid for under the pretense of saving the Illinois rock from the ravages of the very climate where it was formed and grew ? Architecture and econ- omy were foreign to the thoughts of the vampires, and Cook county has to undo their work. In building anew let it be remembered that giving sunlight to a county building is as much the duty of the architect as giving beauty. This point remembered, the grand lower stories, the magnificent colonnade and the attic of the French Renaissance will oppose all criticism. The Palmer House, to which reference is made in the notice of Iraildings commenced before the (ire, was erected in 1871-4, at an expenditure of about 12,000,000. In 1884 the sub-story or upper attic was added, thus giving a building of 815 rooms, 281 feet west front on State street, 253 north front on Monroe street, with L, 131 feet in width, fronting on Wabash avenue. As a building it belongs to the French Renaissance style, and, with the exception of the city and county buildings, is the finest specimen of that style in the city. There are five full stories, with entresol, two attic stories and basement. The first cornice corresponds with the entablature of the porticoes, and projects over the windows of the entre- sol or intermediate story. Above this first cornice are two stories, forced into one by columns attached and otherwise; then appears the second cornice, above which are two stories treated similarly, and then the great entablature, above which are the two attic stories, with Wyat dormers in the first and Mansard dormers in the second. The windows, generally double, are heavily laMed. Balconettes are common. The center of the State street facade and the corner tower are the prime parts of the whole exterior. For almost twenty years they have claimed the worship of sight-seers and are still interesting. The annulated clustered shafts of the portico carry a heavy entablature and heavier statuary. Above the portico, large clustered fluted columns correspond with the attached columns referred to above, and sup- port the great cornice and projection of the one attic story. From this to the entablature is richly decorated work. The brackets, frieze, modillions and soffit, show such design and good workmanship that the plain pediment and its cornice escape criticism. The corner tower partakes of the character of the central facade, single annulated columns take the place of the clustered shafts of the portico, and support a balustrade. Above this tinted columns carry a balconette outside the windows of the fifth story, and a cornice above the base of the sixth story. Four Caryatic columns extend from this cornice to the balcony above the seventh story, and brackets support the cornice of the tower, attic and the gallery of the lantern or curb roof. In this roof are six round dormers, and above all is the crest or finial. The exterior ensemble is perfect. The interior work is admirable, though heavier than THE BUILDING INTERESTS. 61 modern buildings tolerate. In the wainscotting of the hall, from the State street portico to the rotunda, there are thirty- four distinct marbles, and in other respects the interior presents profuseness of material hidden away by French taste. The whole house tells of a dream of luxury before the tire, carried out in detail after the fire, and coming down the years to chal- lenge criticism. The Studebaker building of 1880 shows the French idea governing the style in another form, the Palmer House or Tremont House in a third form, the Major block, the Grand Pacific, the Sherman and other houses of that period in a fourth form, and so on to the end of adaptations. The American Express building was designed by Richardson to show the possibilities of ashlar treatment as well as those of a style with which he tried to inoculate American archi- tecture before he realized the adaptability of the Byzantine-Romanesque forms to this coun- ( ry. The low, dark basement with ceiling on a level with the sidewalk is its poorest char- acteristic. Giving a window space to the office entrance in the west pavilion and one to the main entrance in the eastern section of the recessed center, appears patched. The first and second stories are forced into one by a billet-molding taking the place of a light band at the third lioor level. The third story is distinct, and is marked for architectural effect by balconettes alx>ve on the level of fourth floor in the pavilions and a carved molding in the recessed center. A light molding on the level of the fifth floor gives the fifth story full play with its peculiar arcade of treble-shouldered windows. There are three ashlar stone windows in the attic, small in each of the pavilions and large in the center with stone bull-dog and vault in alto-relievo in the architrave or spandrel of the center and a monogram in that of each side dormer. The central and side windows of the first floor show a petty Norman capped col- umn stronger than the two side columns. A Palladian architrave and general vertical design, particularly on the pavilions, remove this building far away from the Romanesque toward the cold Guelph-Gothic and render it Richardsonian if anything. The Ayers' block is by far a better illustration of tho Guelph-Gothic than the Express Company's office. Neither of them should have a place in this city. In changing from the French to the Italian a great wrong was perpetrated here on the Romanesque. An ill-proportioned building, poorly designed, poorly constructed and poorly arranged, was brought into existence in 1871). Plans for this Florentine- Romanesque, Venetian-Gothic, iron-and-stone United States building on the " Bigelow block," were com- pleted in August. 1!S7'2; but the cornerstone was placed June 24, that year. A. B. Mullett, a native of the South of England, was the architect, and James C. Rankin, a native of Scot- laud, assistant supervising architect. They, with John McArthur, a native of Scotland, then postmaster here, were the leading characters in placing the corner stone, though Harvey D. Colvin. a native of New Jersey, then mayor of the city, and other citizens were per- mitted to participate. Tho site was purchased in February, 1872, for $1,667,112.50, and the work of constructing the grand old ruin commenced. Eight years and about $6,000,000 were given to cover over 342Jx210 feet of the square described above, with a three-story, attic- and- basement house. The first story is treated with segrnental arches and bold transoms. 02 INDUSTRIAL A court, 83x108 feet, receives a glass roof at the level of the second floor and is open above that level. This forms the great room of the postoffice. The windows of the second and third stories have semicircular heads, with pointed Italian arch moldings. The corners are heavily qnoined, but the walls are relieved by ornamental pilasters with richly carved cap- itals, and the sky line by Gothic chimneys and pavilion roofs. In 1870 the Portland block was designed for the purposes of a great office building. To the surprise of architects and builders, pressed brick was used for the front in preference to stone, and this being its first introduction to Chicago as a facade material for a massive building, the innovation was coldly received. Within four years this very material had won first place, and stone was exchided from the great majority of the modern office buildings. The Gothic of this period essayed to outrun local conception, and in more than one instance succeeded among the commercial as well as the ecclesiastical houses. The Lakeside building, long celebrated among the old office blocks of the city, appears to be designed after the style of the Richardsonian or Boston school, for the lancet of Richardson's conception of the Gothic has full play. The building is a five-story, attic-and-basement one, with the ver- tical piers and horizontal moldings or bands well balanced. The lancet and flat hood- molded, triple windows hold equal prominence. The central pavilion of the east facade is characterized by a Gothic portico, carried on detached pillars, standing out from the stone ashlar piers. Recessed in the gable is a Gothic window, behind a gallery or balcony, and on the exterior of the gable are acroteria carrying figures under canopies. The roof is a man- sard, with Gothic dormers, grouped under a triple pediment on the end pavilions, while the frontal of the central pavilion shows a trefoil arch projecting over a flat surface, which is pierced by a triple cathedral window, outside of which is a gallery or balustrade. Above the roof, and resting on it, is an ornamental balustrade, pierced for an oval window in the center above the end pavilions. The Lakeside is a fair example of the better class of old-time build- ings. It shows little appreciation of space in interior arrangement, for the large lobbies and wide stairways occupy much more room than would now be tolerated. With all it is a sturdy monument to 1872-3, and a popular office building. The cathedral on the northwest corner of State and Superior streets belongs to the period under notice. It is one of the finest specimens of Gothic architecture in the United States, and, in itself, points out the change of the basilica of Pagan Rome into the Christian temple. Of course, it is not massive like the great old cathedrals of the world. Built in 1874-5. while yet Chicago was struggling with ruin, it forms an extraordinary testimonial to the rapid work of the time. It does more than that. In every line it shows a strict adherence to thirteenth-century Gothic, and proves that were the finances of the time equal to the concep- tions of its projectors and architects, Chicago could now l>oast of one Gothic church as large anil ornamental as any of which Europe boasts. As it stands to-day it presents the principal characteristics of the English Gothic so minutely described in the introduction to this volume. The Church of the Messiah, on Michigan avenue and Twenty-third street, built in 1873, is simply modern English Gothic, with a peculiar tower at one corner. The method of build- THE BUILDING INTERESTS. 63 ing and the building material are fully exhibited within and without. Architecturally, it is irregular, wanting only in a little more ornament to bring it down to the level of modern Scotch building ideas, and wanting in hight to bring it up to the thirteenth-century Nor- man-Gothic of England. It compares with a true Gothic house in about the same measure that a Queen Anne frame cottage does with the Calumet club house. The Lakeside building, the Cathedral and the Church of the Messiah are described here as examples of Gothic Chicago; but there are hundreds of forms, brought down from the seventies, to which the name Gothic is applied. Of them a good deal is written in the following chapters. Looking back to 1880, when citizens read of the plans for the proposed high, pressed- brick buildings with pleasure, and later, regarded their erection with pride, what changes have there been ? A veritable revolution in the building arts has taken place, and men wonder why they so much admired the Montauk, the Calumet, the First National Bank, the C. B. & Q. office and other buildings of that class which rose above the ruins of the old city. A little later the Western Indiana Railroad building and the Donohue & Henneberry block lifted them- selves above the hovels in the vicinity of Dearborn and Polk streets, and again the buildings were admired. The Chicago Opera house, the open Board of Trade, the Adams Express, the Commercial Bank, the Pullman, the Chicago & Alton Railroad depot, and other piles of pressed brick loaned increased charms and symbolized the progress of the city. The Chicagoan was pleased with the massive, high buildings, and the visitor was lost in wonder. To this moving panorama there came an end, and that which created admiration and wonder yesterday was overshadowed by the buildings of to-day. The Rookery, the Tacoma are marvels in brick and terra cotta. The Auditorium, the Board of Trade and the Studebaker, in stone, are beau- tiful to-day. Chicago of to-morrow will only remember them as the lower steps in the ladder of American art in building. So much cannot be said for the progress of -ecclesiastical architecture as for that of the commercial and domestic. Looking north, south and west from the tower of the Auditorium, the beholder sees spread out before him a thousand pinnacles, spires and steepleless towers, telling him that Christianity has found an abiding place here. A closer examination shows many pretentious towers with temporary coverings, awaiting the time when religious enterprise will complete them with spire or dome or lantern or battle- ment; while a visit to the greater church buildings will reveal the truth that Chicago cannot boast of one ecclesiastical edifice which can compare with many in South America, Mexico, Canada, New Orleans or even New York City. Yet considering the youth of the city, its de- struction by fire in 1871, and its never-ending rush of trade and commerce, he finds religious edifices here, superior far to those which any other city in the world, of double her age, has raised, and in number equal to the older cities. In many of them, as in the old church of the Holy Family, brick was used in construction, wherein, notwithstanding the antipathy of architecture to this material, many excellent points were brought forth. In the old building named, the architect did wonders with brick, and from the water table to the finial of ti4 INDUSTRIAL CHICAGO: the great tower, gave a temple to the city in years long past which battles with the modern stone church buildings for precedence. Chicago has no Sainte Chapelle to dazzle the beholder with its glories; little of that magni- ficent gloom which breathes awe and veneration; less of poetry in stone and glass and statuary and mosaics to defy the painter, and scarcely an atom of that imagination which would lend words to describe a single window in that solitary wonder of thirteenth century architecture. The ambition is here, but the value of time and the extraordinary expense of labor do not give ambition room to play as in ancient days. Chicago has no great church when com- pared with European cities. Even New York's Cathedral, erected in 1879, equals in capacity two of the largest churches here. The seating capacity of some of the great cathedrals of Europe, Canada and Mexico confirms this fact. St. Peter's Church, Rome, 54,900; Milan Cathedral, 37,000; St. Paul's, Rome, 32,000; St. Paul's, London, 35,600; St. Patrick's, New York, 23,000; Cathedral, Mexico, 27,000; St. Petrionio, Bologna, 24,400; Florence Cathedral, 24,300; Antwerp Cathedral, 24,000; St. Sophia's, Constantinople, 23,000; St. John's, Lateran, 22,900; Notre Dame, Paris, 21,000; St. Peter's, Montreal, 15,000; Pisa Cathedral, 13,000; St. Stephen's, Vienna, 12,400; St. Dominic's, Bologna, 12,000; St. Peter's, Bologna, 11,400; Cathedral of Vienna, 11,000; St. Mark's, Venice, 7,000. The list might be extended to 200 houses of worship in Europe and a few on this conti- nent. However, many of the 400 churches of this city show an architectural freshness, a cozi- ness, a simplicity, an inviting aspect, a freedom from gloomy suggestions of the grave, a warmth and richness of sunshine and color, and an overpowering sense of Christian duty and the sublimity of heavenly recognition and forbearance not surpassed in the grander architect- ure of older cities. Almost a half century has passed away since the erection of a large public schoolhouse excited the pride of a few and the anger of the greater number of citizens. What appeared great in 1844 looked diminutive in 1855, and so on by decades the school buildings of ante helium days could not compare in extent with those of the post helium period. During the panicky years 1873-8 school building was carried on as a doucer to the trades. In 1879 the large brick house on Oakley avenue and Ohio street was erected, but not until 1882-3 did the extraordinary rage for massive schoolhouses take complete possession of district school authorities. Within the old limits there were no less than eleven new buildings begun in 1883, the seating capacity of which averaged 900 each. The Buttan furnace was introduced in four of the number and live windows were given to each room instead of four, as in the older buildings. In the best of the old buildings the glass-lighting surface of the windows, in the inside rooms, was only 10.71 per cent of the floor space; in the new buildings the additional window increased the lighting surface to 13.39 per cent of the floor space. The South Division High School building, erected in 1883-4. may be said to be the largest pressed - brick structure erected up to that time south of Van Buren street, not excluding the Normal School building proper. Talbort, who gave evidence of the Gothic Renaissance among the English-speaking THE BUILDING ISTKUKHTS. 65 peoples, and Eastlake, who gave voice to thoughts of the Italians and French, expressed by Pugin or Kuskin, were copied here extensively, but poorly. The Pseudo-Japanese, neo- Jacobean, and that incongruous hydra-headed Queen Anne hugged one another in a wild architectural embrace. The fantastic forms, now so common, were tolerated in the hurry of Chicago life. Gables, pediments, turrets and even towers were insisted upon, and attempts made to build castles of boards and stained shingles. That large class of Chicago citizens who own their homes and cannot indulge in strange fancies, built better and stronger without departing in a marked degree from the more sensible forms of earlier years, except in thi> interior arrangement, which was improved in accordance with sanitary principles. The origin of the title, Queen Anne style, dates back to 1808, when some changes in an old house of the Queen Anne period, in Surrey, England, known as Cranbrook Hall, were made by Norman Shaw, the architect. He found a square, box- like house, with two win- dows each side of a central doorway on the ground floor, and five windows on the second floor. He added a bay window on each side of the hall door, evidently between the windows already there, and constructed a lantern, so that when Architect Butterfield visited the place later he expressed his pleasure at the easy appearance of the house. Relating his experi- ence to another architect, W. 11. Nestield, the latter joked Norman Shaw on his Queen Anne style, and from this old house in Surrey, as well as from the joke perpetrated by Nesfield at the expense of Shaw, the phrase came into use. In 1871 the Red House, Bayswater Hill, London, was erected by Stevenson, a Scotch architect, on this style, and henceforward the name attached to many odd pieces of architecture. A recent writer offers a few reflections on the caprices developed by the mania for Queen Anne houses. He says: " The thing is all wrong, and on wrong principles. The Queen Anne architects indulged in no such freaks as we see now exhibited, and simply because such was entirely opposed to the nature and char- acter of brick. Brick is a simple, honest, plain material, with a good color and hard, smooth surface that is all. Whatever style can display these qualities best is the Queen Anne style, and no other. The result of the modern caprices will be seen ten or twenty years hence, when certainly decay will have disintegrated or destroyed the whole, or when the owner's heart will have sickened of the frequent repairs and restorations. The old Queen Anne houses produced effect by the beautiful color and surface, the bricks being laid almost touching, the thinnest wash of mortar between. The result is that no rain or damp ever gets between. The modern system of building is opposed to this, thick layers of mortar being in- terposed, with the certain result that all the elaborate gables, etc., soon begin to separate." The style was introduced to Chicago in 1880 or 1882, at the very moment that citizens of New York cast it out, and by some mysterious, if not machinvelian agency, it dominated the building arts for a few years until architects fled from its influence to embrace truer forms. The gabled, two-story rectangular box-house was a Grecian palace compared with the new weird form to which the name "Queen Anne style" was attached. The word "style" was out- raged in the connection, for there were as little use and beauty in this by-play of 1880-85 as there were in the little pug dog and the dude which appeared alxmt the same time. 66 INDUSTRIAL CHICAGO: Another class of house-owners built small and humbly, economizing space, regardless of sanitary science. The cottage homes of the bread-winners varied in form and color. They point out. the cosmopolitan character of the people. The German, Swede or Hollander has built himself a cottage-dream of the Fatherlands, sometimes erecting a little barn for tempo- rary habitation, then adding a second floor, later moving to the covered basement of his proposed residence, and building gradually above until he has a two or three-story house. Wherever land is cheap this process of Aryan construction is as visible as its humble oddities are. Notwithstanding the process of consolidation carried on here, those people adhere to their customs, manners and languages, and as they are generally of the peasant or laboring classes, inhabit or build humble homes. They are modern immigrants, unlike the lazy gentlemen of " old Virginny," or the French or Spanish semi-military colonists. They come to hunt for work and bread rather than for pleasure and excitement, and as labor conquers all things, they forge ahead like the plodding, hard-working Puritans of old, and out-distance the sons of those who are too proud to labor or too lazy to think. The economist may praise this penchant, but the artist weeps over it. Let him halt to think ! The plodder of to-day will be the millionaire of to-morrow. The sons of the toilers who landed on Plymouth Rock '271 years ago, builded better than the sons of the Cavaliers, who brought titles to this virgin land. Their beginnings are poor, indeed. In occupations, dress, manners, food, shelter and even aspirations, they want but little; yet industry is driving them forward at a rapid pace, and they will be the art connoisseurs of to-morrow. Unfortunately for Chicago the dwelling builders of 1872-88 allowed all kinds of liberties to be taken with art, and, as a result, thousands of well-dressed residences are as much out of fashion as a silk hat of 1840. This fact points out architecture akin to dress; but Sullivan, Jenney, et al. cannot take a house and modernize it as Dunlap can take last fall's hat and batter it into the shape in vogue this fall. The expense is too great, and hence the dwelling stands, a reminder of the vagaries of the period and a teacher. It tells that variation from a definite school of architecture is a dangerous proceeding. Dwellings erected on architectural principles never go out of fashion, and to-day, take the eye of the traveler, who, as he passes by, greets them with peculiar glee and is at home among them. In other words there is noth- ing funny about a building when its style is founded on architecture, and even its roost of eminence, or its old-time cupola, may escape criticism. Thus the rough-aud-tumble Colonial style is venerated, while that miserable medley of all the bad points in building, called the "Queen Anne," is decried. The line between legitimate and illegitimate architecture is clearly shown in the difference between "Colonial" and "Queen Anne" the first is the excess of simplicity and solidity the second the excess of tinsel and bric-a-brac, useful only in pros- pectus, for it promises new work to the mechanic in a short time. The four years ending in May, 1888, contributed several important buildings. The pop- ulation in June, 1884, when this remarkable building era was ushered in, was ($29,5)85 or 12(>.SOO more than in June, 1880. Enterprising men looked forward six years to a city of 1,000,000 the limit of their estimates, and began providing business houses, which would THE BUILDING ISTKllKSTH. 67 not only meet the true demand; but also go far to provide for their estimate of 1,000,000. The members of the Chicago Board of Trade were the first prophets, and on April 28, 1885, a concourse of 12,000 people witnessed the dedication of their temple a modern Italian-Gothic pile of Fox Island granite, 175x225 feet, with tower, 303 feet in height. Within the four years were completed the Couuselman, ten-story building, 46x60 feet; the Gaff, ten-story building, the Mailer building, the Open Board building, the nine-story Insurance Exchange, the Home Insurance building (since increased in hight), McCoy's Hotel, the Exchange building, the Rialto, the Brother Jonathan, the Parker, the Kent, the Chicago Opera house, the Pullman building, the C. B. & Q. R. B. Company's office, the Donohue & Heimeberry building, the Studebaker building, the Commerce building, the Commercial Bank building, the Hansen building, the Rookery and other monuments to imperial growth. A beginning was made, and only a beginning. By gradual stages architecture here became imposing and refined, and the question of architectural design and ornamentation entered largely into all matters relating to the building arts. An effort was made by the leading architects to accomplish much of all that the new system of " Chicago Construction'' was capable of, and it only remained for them to decide whether the Romanesque style, as exemplified in the Church of Ste. Croix, at Bordeaux, or the Richardsonian style, in Trinity church, Boston, should be accepted as a definite basis. The fact that almost the whole sys- tem of Richardson and Hunt had been built up in the Ecole des Beaux Arts on. Italian and Spanish inspiration led to a decision and the Romanesque became the favored style. The late John W. Root, looking at it in its American dress, dwelt on its tendency toward catholic- ity, g rav it v j grace, unity and splendor, and as a result, he made it the predominating char- acteristic of the great buildings he designed prior to 1888, and of his greater subsequent designs, such as the Woman's Temple and the Masonic Temple. In January, 1891, Henry Van Brunt contributed to the columns of the Inland Architect, ii paper on the works of one firm of architects in Chicago. He wrote: "The important build- ings executed by Burnham & Root, from 1880 to 1891, from the Calumet Club to the Temple of the Woman's Christian Union at Chicago, show a succession of experiments in form, mainly resting on a consistent Romanesque basis. It is easy to see which of these experi- ments were thrown aside in subsequent buildings as contributing no desirable element to the progressive power of the style, and which of them were retained and amalgamated, so that their accretions were gradually leading the style out of its condition of mere archaeological correctness into one elastic to all the new and strange conditions of structure, material and occupation. By reason of the very intelligent and spirited manner in which Root improved his vast opportunities, by reason of the serious way in which he attacked these more nioiiu mental problems, thoroughly realizing his responsibilities to art, it was his fortune to contrib- ute to the development of this great Americo-Romanesque experiment nearly, or quite as much, as Richardson did. The latter introduced the revival, and, through the unexampled vigor of his personality, had already led it on to an interesting point of development, when his career WHS interrupted by death; the former carried it still further toward the point of its 68 INDUSTRIAL CHICAGO: establishment as the characteristic architectural expression of American civilization. The latter conferred upon it power, the former, variety; and both, with their trained coadjutors in the profession, have already proved that the experiment is not merely a revival, barren of results, like the neo-Gothic, the Free Classic or Queen Anne, and other numerous English trials, but the introduction and probable acclimatization of a basis of design, established upon Romanesque round-arched elements, which elements had never been carried to perfection here, and were, consequently, capable of progression. It seems to have been nearly proved that, in the hands of such men as Root, upon this basis can be built an elastic system, capable of expressing any degree of strength or lightness, simplicity or complexity, force or refine- ment. It has also been proved, largely by his efforts, that the maintenance of the essential principles of the style does not depend upon the preservation of its peculiar original archaic character in structure or ornament; but that it can amalgamate elements from Classic, Gothic, Saracenic, or even Indian sources without being diverted .from its strong natural growth, and that it is capable of a variety of expression and application which makes it adjustable to the most exacting requirements of that civilization which it is our duty to express." Adler & Sullivan went farther, giving the Romanesque, in congenial stone, its most massive American forms, as in the Auditorium. Holabird & Roche dressed their great Tacoma building in the .Romanesque and, on every side, in many of the great office buildings, the apartment houses and the modern residences, its round arch, carried on columns or on piers of heavy masonry, may be seen. The Field building on Adams street, is Romanesque after the Florentine school. The batter walls of the substructure, the plain rocked-faced piers above, carrying heavy arches in the fourth and sixth stories, and the rectangular windows in sets of four, separated by smaller piers, give to this structure an appearance of strength and endurance akin to that displayed in the Auditorium, but more decisive. Without ornament save the boultel running up each of the great corner piers, it shows the possibilities of the style, when prostituted to commercial uses. It is immense, like the Auditorium, but is wanting in those Doric columns and molded arches, which lend relief to the massiveness of that structure. The owner desired a plain and substantial building, and the architect yielded to his wish in the matter, giving a Riccardi or a Strozzi palace. The Walker building, west of the Field, is Romanesque of Romanesque. There is no mistaking the great arches, springing from the capped piers. Above the lirst story it resembles the middle section of the Auditorium (i. e. from the fourth to seventh story, inclu- sive), but it is even more decidedly Romanesque. Other extremes of this style might be noticed here, but as they are considered in the history of buildings, the two examples on Adams street will suffice. The Romanesque is now sharing its enviable position in public favor with the Renais- sance. The former will always take first place in the great houses of the central business district, and extend more or less to modern churches: but it will be the Romanesque of the seventeenth century in France, or the American Renaissance. The forces of this new Reuais- LIBRARY OF THE UNIVERSITY OF ILLINOIS THE BUILDING / .\Th'I!KSTS. 9 sance are vitalizing iudeed; but beyond their application to some piece of church architect- ure or large commercial building, their influence did not extend to Chicago for at least a decade after the tire. Then it found itself opposed by a hundred varied forms; but its victory was decisive where wealth and sestheticism controlled. For great apartment houses and educational buildings, the Italian Gothic, French Renaissance or Romanesque-Byzan- tine now rules. The influence of each is salutary, for it gives a chance to the architect and builder to make a pretentious showing in the shortest time and for the least money. It is a definite school which will never become old-fashioned, one that will permit license in a meas- ure and hide the sins of constructors, for it takes labor and design to destroy it. True, Chicago has sometimes succeeded in hiding art amid a mass of detail, but the tendency of the apartment-house architects is to treat it fairly within the means placed at their disposal by owners. The requirements of the interior, its finish and equipment, are the prime objects of the American owner, and they must not be sacrificed, says the utilitarian, to the beauty of the exterior. The age of massive buildings is not confined to the Romanesque. It runs into designs where light and space are preferred to any definite style, and hence are found houses designed by Mr. Jennoy, varying in outline from his ideas of 1884, as expressed in the Home Insurance block. The Leiter building in iron and granite, the Manhattan in iron and burnt clay and the Fair, in iron and terra cotta are extreme examples of the transition. The Leiter and Fair buildings present fronts of glass and pilasters with ornamentation subordinated to use, and an intention manifested to give airy, lightsome show rooms at the expense of such ornamental detail as he formerly used in the Portland block, Grace church, and even the Home Insurance building. In the case of the Manhattan, 198 feet in hight, he provides against opposing buildings on the narrow streets by the introduction of great bays, which serve to focus the light, a feature unnecessary in his State street designs, but one which necessity alone urged him to adopt in preference to the corner tower of the Union League Club, one of the earliest of his modern works. Mr. Van Osdel, in the Brother Jonathan and Hotel Grace, did not make such a revolutionary departure from his earlier work, nor did Boyington in his Board of Trade and Royal Insur- ance buildings, cast away in foto the ideas which gave to Chicago a few of the finer buildings erected after the fire. Treat & Foltz, Beinau, Burling e prevented from erecting a safe, sanitary and respectable building for legitimate use and of any hight, on ground which he owns, is out of the question. Among the friends of the " Elevator Building," and they are numerous, it is credited with everything that is good and useful. A writer in one of the city newspapers photographs such friends in words, stating that the " advocates of tall buildings claim that instead of casting somber shadows upon the streets those "sky-scrapers" actually serve as lighthouses, so to speak, the many windows seizing the sunbeams and reflecting them upon the pavement. Agitation of this matter has resulted in making converts to the theory. One enthusiast declares that the higher houses are built, provided they are studded with windows after the prevailing mode, the lighter will the streets be when the sun is shining. Those champions of tower edifices do not stop with this com- mendation, but insist that they tend to make the air warmer in winter by imposing barriers to the chilling winds, and cooler in summer by causing gentle currents to pass between their ?2 INDUSTRIAL CHICAGO: fronts. These enthusiasts smile pityingly at those who suggest that if the sun's light is reflected by the windows some of its heat might also follow and alight about the persons of pedestrians. Yet another blessing pronounced upon these structures is that, although their occupants are so near to the madding crowd, to the whirr of wheels, the piercing cries of the newsboys and the sharp clang of the grip-car bell, yet, in fact, those above the fifth floor hear not these sonorous sounds. Peace, they say, is within those walls and quiet reigns in their apartments. And these same advocates laugh at the fears of nervous people as to the safety of these edifices. ' Why,' said a tenant who affects much knowledge of architecture and engineering, ' a cyclone would have about as much effect upon one of these steel structures as it would upon an iron mountain. At the very worst, it could only tear out a bit of terra cotta or brick. The columns, brace and beams are as enduring as the everlasting hills, and abso- lutely proof against attacks of fire, water and wind. They are provided with every comfort, are blessed with copious light, and the ventilation can not be improved upon.' " Greater care is bestowed upon foundations and construction than at any period since the great fire. Expensive experience has brought about this result, The questions which Horace addressed to the moralists of his time are equally applicable to architects of the times: Quid Kit pulchrum, quid turpe, quid utile, quid non f What is appropriate, what is low, what is useful, and what is not useful, are questions affecting the architect of the present, and entering into all details of the builder's art; for any part which is allowed to exceed its due bounds is in a state of instability an eyesore until it is remodeled or removed. The want of assiduity in architects, the ignorance of details and the willful oversight of defects in the work of artisans have, in our own times, led to heavy financial losses and sore disappointments. There is no cause to-day why a dome should fall or a building settle, for the science of build- ing has been carried down the centuries to be studied by architects. A may build a com- mercial palace on lots 1, 2 and 3, but neighbor B should not be permitted to weigh down its south wall by a heavier building on lots 4, 5 and 0, for then A's architect, though relieved from the odium by law, is not exempt from the fury of gossip and hence is injured by B's architect, whose thoughts and plans did not turn to a contemplation of the effect his heavy structure would have on adjoining property. The years of 1881-91 will be memorable for ever in the life of this city. The high Mon- tiiuk building was completed, and the once pretentious stone building, known successively rn was built in 1803-4 under direction of Capt. John Whistler, the first com- mandant, an Irish soldier, civil engineer and architect. He selected the point of land at the big bend of the river and surveying a quadrangular piece of ground, had a blockhouse erected on the northwest corner and a second one on the southeast corner. Quarters for the troops, a tunnel or secret passage connecting with the river and a strongly-built palisade- were also provided. Just west of the fort, the two- story log house, known as "The Agency" was built, while south of it was constructed the " U. S. Factory." All the buildings were whitewashed and presented a scene of cleanliness appreciated by settlers and Indians. Charles Lee located at " Hardscrabble," now Bridgeport, in 18034 built a house on the west side of the portage or South Branch, and opened his farm in 1804. Here in later years was "the Crafts store." Lee also built a cabin on the lake shore, near Madison street, which was purchased by J. B. Beaubien in 1812, in 1817 converted into a stable or barn and in 1832 used as fuel for the vessel "Sheldon Thompson." The destruction of old Ft. Dearlwrn was effected Augiist 10, 1812, by the Indians after its evacuation. The massacre took place about one mile and a half south of the south gate of the fort on August 10, that year. The savages did not burn the buildings outside the fort, so that when Beaubien arrived in 1812, he selected the Lee cabin for his home; in 1814, Alex. Robinson found an untenanted cabin; the Indian agent, Charles Jouett, came in 181"), and also found a sheltering cabin, while the trader Du Pin, who married the widow of Charles Lee, took possession of the Kinzie cabin. In 1815 Contractor Dean built a cabin at the northeast corner of what is now known as THE BUILDING INTERESTS. 77 Michigan avenue and South Water street, This Dean was the first tradesman who settled here; being a carpenter and builder he had much to do in the building of the second fort. In July, 1816, two companies of United States troops arrived to rebuild the fort; the Kin- zies returned shortly after to reoccupy their old home; John Crafts came as the agent of Con- ant & Mack, of Detroit, and purchased the first cabin of Charles Lee, on the South Branch, where Liberty White and another man were killed in 1812; and Daniel Bourassa located his trading house east of the south river, between Lake and Water streets, in 1816 or 1817. The second Ft. Dearborn was constructed in 1816, on the site of the old fort. Capt. Bradley, who arrived that year with two companies of infantry, must be considered the archi- tect of that collection of buildings. He retained the lines of the old quadrangle, and erected a strong palisade on such lines. Within was the blockhouse, occupying the southwest cor- ner; the officers quarters, a two-story, rectangular building with two chimneys, in the center of the west line, the barracks, a two-story house, with spacious verandahs, on the east line; a house on the south line, with outside stairway, a large stable, a hall and a few smaller buildings. Two lunettes, in addition to the blockhouse, gave to the place that military air, which distinguished it from a southern plantation home. In 1880 the daiighter of the old lighthouse superintendent, Meacham, writing to K. J. Bennett, gives the following descrip- tion of the United States buildings here: "The lighthouse was a stone structure, kept white by lime wash. The dwelling house stood perhaps seventy-five feet east and north of the lighthouse. The old fort was east and just across a rather narrow street (Eiver street) or road from it. It was west of Michigan avenue; at that time, the avenue did not come to the river, but came to an end just south of the fort. The fort stood on a sand mound, some twenty feet above the river, and occupied a tract bounded by a line running along about River street to near the center of the river as it now is, and east, say 150 feet east of Michigan avenue, to the lake beach, thence south, say a liko distance south of the present intersection of Michigan avenue and River street, thence \\vst to the place of beginning. The inclosure was a stockade, formed by setting logs upright and close together, the lower end bedded in the earth and the upper sharpened like pickets or pikes. Within this inclosure and near the stockade were arrayed the barracks and the officers' quarters: they were built of hewn logs. Within these and to the south side of the inclosure, was the parade ground. In 1857 A. J. Cross, now connected with the Chicago, Burlington & Quincy Railroad, but then in the employ of the city, tore down the fort and lighthouse and leveled the mound by carting the sand to fill Randolph street to grade. One of the buildings was moved, but still kept within the site of the fort, to alxnit the center of the Hoyt store. That building stood till the tire of 1871 destroyed it, and thus vanished the last of Ft. Dear- Ixmi. A few weeks before that fire I visited that building with my father, and he, laying his hands on one of its corners, said, 'This is one of the buildings of the old fort as I saw it in 1830.'" On a portion of the site of old Ft. Dearlwn stands to-day the large brick building of IS INDUSTRIAL CHICAGO: W. M. Hoyt & Co. Opposite Bush street bridge a white marble tablet is attached to this structure, bearing the following inscription: This building occupies the site of old Fort Dearborn, which extended a little across Michigan avenue and somewhat into the river as it now is. The Fort was built in 1803-4, forming our outmost defense. By order of Gen. Hull it was evacuated Aiig. 15, 1812, after its stores and provisions had been distrib- uted among the Indians. Very soon after, the Indians attacked and massacred about fifty of the troops and a number of citizens, including women and children, and next day burned the fort. In 1816 it was rebuilt, but after the Black Hawk War, it went into gradual disuse, and in May, 1837, was abandoned by the army, but was occupied by various government officers till 1857, when it was torn down, excepting a single building, which stood upon the site until the great fire of Oct. 9, 1871. At the suggestion of the Chicago Historical Society this tablet was erected, November, 1880, by W. M. Hoyt. The stockade of 1816 was built on a larger and more substantial scale than that of 1804. The palisades were heavier and longer. Inside the western line of palisades were the build- ings devoted to officers' quarters; inside the eastern line, the barracks; inside the north line, near the gateway, the brick structure used as a magazine; inside the south line, east of the gate, was the guard-room and west of the gate the storehouse. The blockhouse occupied the southwest corner until April, 1857, when it was removed. West of the fort were the stables and cellars. In 1856 the quarters of officers and soldiers were torn down. Jonas Clybourne, his wife, two sons and John K. Clark, arrived in 1823 and going up the North Branch to the grotmds now occupied by the Chicago Boiling Mills, erected two cabins there and established a butchering house. In 1826 there were fourteen cabins includ- ing Dr. Wolcott's "cobweb castle," on the north bank of the river, opposite the fort or on the southwest corner of State and North Water streets, and the McKee & Portier blacksmith shop in the immediate vicinity. The cabins of John Crafts, J. B. Beaubien, Antoine Ouilmette, Alex. Wolcott, Alex. Robinson, Peter Piche, Claude and Joseph Lafrainboise, John Kinzie, Louis Coutraux, Jeremy Clermont, D. McKee, Jonas Clybourne, John K. Clark and W. H. Wallace constituted the civil village of Chicago in 1826. At Heacock's Point, five miles up the South Branch or jxjrtage, a trader named Heacock opened a store in 1831. Two miles nearer the present courthouse, Bernard H. LaugMon carried on a store early in the thirties. In 1832 this trader had his cabin at Biverside, south- west of the original town; James Kinzie had a cabin on Wolf's Point; Elijah Wentworth, a tavern, west of the river, near the forks; Bobert A. Kinzie, a general store near Went/worth's tavern; John Miller, a log tavern at Wolf Point; Samuel Miller, a log tavern on the west THE BUILDING INTERESTS. 79 bank of the North Branch, just above the forks; George W. Dole, a store building on the southeast corner of Water and Dearborn, and P. F. W. Peck, one on the southeast corner of Water and La Salle streets. In 1831 Mark Beaubien built the two-story and attic Saugauash (English) Hotel, on the south side of Lake street and the corner of Market street. He always claimed that this was the first frame house in Chicago, and it was known as such when destroyed by tire in 1851. The frame was an addition to the old log house. Its Venetian entrance, low-gabled roof, end chimneys and high windows gave to it a colonial style. The first public structure erected here was the " estray pen," by Samuel Miller, in 1832, on the southwest corner of the square. The actual contract price was $20; but as Miller, then a county commissioner, did not complete it according to " plans and specifica- tions," he received only $12. Whether Miller or his associate commissioners, Kercheval and Walker, designed this "pen" is not recorded; but the fact of the dissatisfaction of the people with the structure is established. Miller did not consider a roof necessary for the "pen;" and his ideas of an enclosure were so crude that the sum of $12 was considered an exorbitant price because objections were made at the time to the payment of that amount. The second public structure was the blockhouse erected in 1832 on the southeast corner of La Salle and Randolph streets, for the purpose of a prison. Immigrants flocked to the Chicago settlement in numbers, and the villagers prepared to entertain the more refractory spirits in that primitive bastile. The building of unhewn logs, was perfectly square, and about twenty logs high; while adjoining it was a log cabin, with its front gable extending beyond the high picket fence which enclosed the jail. To-day, in the whole extent of the United States, there can not be found such an exceedingly modest public building as that old jail was. True its surroundings were not such as to create jealousy; for there was no extra- ordinary ambition in the village of sixty years ago. When Mrs. Ann M. Barnes arrived here, early in the thirties, elder bushes grew along the line of the present Lake street, and the river water was clear and deep and "good enough for drinking purposes." Now the merchant princes of those days came and seeking locations near the river, built their storerooms on the line of Water street. Like Simonides of Anti- och, they looked upon the stream and pictured their ships coming in with the luxuries of the East and going out with the product of the prairies. Their ambition was laudable. While gathering the shekels of trade they followed the example of Astor I., of New York, overlooked the disadvantages of the marsh, contented themselves with cabins and gave all their jwwers of mind and body to money-making. It was the cabin age of Chicago; wonderful only in the fact that the greater number of pioneers survived it to behold the dawn of a higher civiliza- tion and a few of them to behold its noon. The second building epoch opened in 1831. In July of that year Gen. Scott's command arrived at Chicago. The Asiatic cholera arriving with this command, drove the villagers to adopt sanitary measures hitherto undreamed of, and hurried the siirviving troops away. The campaign against the Indians having ended, the several companies returned to the East, and. 80 INDUSTRIAL CHICAGO: reporting all they had seen, caused that exodus which assumed large proportions in the fall of 1832. The soldiers and the newspapers used the name Chicago so extensively that the emigrants soon knew more of that name than any other, and set out from their eastern homes with the one object of reaching Chicago first and then determining the location of their future dwellings. The immigrants of that period beheld the- first frame building on the southeast corner of Water and Dearborn streets, bought bread in Mark Beaubien's frame bakehouse or supplies at Bob. Kinzie's frame trading-store. They also saw Peck's frame building receiv- ing the finishing touches, and learned that, only a few months before, one of the ancient log cabins had been torn down to be used as fuel for the steamer, "Sheldon Thompson." Fortu- nate immigrants! They came at the close of the log cabin age, and were here at the begin- ning of the old frame and clapboard age of the village. So soon as the rays of the spring sun of 1833 melted the ice and opened the waters for navigation, the exodus was resumed in the East. The great majority of the travelers brought with them their household goods, a little money and a great quantity of determination to carve out a home, as well as physical strength to maintain it. The new comers were not the indi- gent of the eastern land. Each one had learned the lessons of industry and self-support there, so that the New West profited much from their coming. The first attempt at frame house construction was made by Mark Beaubien in 1831. It was a large addition to his log house, so considerable indeed that it was recognizable as a frame building older than the others by visitors of 1833. Lampman, the brickmaker who came in 1833, stated that Dole's store building of 1832, on the southeast corner of Water and Dearborn streets, was the first frame structure (moved southward in April, 1855); that Rob- ert Kinzie's, on the east side of the South Branch, was the second frame, and that Mark Beau- bien's frame bakehouse, east of Blodgett's brickyard, built in 1833, was the third. Lamp- man, who could tell every brick manufactured in Blodgett's yard, does not seem to be a good authority on frame work; for Beaubien's attempt must be considered the first. Charles But- ler, who arrived August 2, 1833, remembers the new frame hostelry, or the Green Tree Tav- ern, of James Kinzie near the river south of West Randolph street, and the Blockhouse on the North side (the only house then there, as the old Kinzie house was partially burned before his arrival, and the logs which were not destroyed in the fire were carried away to be used as firewood). The Temple building, erected in 1833 by Dr. Temple for miscellaneous purposes, is described in another page. It was the most important of the first beam-and-brace houses and the last of its race in Chicago. The first piece of ecclesiastical architecture, within the historic period of the city, was designed and built by Augustine D. Taylor in June and August, 1833, at a cost of $400. This was a frame gabled structure, with five four-pane windows and a door on each side, solid gables and a baptistery. Before the close of the year a cu{K>la was erected to receive the lirs: boll brought to the town. This church fronted north on Lake street, where is now the house of Cameron, Amberg & Co. Later the building was moved to the southwest corner of Mad- ison street and Michigan avenue, thence west to the southwest corner of Wabash avenue and THE BUILDING IXTKUKXTS. 81 Madison street, where it stood until moved a point west in 1843 to make way for the preten- tious cathedral building. The First Presbyterian church on lot 1, block 24, Original Town the southwest corner of Clark and Lake streets was completed January 4, 1834, by carpenter and builder Meeker at a cost of $600. This was. a very primitive old style frame house 30x40 feet. About 1838 the building was moved south of Washington street on Clark street and doubled in length. Two years later the width was extended to sixty feet, and the house was used for worship until 1849, when a large brick church was erected. The Green Tree Tavern, which stood on the northeast corner of Lake and Canal streets, was erected in 1833. It was a very low, two-story frame structure, yet destined to outlive all its contemporaries. In 1880 it was moved to Nos. 33, 35 and 37 Milwaukee avenue, where it now stands, a mute historian of the past and present. Fourteen windows on each side, with four windows and a door in each gable, lighted this quaint structure, while the annex showed one large window and a dormer. The cornice of the front gable and the swing- ing sign and post at the street corners were the only evidences of taste. The Western Hotel, built in 1835, by W. H. Stow, on the southeast corner of Canal and Randolph stroets, almost came down to the present time. A few years ago it occupied its old site, and appeared in much better condition than its senior, the Green Tree. On the northwest corner of Randolph and Canal streets is another old frame building, resembling in size and style the Frink & Walker stage office, with rectangular windows placed horizontally below the cornice. The Exchange Coffee House, which occupied the northwest corner of Fifth avenue and Lake street, was erected in 1834, by Mark Beaubien, who employed the balloon frame sys- tem. The Venetian doorway, which he introduced with so much effect in the older Sauganash, reappeared in the new building. The Rialto, so named by Dr. Egaii, was erected late in the winter of 1833-4, on the site of Nos. 8 and 10 Dearborn street, south of Water street. It was " put up " in a hurry, so that its restoration in 1838 was a necessity. With' its restoration, the name "Chicago Theatre" was given, and the rickety building of 1833, daubed with most glaring colors, was considered one of the tine structures of the town. Dr. W. B. Egan purchased the corner occupied iu later years by the old Tremont House, from J. B. Beaubien, after the Black Hivwk war, and built thereon five houses. The villagers named this block of pretentious buildings " Egan's Row." In 1833 one Luther Nichols refused to give General Beaubien forty cords of wood for the ground; but Dr. Egan was more liberal and profited by this liberality, for the two-story frame houses which he erected proved a pay- ing investment. They were suggested by expediency, as their balloon frames and architect- ural outline told at a glance. The first courthouse was to Chicago of its day what the Parthenon was to Athens or the Pantheon to Rome. Indeed the builders realized that it would be so and, casting away the innovations of the Italians and French, adopted a Doric plan and produced a Grecian build 82 INDUSTRIAL CHICAGO : ing, while confining its architectural lines to the colonnade. Four fluted columns, with Doric capitals supported the pediment. Eight large windows of eighteen panes each lighted the courtroom, and a flight of broad steps led to the colonnade, on which opened a rectangular hole in the brick wall, called a door. The basement was lighted by seven square windows, and was entered from the north side. Two chimneys, one on each side, raised above the heavy cornice, disfigured the classic structure a little, but, all in all, it was a creditable house, years in advance of the local time. The " Saloon building," on the southeast corner of Lake and Clark streets, was erected in 1836-7. It was undoubtedly the finest building in the whole western country of that day, and the principal object of the sightseer. In 1842 it was enlarged to a three-story, square, balloon frame, with semi-Mansard roof, and held its site for years, a connecting link between two building epochs in the city's history. The front on Lake street showed four sections, each containing a store front for the ground floor, three windows for the second, and three for the third floor. Beyond the widening of the wall between each section, to double the width of the three piers between the three windows and the corners, there was nothing in the exterior to point out the aim of the owners, J. B. F. Russell and G. W. Doan, to divide the building into four distinct parts should such a course be profitable. Near the south corner of the building, fronting on Clark street, a square bay window was developed before 1843, and in this house the chimney was given a hight above the roof and a superior finish unknown in contemporary buildings. Within, of course, it was a fire trap, which nothing less than the caution of the time saved from destruction. The brick buildings adjoining on Lake street also afforded a certain protection which permitted the pioneer Saloon block to come down uninjured by fire to days of greater building ideals. The first Methodist Episcopal building at Chicago was erected in July, 1834, by the builders, Henry Whitehead and John Stewart, on the corner of North Clark and Water streets, at a cost of about $000. It was a balloon frame 26x38 feet, standing high on posts. The contractors of that period used posts twelve feet long, four feet of which they placed beneath the surface, leaving the remaining eight feet to meet emergencies, such as sinking under the weight. The primitive character of that building was quite in keeping with that of the people who worshiped therein for the four succeeding years. The house was placed on scows in July, 1838, carried across the river and moved to the corner of Clark and Washington streets. St. James English Protestant Episcopal or the Kinzie church society, built their first house of worship on the southwest corner of Cass and Illinois streets, with front on Cass street, in 1837; where John H. Kinzie donated two lots. Brick was used in its construction and the Elizabethan style observed. It was 44x64 feet, with entrance in the square tower in front. The two corner buttresses, capped with nide pinnacles to correspond with the four points of the superstructure of the tower, the four buttresses in front, the pointed windows and transoms, the two storm doors at the side entrances, the pulpit, the bell, the organ and the letters I. H. S., painted over the pulpit, introduced an uncommon and hitherto unknown TlIK BL'LU>1.\<; I. \TKltKsrs. 83 style of house here. Of the total cost, $15,500, over one-third was realized from church fairs. The great tiro .swept it away in 1871. In 1836 W. H. Brown had constructed a dwelling on the northwest corner of Illinois and Pine streets, which cost 10,000. It was the wonder of the time and the peer of the Ogden dwelling begun a year later. Though a mixture of the Venetian, Colonial and Mexican styles of architecture it presented better points than a $30,000 dwelling he had erected on Michigan avenue, twenty-one years after. In 1837, when J. M. Van Osdel came, there were not more than 1,000 buildings of all kinds in Chicago; about twenty of these were brick structures, the great majority being of woodwork, nearly half the whole number being one-story cottages, and none more than two stories high. The roofs without exception, were shingled. Among the very few buildings that made any pretensions to architectural adornment were the dwelling houses of W. H. Brown and John H. Kinzie, in the north division and of Dr. John T. Temple and George W. Snow in the south division. The latter was the inventor of the balloon frame method of con- structing wooden buildings, which, in this city, superseded completely the old style of fram- ing with posts, girts, beams and braces. The great rapidity in construction, and large saving of cost, compared with the old-fashioned frame, brought the balloon frame into general use. As an evidence of its power to resist lateral force, it may be stated that the Bull's Head Hotel, built in 1848 by Mathew Laflin, on the site of the present Washingtonian Home (Ogden ave- nue and Madison street), was a three-story balloon frame of large dimensions. Standing upon the open prairie with hardly a building within a mile, it remained unshaken by prairie winds, until taken down to give place to the present Home. The fire of 1871 showed the reprehensible character of the balloon frame and led to the ordinance prohibiting its future erection within the fire limits. That great tire obliterated nearly every building constructed prior to 1838, except those removed to the suburbs prior to OctolxT, 1871, such as ''Rotten Row," at 546-560 State street, moved from Lake street, opposite the Commercial Hotel. Its east end, which formed a front on Dearborn street, showed the corniced pediment, the broad entablature under the front eaves with frieze, enriched by oblong quadrangular openings, resembling portholes, utilized to light and venti- late the attic. This old block, about 100x30 feet, had to be cut into three sections to facilitate its removal. The Green Tree Tavern moved to 33-37 Milwaukee avenue, now standing there, and the stage-office moved to the corner of State and Twelfth streets, which was demolished in 1886, must also be included. The first brick building (other than the United States magazine), one and a half story, twenty feet square, was built in 1833 on the south bank of the river opposite the brickyard of Tyler Blodgett. This was built high from the ground, and roofed with lapped boards. The bricks were generally red: but the presence of a white or a yellow brick was common. This brick house, erected in 1833, was looked upon as far superior to the Kinzie cabin. The Lake House, built in 1835-0, was the largest tavern in the city up to 1S44. It occupied the west half of the block fronting on Rush. Michigan and Kinzie streets, and was the first large brick house in Chicago. 84 INDUSTRIAL CHICAGO: The brick buildings in the city at this period (1837) were the Lake House, on the south- east corner of Rush and Michigan streets, 80x100 feet, four stories high; the St. James En- glish Protestant Episcopal church, an Elizabethan-Gothic structure with a square tower, located on Cass street, between Michigan and Illinois streets; Steele's four-story brick block on Lake street, built in 1836; William Norton's two-story dwelling on Indiana, near Dear- born; Harmon & Loomis' brick block of four stories, on Water street, completed in 1837, and the frost-torn three-story building on North Water street at the foot of Cass street referred to later. There were two brick buildings in the west division the two-story dwelling of Chief Lu Framboise at the corner of Jackson and Canal streets, and that of the butcher, Archibald Clybourne, in the extreme northwestern quarter of the town. In the southwest division was the courthouse, built in 1835, on the northeast corner of the public square, hav- ing a basement and principal story 30x60 feet, with a four-column Doric portico of wood. The City Hotel, a three-story building, 80x100 feet, built and owned by F. C. Sherman, stood on the northwest corner of Clark and Randolph, where is now the Sherman House. In this building the town council met; Peter Pruyn's two-story house stood north of Sherman's house, and fronted on Clark street. This was subsequently the Chicago postoffice. The Saloon build- ing, eighty feet square and four stories in hight, occupied the southeast corner of Lake and Clark streets. It was built without chimneys; but this omission was discovered after the roof was on and chimney stacks were built inside. The three-story house of the State Bank of Illinois occupied the southwest corner of Soiith Water and La Salle streets; Charles Chapman's three-story dwelling, the southwest corner of Fifth avenue and Randolph street, and the two-story dwelling of P. F. W. Peck, the southeast corner of La Salle and Wash- ington streets. The principal builders at that time were A. D. Taylor, Azel Peck, Alex. Loyd, Peter L. Updike, Charles Lowber, Asbel Steele, F. C. Sherman, Alson S. Sherman and William Worthingham, all of whom died prior to 1883 except Augustine D. Taylor and A. S. Sherman. The former djed in 1891, leaving only one of the pioneer builders among the citizens. In 1836 the large two-story brick building of the Clybournes was erected on Elston avenue, outside the city limits, with front to the south. F. C. Sherman manufactured the brick in the vicinity, and was the mason and contractor for this two-room house. A double colonnade marked the front. Four square columns with Tuscan capitals, corresponding with four pilasters, supported the roof of the lirst colonnade, and the same system was carried out in supporting the roof of the second colonnade. Above the roof was the observatory and in front and rear a brick parapet with coping. The Steele brick block completed that year on Lake street, the Harmon and Loomis bride block completed in 1837 on Water street, the church buildings, and a number of two and three-story frame houses, lent an appearance of importance to the village, which the fifty business houses, eight taverns, twenty-five shops, the steam sawmill, the brewery and the furnace failed to convey in 1835. The recollections of John M. Van Osdel, published in The Inland Architect, have, of THE BUILDIM; ixrKitK*rs. 85 necessity, a direct bearing on the history of architecture in Chicago. In the fall of 1836 he became acquainted with William B. Ogden, then visiting New York City. This enterprising pioneer asked the architect to prepare plans for his proposed dwelling house in the town of Chicago, and to move thither to superintend its building. Both offers were accepted, and early in 1837 (June) Mr. Van Osdel arrived here. The sashes for the proposed house were made and glazed at New York, as were also the turned posts and balusters, carved woods, hand-rails for stairs, newels, and other necessary material, which; it was known, Chicago could not then supply. A quantity of hewn lumber was purchased at Chicago from A. D. Taylor, out of which the joists and scantlings were whipsawed for use in the house. On his arrival and while passing from the boat landing to Ogden's office on Kinzie street, he received new professional impressions nothing less than a block of three buildings on North Water street, at the foot of Cass street, three stories in bight, with the entire front lying prone upon the street, met his gaze. On making inquiry he learned that the frosts of the preceding win- ter had penetrated to a great depth below the foundations, and the buildings having a south front, the sun acted upon the frozen quicksand under the south half of the block, rendering it incapable of sustaining the weight of the building. At the same time the rear or northern part of the block, being in shadow, the frozen ground thawed gradually, and continued to support the weight resting upon it. This resulted in the careening of the block, the front settling fourteen inches more than the rear, making all the floors fourteen inches out of level from front to rear. This pressing outward the upper part of the front wall beyond its centre of gravity, caused it to fall, while it carried the rear wall inward twelve inches, as far as the partition walls would permit it to incline. Mr. Van Osdel's first work in Chicago was the adjustment of the floors in this block, in fact its rebuilding as a tenement house, convert- ing the former store rooms on the ground floor into dwelling rooms. The panic of 1837-8, resulting from speculation and swollen values during the preced- ing prosperous period, placed a quietus on building operations and drowned the hopes of the most sanguine citizens. The city charter was received, the spring sun shed its rays on a prosperous people; but the shadow of panic soon darkened the atmosphere, and a little later the reality of panic was experienced. The sales of the Canal Company's land fell from 570,000 acres in 1835 to 1(5,000 in 1837, and the decadence spread to every industry and threatened every home. Values of all kinds fell prostrate to the basis of actual worth. For a period of fifteen months depression was strongly marked even the features of the cit- izens betrayed their fears for the future; but, fortunately, brighter times waited on those days of terror, and by the close of 1838 the reality as well as the shadow of the panic disap- peared, and house building was resumed. Indeed many of the citizens who fled in 1837 had their faith restored by the close of the following year, and, returning, took a full share in the revival of trade and industry and in the development of the young city. The building arts began to receive some attention also, and traders, as well as professional men, becoming dis- satisfied with their home surroundings, began to look forward to the time when the neat cot- tage or the great square house would take the place of the first humble homestead. 86 INDUSTRIAL CHICAGO: III. CLASSICAL ORDERS AND CARPENTERS' GOTHIC. \V*yi) /HILE it is true that a professional architect came here in 1837 and designed build- VS\/ ings, as well as superintended their construction, his usefulness was not fully recognized for some years after. Augustine D. Taylor and Pere St. Cyr designed the Catholic church, built in June, 1833, on or near the southwest corner of State and Lake streets, and Rev. J. Porter built the First Presbyterian church, completed in January, 1834, on the southwest corner of Lake and Clark streets; but their designs were as simple as their labors were of an eleemosynary, rather than of a financial character. The Temple building, erected in 1833, was designed by Dr. Temple. In the winter of 1844 the leading builders asked Mr. Van Osdel to open an architect's office, and pledged themselves not to erect a structure without plans. On this pledge he opened an office on Clark street, between the City Hotel and Postoffice. During the ensu- ing year a block of four brick, four-story store buildings, 130 feet deep, was erected on the north side of Lake street, between Clark and Dearborn, from plans, for which the architect's fee was $100 a high sum, indeed, for that period in the life of Chicago, even in face of the fact that COO new buildings were erected within the year 1844. The first public school building was erected this year (1844), on the north side of Madi- son, east of Dearborn. It .was such a large and expensive structure, so out of all proportion to the ambition and hopes of the people, that in 184.") Mayor Garrett suggested its conversion into an insane asylum, and insinuated that those who urged an appropriation for the building should be the first inmates. The excavation of the Illinois and Michigan Canal exposed the valuable stone deposits between Lemont and Joliet, and even before the canal was opened for navigation, stone was hauled hither from the new quarries for building purposes; the brickmakers improved their methods, and furnished a fair building material; the sash and door factories and planing- mills multiplied, and even the iron cornice man came on the scene to aid in ornamenting buildings. In 1840 the clouds of panic scattered, and citizens of this western town were the first to take heart and begin the improvement of their surroundings. In the Chicago Morning Democrat of February '21, 1840, an editorial glances at progress in building, under the heading, "City Improvements." "As an indication of the certain im- THE Bl'lUHXG INTERESTS. 87 provement of our city, another summer, we are authorized to state that ten brick stores of the largest size are now under contract, and will be commenced as soon as the ground settles. One of them is to be erected by Thomas Church, Esq., where his store now stands, connect- ing the Saloon and the Exchange buildings, thus making a continuous line of three-story brick stores through nearly the whole extent of the block fronting on Lake street." Of course the buildings of 1840-1, while much superior to their predecessors, were far removed from structures which an architect would countenance. They were simply intended for use, without regard to art. The first Unitarian church building was erected in 1840-1, on Washington street, east of Clark street, on a lot 80x180 feet, purchased for $500. A house was constructed by Alex. Loyd that year, at a cost of $3,758.45. At the time, the builder was pleased to call this style Doric, and for some years this gabled box, 42x60 feet, with pepper-box tower, sur- mounted by a spire, was considered pure Doric by the non- architectural portion of the com- munity. The steeple was not added until 1845, when the second church bell in Chicago was introduced therein. In May, 1862, fire destroyed this house. The Cathedral of St. Mary was erected by Peter Page and A. D. Taylor, in 1843. This brick building resting on a heavy batter-stone foundation, was 55x112 feet, with side walls thirty-four feet high. Six Doric columns supported the projection of the roof, which, in turn supported the steeple or clock tower and belfry, and formed a beautiful portico, while square columns or pilasters of the same order took the place of buttresses at the corners of the main building and between the windows along the sides. The pediment showed the cross radiating light. This house, the bishop's residence and the Sisters of Mercy convent were destroyed October 9, 1871. The Small-pox Hospital was erected on the lake shore at the foot of North avenue, in 1843. It was burned in 1845, and a new hospital building erected on the same site. The Tabernacle Baptist church was erected in 1843, on a lot between Randolph and Washington streets on La Salle, where the Merchants National Bank of later days stands. This was 40x72 feet, cost $2,200, and was built on the same plan as the first Baptist church, except that the spire was forgotten, and six square Colonial pillars took the places of the six Doric columns in the first church, in forming the facade. It was destroyed by fire in 1851. Trinity English Protestant Episcopal church completed a building in 1844, on Madison street, west of Clark street. It was a small building with a little exterior ornamentation. The Bethel society erected a little cabin for worship, in 1844, at the corner of Kinzie and Franklin streets. In 1851 it was hauled to the corner of North Water and Wells streets, and again to the corner of Michigan and Wells streets. The first Baptist church building erected expressly for Baptist worship, was that of 1S4 k on the site of the present Chamber of Commerce. It was built of brick, somewhat on the style of the Doric Cathedral of 1843, described previously, but was only 55x80 feet. Six pediment or roof -support ing columns formed the facade, and from the point of the roof above rose a symmetrical clock tower and spire, the hight from the ground being 112 feet. The 88 INDUSTRIAL CHICAGO: total cost was only $4,500, cheap beyond comprehension for that day, for in the tower was a live-dial clock. Brick was costly, and if labor were low priced, it was slow and therefore expensive. During its construction, the great storm of November 4 blew out a side wall. The building was destroyed by fire October 20, 1852. The first Universalist's building, erected in 1844, near Clark street on Washington street, at a cost of $2,000, was a frame one, 30x45 feet, with four fluted pilasters and two Ionic columns in front, a pretentious flight of steps and pepper-box tower, springing from an acroterium above the front center of the low gable. It was a much neater building than that spread-eagle house of the Tabernacle Baptists, while of the same nondescript order. The foundation or basement, six feet in hight, was constructed of rock-faced Lemont stone. The Methodist Episcopal society, through Rev. W. M. D. Ryan, commenced the erec- tion of a large brick house on Clark and Washington in 1845, and completed it that year. The basement, eight feet in hight, was stone, and, through it, entrance was obtained to the auditorium. The brick walls, resting on the stone work, thirty feet high, supported a low gabled roof, and from the front center of this roof rose the belfry, clock tower and steeple 105 feet or 148 feet from the ground. Between each window and forming each corner, the brick work showed a pilaster with Doric capital, and, all in all, the architecture of Messrs. Van Osdel, Sullivan and Ryan was creditable to the Methodist Church architecture of the period, and a model in the opinion of its designer and builders. The University of St. Mary's of the Lake, the first high educational institution of Chi- cago, was established in 1844, and on July 4, 1845, the college buildings were completed on the blocks bounded by State, Rush and Superior streets and Chicago avenue, at a cost of $12,000. It was a sightly building, its location was beautiful, and the landscape gardening was beyond compare with anything in the West of that period. In 1862 the erection of a great university building was begun on plans made by Architect G. P. Randal; but only one section was ever completed, and this small section cost $35,000. In 1868 the project was abandoned and the buildings given over to the uses of St. Joseph's Orphan Asylum. St. Xavier's Academy, established in 1846, is the oldest institution devoted to the higher education of young ladies in the city. The buildings on the northwest corner of Wabash avenue and Twenty-ninth (with grounds extending west to State street) may be said to sig- nalize the advance of the great South Division. Designed with care, and substantially con- structed in 1872-3, these buildings stand to-day a testimony to the architecture and higher taste of the period. The attic story, with its great dormers and stylish roof cannot be sur- passed. The pioneer building of Rush Medical College occupied the southwest corner of Dear- born and Indiana streets. In accordance with the design of J. M. Van Osdol. it was a Ro- manesque-Byzantine brick building, with stone facings, resembling, in some respects, the private mosque of a wealthy Mussulman, the low dome being peculiarly Turkish. The building was begun and completed in 1844, but within the following decade necessity urged its enlargement, and in 1X54-5 the sum of SI 5. 000 was expended thereon, the style remain- ing the same. THE WILDING TNTE RESTS. 89 St. Paul's German Evangelical Lutheran society built their first house on Ohio and La Salle streets in 1840-7. It was as plain as the uncertain character of the organization would permit, and in 1848, when doctrinal points divided the society, the new United Evangelicals held the property and the primitive building. The original church purchased a lot on Indiana street, west of Wells, and erected thereon a frame house, 25x55 feet, with a spire as high as the building was long. The first theatre building, as distinguished from the old dance and music halls, was that erected by John B. Eice, on the site of the present Unity block, in 1846. It was a " wild and woolly" affair, within and without; no better, and only a little worse than the times and actors and audience. Subsequently it was transformed into an office building, and disappeared in the great fire. . St. Patrick's church, of 1840, was -erected on Desplaines street, between Randolph and Washington, by A. D. Taylor, at a cost of about $750. It was, of course, frame; but as the price represents only the material, the reader must not be surprised to learn that old St. Patrick's was a large building, and possessed many good architectural as well as decorative points. In 1854 the present building on Desplaines and Adams streets was begun. Had stone been used instead of brick, it would to-day be one of the great Norman Romanesque houses of the city. The two towers, the entrance, windows, aisles and transepts of the Romanesque style, are all found in this old parish church. It was built without a basement; but in 1871 the house was raised, and a high stone basement constructed at a cost of $20,000. In 1873 a gallery was constructed, three new altars erected, and the interior frescoed; in 1875 the boys' schoolhouse was built, at a cost of $24,000, and in 1870 the girls' schoolhouse was completed, at a cost of about $25,000. St. Joseph's church (German) was built in 1846, at the northeast corner of Cass street and Chicago avenue, when a frame building, 30x05 feet, was erected, similar in style to old St. Peter's on Fifth avenue. During the first year of the war a new house was erected on the same site, which cost $60,000. In November, 1862, the gallery collapsed; but beyond this fault of the carpenter, the building was a substantial one, presented some excellent archi- tectural features, and in 1871 gave battle to the fire. Immediately after the fire St. Joseph's Catholic congregation had a temporary frame building erected on the site, at a cost of $0.000. In 1876 the great brick church building on Market and Hill streets was erected, at a cost of (40,000, and since the fire the neighborhood has been covered with large buildings devoted to educational and religious purposes. St. Peter's church (German), begun in March, 1846, on Washington and Fifth avenue, was a one-story frame house. 40x60 feet. Alx>ve it rose the conventional steeple and belfrv. and round it clustered the schoolhouses and rectory. The buildings were moved to the south- west corner of Clark and Polk streets, in 1853. In July, 1847, the Third Presbyterian society purchased the little house on Union street, between Washington and Randolph, and dedicated it to church purposes. In 1S5S their S.'iO.OOO Lemont stone building was erected, on the northwest comer of Carpenter and Wash- 90 INDUSTRIAL C11K'.\<;<>. ington streets. The tower, steeple and spire of this house were symmetrical. In 1884 it was destroyed by fire, but restored in 1885, at a cost of $60,000. The Methodist Episcopal chapel fronting north on Indiana street, east of Clark, was built in 1847, at a cost of $1,300. It was, of course, a frame building, 35x45 feet, with low roof, a furnace in summer and a refrigerator in winter. For a decade the pioneer Methodists of this section burned up or shivered down in season, and ultimately lost building and ground, the humane mortgage holder being unwilling to behold such physical suffering. St. Louis church (French) was commenced in 1848 on the east side of Clark street, between Adams and Jackson, where the Federal building now stands. It was a one-story frame build- ing, 25x75 feet. Of the total cost, $3,000, P. F. Rofinot subscribed $2,000. Within a few years the interior of this building became a picture; Frenchmen decorated it, and citizens and visitors alike had, at last, found a place in the prairie country where they could feast their eyes on true decorative art and true taste. Through the asperity of Bishop O'Regan, this build- ing was moved to the corner of Polk and Sherman streets in May, 1858, where the tire of 1871 found it and left it in ruins. The first Norwegian Evangelical Lutheran building was raised up in August, 1848, out of the ruin of a storm-tossed semi-finished building, which stood on Superior street west of La Salle; as reconstructed it was a primitive Norwegian house, 50x60 feet, and built like a thermometer to show changes of temperature. The Market building, designed by J. M. Van Osdel, was erected in 1848, at a cost of about $11,000. It fronted forty feet on Randolph and extended north, from the center of State street, 180 feet. It was a brick two-story building, with stone facings, and though built for market, library and council uses, showed a few fair architectural points, and robbed the older Saloon building of its glories. On the ground floor were thirty-two market stalls, and on the second floor a chamber, 20x40 feet, for library purposes; one of similar dimen- sions at the south end, for city official purposes, and in the center two great halls, 40x70 feet, connected by folding doors, for council meetings and theatrical purj>oses. The first church house of the Holy Name parish was completed in 1849, a temporary structure for use until the English-speaking congregation could build a largo house on the North Side. The first synagogue building was that erected in 1849 on Clark street, south of Adams street. It was the first symbol of Judiasm here, and as meek and humble as its commercial beginning. It is believed that this primitive cabin stood on Capt. Bigelow's lots, and as the Captain would lease but not sell then, the conservative Hebrews moved to the northeast corner of Adams and Fifth avenue, in 1855, where a lot was acquired. The building on the new site was little superior to the old house and Gentiles were pleased to learn that the con- gregation was growing, since this growth would necessitate the removal of the cabin. The Methodist Protestant church erected a building on the northwest corner of Wash- ington and Desplaiiifs streets, in 184U! It was very small, and disjwsed to follow every wind, but it held its place long after the builders disbanded their organization. NOKMAN-KOMANESQUE-BTZANTINE STTLE. 6PKK/I flOUJSE, ]S65. ITALIAN ORNAMENT. MANSARD ROOF. BYZANTINE DOME. LIBRARY OF THE UNIVERSITY OF ILLINOIS TUB ' BUILDING INTERESTS. 91 The first building of the Reformed Presbyterians was that at the corner of Clinton and Fulton streets, completed in December, 1849, at a cost of $1,600. It was a 36x60-foot frame building and dubbed Gothic by the exuberant newspaper men of that day. Ten years later it was destroyed by fire. The Second Presbyterian society built their bituminous limestone meetinghouse in 1S49-50, on Wabash and Washington streets, 73x130 feet, fronting on Dearborn Park and the streets named. The walls were fifty feet high and the main spire or tower 164 feet. This building, as designed by J. Renwick, Jr., of New York City, and built by George W. Snow and A. Carter, cost $30,000. J. M. Van Osdel had charge of its construction, and so thorough was his work, that the building showed no sign of age in 1871, before the fire swept over it. Owing to the varied color of the stone, the building was known as "the Holy Zebra." The Mercy Hospital building, on Calumet avenue and Twenty-sixth street, dates back to 1848-9. It is a three-story, basement and attic structure, with gabled roof and orna- mental stacks. It is one of the largest of the older buildings in the south division, and in sanitary arrangement and equipment equal in every respect to the most modern of hospital buildings. "Miltimore's folly" schoolhouse, afterward known as the Dearborn school, was erected in 1844, on the site of the old Inter- Ocean building, opposite McVicker's theatre. This was the largest schoolhouse in the whole West, cost $7,523.42 and drew down upon Alderman Miltimore, J. Y. Scammon, Alderman Goodhue, et al., who were foremost in urging its erection, the wrath of the tax-payers. The idea of selling this large house was seriously entertained, as the proceeds of such sale could be appropriated toward building several small schoolhouses, but the idea was not put in practice. The year 1844 brought the Jones school into existence near the corner of Clark and Harri- son; the year 1845 the Kinzie school, near La Salle street on Ohio street, 45x70 feet, cost $4,000; the year 1847, the Scammon school, near Halsted street on Madison, cost $6,795; the year 1851, the Franklin school on Division and Sedgwick streets, cost $4,000; the same year, the Washington (later, the Sangamon), on Indiana and Saugamon streets, cost $4,000; the year 1&53-4, the Brown school on Warren avenue, between Page and Wood streets; (lie same year, the Mosely school near the American Car Company's shops; the year 1854-5, the Foster school building, and in 1855-6 the Ogden school. The question of estab- lishing a high school, on West Monroe street, was considered in 1855, and the building of a house for high-school purposes recommended. The trustees ventured to lend the enchant- ment of architectural design to the buildings, but they ventured beyond their depth, and the common sense of the contractors relieved them by giving to the people common-sense build- ings in accord with, if not superior to the surrounding houses. The Scammon school building, erected in 1847, on West Madison street near Halsted street, had its caps, sills and water- table cut at Joliet, and transported by wagon to Chicago. The churches of the period, with the few exceptions noted, were primitive affairs, many of them the initial attempts of religious denominations in the West. Much could not be expected 92 ISNJBTStAL CHIC AW): from religious Chicago of that day, yet, when the conditions of life in the old city are con- sidered, the thinking man must confess that much was given. There were no buildings constructed purposely for the storage of grain prior to 1848; but several frame warehouses on each side of the river were devoted to such storage. In 1842-3 machinery was placed in six or seven of those buildings for elevating and distribut- ing grain, one horse, walking on an endless revolving platform, being sufficient to ran each machine. The grain was received from farm wagons driven close to the building, as is now the case in many sections of the West, where the bags were emptied into a receiving hopper, whence it was passed to the weighing hopper, and thence to the elevator buckets. It was necessary to form a pit several feet below ground to allow the grain to descend to the elevator. Such pits were circular, water-tight tubs from seven to nine feet in diameter and from seven to eight feet in depth. In 1843 Newberry & Dole erected a large grain ware- house on the northwest corner of Clark and South Water streets, where the horse and end- less platform were used for power. George Steele built the first frame elevator on the north- west corner of Wells and South Water streets in 1848 and introduced steam machinery. E. H. Haddock and M. O. Walker built one on the southwest corner of River and Dock street, in 1849. Prior to 1849 a few architects and dnvughtsmen settled here, for in the city directory of that year the following names are given: A. Carter. 75 Clark; John N. Turphen, Washing- ton street; Mr. Clock, draughtsman, 153 Dearborn; William Clogher, draughtsman. 113 Wells; W. S. Denton, architect, 117 Franklin; L. J. Germain, B. F. Hays, architect, Monroe and Desplaines; John Van Horn, Desplaines; Francis Murphy, St. Mary's college; Charles Penny, draughtsman, 101 Lake. J. M. Van Osdel. of course, was here then as now, and to him the new comers looked for such information and professional aid as strangers in a new western town require to have. Such information and aid were freely given, and the recipients became part and parcel of a progressive community. During the year 1849 a large number of commercial and religious houses were designed and the work of construction entered upon in many cases; but not until 1850 did the dreams of the architects take definite shape. The old Tremont house (completed in 1 850 at a cost of $75,000, for Ira Couch, from plans by J. M. Van Osdel), was one of the wonders of (lie period. This five-and-a half-story brick building showed a frontage of IfiO feet on Lake and ISO feet on Dearborn. C. & W. Price were the masons and Updike & Sollett the builders. The new house was looked upon as the finest hotel building in the Union, and, a few years later. when it was proposed to lift it bodily upward to the new grade, the oppositionists quoted the expense of moving or tearing down such a building as enough to warrant the defeat of the measure. The streets were graded and the structure raised as related in other pages. The attempts at ornamentation were all that the brick of that time would permit; but the com- pleted building, great amid its surroundings, could not compare with any one of the build- ings in that section of the present city. It was furnished witli cutstone from Lockport, N. Y., and to it the sanitary arrangements of old Chicago were tirst applied, the sewage being THE in'TLDlNG TNTSlOaSPS. 93 conducted by a plank drain to the Anson Sweet main sewer. The following buildings had no notable architectural features; they were simply square or large rectangular structures, built solely for utility, with the windows, cornices or gables sometimes dressed with molding or other ornament: The T. Wadsworth four-story semi -fireproof block, eighty feet on South Water and 133 feet on Franklin, cost $16,(HX). J. M. Van Osdel was the architect; Peter Page, mason, and Updike & Sollett, builders. The McCord, Peacock & Thatcher and S. B. Cobb four-story brick block on Lake street, between Wells and Franklin streets, 00x105 feet, cost $9,000. McDearmon, Loyd, Dunlap, Campbell and Butler were the builders. The George Smith four- story brick block, eighty feet on Lake and eighty feet on Wells (Fifth avenue), was designed by J. M. Van Osdel, and built by Charles O'Connor, and Campbell & Butler, at a cost of $1(5,000. It was the finest mercantile block erected here up to the beginning of 1851. The I. & J. Dike $9,000 four-story brick block on West Water street, between Washington and Madison, was designed by Van Osdel, and built by A. H. Heald. A. Gale's four-story brick addition, 40x60 feet, to his building on Randolph, between Wells and Franklin, cost $5,000. The J. B. Rice theatre on Dearborn, between Randolph and Washington, 80x100 feet, cost $11,000. The roof and cornices were formed of galvanized iron. Architect and builders were the same as employed in the erection of the Tremont house. The Freer, Dyer, Van Osdel & Carlos Haven four-story brick block, on State and Randolph, cost $10,000. J. M. Van Osdel designed, and Malcom, Page & Robinson erected this house. The Andrews & Myrick three-story brick stable on Randolph street, between State and Dearborn, cost 15,000. S. P. Warren's four-story brick block on Randolph, between Clark and Dearborn, 50x60 feet, cost $7,000. It was designed by Van Osdel; C. & W. Price were the masons, and Boggs & Smith the builders. Peter Shuttler's wagon factory on Franklin, between Randolph and Washington streets, was a four-story brick, 40x60 feet, erected at a cost of $5,500. Dr. Braimird's three-story brick on Clark, between Lake and Randolph, 20x62 feet, cost $4,000. Joseph Berg's three-story brick on La Salle, between Lake and Randolph, cost $2,000. W. Hilderbrand's four-story brick store on Lake street, between Franklin and Market, was designed by E. Burling, and built by A. C. Wood for $3,800. The Sylvester Marsh three-story brick packing-house, on the corner of North Water and Wolcott streets, cost $3.000. The first stone building was the Armstrong, three-story warehouse on West Water street, between Washington and Madison streets, built by A. S. Sherman, mason, for $3,000, as a shipping ]ious(>. In 1850 Horace Norton and Joel C. Walter erected a stone building, 40x80 feet, three stories high, on the northeast corner of Dock and River streets. Slips were cut in the base- ments of the two last named buildings, to admit canal boats from the river. The large eleva- tors of Flint & Wheeler, Munger & Armour, Gibbs, Griffin & Co., all frame; the Galena, brick; the Illinois Central elevators of 1855-6. brick, and the Northwestern, on the river at Indiana street, in 1857, constructed of 2x6 inch scantling, laid in horizontal courses, and nailed after the idea of Alex. Miller, were all erected. This latter idea was found very prac- tical ami came into general use. 94 INDUSTRIAL CHICAGO : The Bull's Head at the old stockyards, stood at the corner of West Madison street and Og- den avenue, from 1851 to its demolition. It was built for Matthew Laftiii, Geo. H. Lattin, Allen Loomis and William R. Loomis, by Henry McAuley, a celebrated carpenter and builder of that day. Matthew Laflin was his own architect, and managed to have this three-story, box-like frame structure, erected at a cost of $(>,000. Apart from the little stockyards adjoining, and the farmhouse, near Harrison and Laflin streets, there were no buildings on the prairie. West of Philo Carpenter's house there were only a few cabins; yet this prairie land cost the Lariius $210 per acre, in 1849, the total, $21,000, for 100 acres to be paid within twenty years. The stockyard buildings were crude, indeed, being a collection of a few sheds, a large barn, and a number of pens. With the exception of Jackson's pens, on State street, near Twelfth street, the yards extending from Madison street to Union park, formed the central cuttle and meat market, and continued to hold that position until 1858, when they were moved to a point below Carville, now known as Cottage Grove avenue and Twenty-ninth street. Grace Church Protestant Episcopal society erected a house on the site of the present Inter-Ocean Biiilding, in 1851, which was moved to the corner of Wabash avenue and Peck court in 1856, where it was enlarged and remodeled. After using this remodeled building eleven years the ground and building were sold. George Steel's warehouse, on the north branch of the river, between Wells and Franklin streets, and G. S. Hubbard's warehouse, on the north branch, above the old Galena depot, were evidences of advancement toward permanent warehouse buildings. The large brick building on Wabash, known as the Catholic Orphan asylum, was designed by J. M. Van Osdel and built by Augustine D. Taylor, with Peter Page, as mason. Joseph Matteson erected a five-story brick building, eighty feet on Randolph and ninety feet on Doarborn, designed by J. B. Van Osdel, for hotel purposes. Each front was sur- mounted by a galvanized iron pediment and cornice, while the roof was also of this iron. Robert Malcom was the mason and Shepherd & Johnson builders. A synagogue was erected at the corner of Clark and Adams streets, at an outlay of S'J.OOO. The Scandinavian meetinghouse on the west side was designed by T. Knudson, and completed in 1850 Jenny Lind donated the funds to finish the building. St. James' Church, on the north side, was remodeled in 1850, after plans by T. Knudson, at a cost of $4.00(1. Rev. S. P. Skinnor had a brick dwelling erected on Wabash avenue, at a cost of $'2,500; S. Lind, a brick dwelling on West Washington street, at a cost of f4,(X)0; L. P. Hilliard one on Wabash avenue, same cost; George Grubb, a similar building on this avenue; Nelson Tuttle, one on Michigan avenue, which cost 3,500; B. W. Raymond, one on Wabash between Adams ;md Monroe, and T. B. Carter, one between Adams and Jackson, each costing about 4.000. H. Magie and W. Newberry had cheap brick dwelling houses erected on the north side, from plans by H. Burling. Building enterprise was not confined to the individuals or associations named, for every- where frame buildings or small brick structures were "going up," until Chicago was known TUB BUIIJtlNO INTERESTS. 95 a.s the city to which a young western town wfts added every day. Generally the architecture was simple, often rude, and without noteworthy features, except perhaps the moldings. The Courthouse and City hall, built in the center of the public square in 1851-3, after plans by J. M. Van Osdell, had the stone for the entire exterior walls brought from Lockport. N. Y. At this time quarries at Athens or Lemont, twenty-six miles distant, had been opened; but were not sufficiently developed to furnish all the stone required for such a large building. The corner stone was placed in September, 1851. and the building was completed in 1853 at a cost of $1 1 1,000. This Romanesque-Byzantine structure was three stories and basement in hight, with north and south projections from the central square, 50x60 feet, and east and west projections 32x00 feet, thus giving a length east and west of 104 feet, and a breadth north and south of 130 feet. Tuscan pilasters extended from the band to the first cornice, while piers marked the attic or third story, and carried inodillions bearing the entablature. A pediment capped each of the four projections, and above all was a well-proportioned cupola, the exterior gallery of which was supported by fluted columns. Two low domes marked the east and west fronts; while the entrance on each of the same fronts showed a stilted arched doorway extending from the level of the first floor to the spandrel below the third Hoor. Wyat and single-arched windows in the attic story and Venetian windows in the recesses, iis the projections or corners of the interior square may be called, contributed to archi- tectural detail. In 1857 a story was added to the east half of the building; in 1870-71 further additions were made, and the City hall was completed, the style of the original building being observed, except in the entrances and pediments- heavy porticoes and Vene- tian parapets being substituted. This was one of the best specimens of architecture in the city at that time. The brick buildings erected prior to 1851 were only remarkable for their severe plain- ness. There were but few capitalists, and the cheapest building was the one searched for by owners. Again the nearest developed quarry was forty miles away, at Joliet, which was not placed in- communication with Chicago, by water, until 1848. The courthouse opened anew era in the building life of the city. The North Presbyterian church house on Clark and Michigan streets was a frame build- ing in Gothic form with a nondescript tower or steeple. It cost $2,000, and was used until 1852, when the society erected a larger house of the same pattern, at a cost of $3,000, on the southwest corner of State and Illinois streets. The Welsh Calvinistic Methodist Episcopal church built in 1852, on Desplaines street north of Randolph street, was the regulation little frame shanty of the period, 30x40 feet, and cost almost 800. The Waterworks erected in 1852-3, presented architectural forms in the rough. The early Nonnan-Gothic style was observed. There were the gabled roof, the arched window and door openings, the central tower and the louver boards. The main brick building was 40x50 feet, with north and south wings. 3i feet each. The square tower was carried upward, in three diminishing stories, 136 feet, from a 14-foot square base to an 1 1-foot square copiir*. 96 INDUSTRIAL CHICAGO: Half of this tower was devoted to the stand' pipe and half to the smoke stack; so that Engineer McAlpiue gave a building to the city at once useful and ornamentiil. In August. 1853, the corner stone of the brick church building of the Holy Name congiv gation was placed. As completed in the fall of 1834 a fine Gothic structure, 84xl ( JO feet in area, composed of Milwaukee brick, with heavy stone facings, a tower and steeple 245 feet in height, heavy stained-glass windows and elaborate interior decorations, was presented- the congregation paying therefor, $100,000. The irascibility of Bishop O'Regan made itself felt during the erection of that beautiful structure as it did in the case of the removal of the St. Louis building. The tire of 1871 destroyed this monument to the highest architect- ural work of the Chicago of that day, together with the great educational buildings which clustered round it. The English Protestant Episcopal church of St. Ansgarius, of the Swedes and Norwe- gians, built a Scandinavian frame structure (35x50 feet), in 1851, at the corner of Franklin and Indiana streets. The communion set, presented by Jenny Lind, was the only thing of art connected with this building. In 1858 the two divisions contended for possession of this set; in 1859 it became a free church, and in 1864 the Swedes became owners of the only Swedish Protestant Episcopal house in the United States. This building was burned in 1871. The Maxwell Street German Methodist Episcopal society purchased a small, rough-look- ing structure in 1852 on Washington and Jefferson streets, which they moved in 1853 or 1854 to Harrison and Aberdeen streets. The total cost of removal and repairs was $200. so that the price, taken as an index, indicates the ideas of art which then obtained. In 1SU4 the building was sold and a frame house, 45x05 feet, resting on a brick basement, was erected at a cost of $7,000. The so-called tower of this structure was a low. unsightly affair, some- thing like what the soldiers, then in the field, would raise for amusement. The Van Buren Street German Methodist Episcopal society purchased two lots on Gris- wold and Van Buren streets in 1852 for $1,400, on which they erected a barbarous little shanty for worship. Two years later it was removed and the building of a large frame house on stone basement with tower and steeple was almost completed, when the Chicago & Kock Island Railroad Company offered $15,000 for the property. This was a wind-fall indeed, but the shrewd Germans did not put all the little dollars in their pockets, for two fifty-foot lots on Van Buren and Fourth avenue were purchased, and thither their new building was moved. It was swept away in 1871. St. Michael's Church (German) was built on the northwest corner of North avenue and Church street in the summer of 1852 at. a cost of $750, exclusive of the belfry and bell. It was a plain frame structure, but beautiful in its interior decoration. When in 1870 the groat brick church building was completed on the southeast corner of Hurlbut and Eugene streets, the old house was moved close by. where the fire of 1871 found it. The building destroyed was NOx2(MI feet, with heavy tower surmounted by a pointed roof rather than a steeple. It cost S200,00<). and so thoroughly were the walls constructed that when the fire of 1871 rose within and round them, they stood the severe test and were ready to receive the roof and stee- THE BUILDING INTERESTS. 97 pie so soon as cooled. Since that time over 1 150,000 have been judiciously expended on buildings and decorations connected with this church, rendering it one of the wonders of Chi- cago, and in many respects the peer of many of the more modest of foreign religious struct- ures. The Rock Island and Michigan Southern Railroad depot, of days before the fire, was the original of the building erected on Van Buren street after the fire. The same rock-faced Illi- nois stone, in rectangular blocks, the heavy quoin stones for the eleven corners of the three front and two rear pavilions, the shapely pavilion roofs with Wyat dormer windows, the pre- tentious entrance with annulated shafts, the archivolts of windows carried out in quoin stone, and. the shed extending south from the main building, merited preservation rather than destruction. It was begun in 1854 and destroyed by fire in 1871. The Illinois Central depot, designed by Otto Matz, was a larger and finer building than the Van Buren street depot of that day, but the fire of October 0, 1871, lapped it up, and the directors were satisfied with its ruins for depot purposes up to 1891. They made the punish- ment fit the crime, for in their determination to save the dollars art was ignored by them, as the ruin of twenty years' standing explains. Quinn Chapel Methodist Episcopal society built a house in 1853, on Jackson street and Fourth avenue, at a cost of 5,000. Old settlers remember that house, the troubles with the lot and subsequently with the building, organ and congregation. How $5,000 could be expended on such a structure interested the inquirer more than the house itself. The First Baptist society having lost their old house, a new building took its place before the close of 1853 at a cost of about $30,(H)0. Who the architect was is not known to the writer, but it is not material, for he gave to the society a building (rectangular and flat- roofed) with a spire set upon the front center of the roof, which a boy might design and any sot of common laborers construct. At that time a few trees and shrubs grew in front and rear of the new building; while on the other side of La Salle street a line of healthy maples offered shade and ornament In 1850 the trustees of the Tabernacle (Baptist) desired to establish their house on the West Side, and on June 26, 1851, fire destroy eil the first Tabernacle, thus saving the cost of moving and affording means for the erection of a better building. A site was selected on the east side of Desplaines, between Washington and Madison streets, and there a Gothic st ruct ure. 44x72 feet, surmounted by a short quadrangular tower, was completed in February. 1853, at a cost of 5,N40. In 1SU4 the Second Baptist church took in the Tabernacle and became the owners of the First Baptist building on La Salle and Washington. This they moved to the southwest corner of Monroe and Morgan streets. During the pastorate of Dr. E. J. Goodspeed many improvements were effected in the building and equipment. The Owen Street Methodist Episcopal society erected a low frame house. 25x35 feet, on the corner of Sangamon and Owen streets (changed to Indiana street in ISfiO). in 1N52 and moved to Ada street in 1865. where it was taken down to make way for a building of some pretensions, and sold to the Norwegian Methodist Episcopal society. !)8 INDUSTRIAL CHICAGO: The Zoar Baptist church was built about 1853 at the corner of Fourth avenue and Tay- lor. Its style of architecture was not equal to the regulation southern negro church of a rural district. There was no trouble in moving it to the corner of Harrison and Griswold streets, where, in 1865, it was surrendered to profane uses. The original church building, known as St. Francis d'Assisium was erected in 1853, at the corner of Clinton and Mather streets at a cost of $2,000. It was a substantial frame structure, showing some ornamentation, and was used until 1867, when it was donated to St. Paul's congregation. The old Masonic Temple, 83 and 85 Dearborn street, was commenced May ]8, 1854, and dedicated June 24, 1856. This was a four-story-and-basement building with pretentious Norman entrance carried from level of sidewalk to the first band and with well arranged interior. Two single windows, eacli side of a central double window, marked each story alwve. Each window was separated from the other by pilasters with Tuscan capitals at the second band, Corinthian capitals at the third band and Roman-Doric capitals above. Odd Fellows Hall, 98 and 100 Randolph street, was begun in 1852, and dedicated Feb- ruary 22, 1853. It was a plain building, erected for use rather than ornament. Myrick's castle, built in 1854, at a point 100 feet north and east of the intersection of Thirtieth street and Vernon avenue, was the first brick dwelling house erected in that neigh- borhood or within a mile of its site. Hollis Newton's two-story frame tavern (known a.s the Empire house) on the lake shore, near the foot of Twenty-ninth street, was then a land- mark, as it had been for years before, and in 1837 that building, with all the land between Twenty -sixth and Thirty-first streets and the lake and South Park avenue was purchased from him for $500 by Willard F. Myrick. The nearest dwelling, even in 1839, was Henry B. Clark's cabin on Michigan avenue, between Sixteenth and Eighteenth streets. This and one other cabin, south of Van Buren street, west of Vernon avenue with a few cabins then stand- ing at Bridgeport showed life on the prairie. So bleak was the place that it was selected for the hanging of John Stone, the first murderer sentenced to death in Cook county at a spot on Soiith Park avenue just north of Thirtieth street. After the erection of Myrick's castle, Lauren and Henry Groves opened a tavern and stock pens, and up to 1861, when the bar racks were erected on Grove's land, there were no buildings between Thirtieth street and the tavern. John Smith's Ten Mile house was far away south on Vincennes road. About INK' the old Empire house was moved from the lake shore to Cottage Grove avenue and Twenty- eighth street, where part of the building was standing in 1886. In 1844 Myrick established a race track between Twenty-sixth and Thirty-first streets and Vincennes and Indiana avenues, which brought him trade, while the accretionary action of the lake added fifteen acres to the property between 1837 and 1851. The Plymouth Congregational church, completed in January. 1S53, on the southwest corner of Madison and Dearborn streets, was a similar structure to that raised by the Swedes and Norwegians on North Franklin street; but owing to its comfortable interior, cost 2.500, or three times as much as the little church building just referred to. THE BUILDING /.\ //;/,' /-:s7 T S. 99 The South Congregational society, of Carville, (Twenty-sixth street aiid lake shore) in 1858-4 erected a frame building on the northeast corner of Twenty-sixth street and Calumet avenue, at a cost of $2,500, exclusive of the lot. It was 36x60 in area, well finished interiorily, with an exterior lavish in plainness. The New England Congregational society erected a frame house, 40x55 feet, at the cor- ner of Indiana and North State streets in 18534. It was similar in style to the three older buildings of this denomination, and won from the building wits of that day the title " Congregational style." The First Swedish Baptist church purchased a little schoolhouse at the corner of La Salle and Erie streets in 1854, and worshiped in that cabin until 1858, when they moved it to Bremer street, where it was burned in 1861. In 1864 the organization destroyed itself and its architecture. The first Swedish Methodist Episcopal building was that on Illinois near North Market, erected in 1854. It cost about $300 and was one of the pieces of architecture which the great fire went out of its way to destroy. St. Paul's Evangelical United church building of 1846-7 is referred to in the sketch of St. Paul's Evangelical Lutheran buildings on the southwest corner of La Salle and Ohio streets. In 1854 an architect named August Baver was called upon to plan a new brick house, and August Wallbann to build according to such plans. It was completed early in 1855, in accordance with the "highest ideas of art" held by the immigrants, substantiality being the main object; but it may be said that it was infinitely superior as a worship house to any which the pioneers of Connecticut or Massachusetts erected within 150 years of their immigration. The fire of 1871 destroyed that building, but it was at once duplicated, the new house being completed February 16, 1873. In 1848-9 the Second Presbyterian society's brick house, which occupied the south- east corner of Wabash avenue and Washington street, was constructed at a cost of 128,000, after designs of Renwick of New York, by Asa Carter, constructional architect. In 1855 the lot and building were sold, and a Norman structure, south of Van Buren street on Wabash avenue, was erected. The exterior was Lemont stone, then called "Athens marble," the front showed some excellent sawing in stone, and the interior, 63x97x50 feet, some fairly good decorative work in wood and plaster. The building was opened in October, 1857, though not completed until 1868, at a cost of $115,000 exclusive of the $16,000 paid for the ground, and stood until October, 1871. The two towers were tastefully built and fully in accord with the ideas of Chicago architects in 1868. The First Congregational church was constructed in 1852 on Washington street near Union street. It was burned in June, 1853, and architecture did not mourn the loss. A sec- ond house, much cheaper than the first, was built on Green street near Washington, and in 1 Vit ,"> a large stone-and-brick building was erected on the corner, north of the little frame house, at a cost of $40,000. In 1856 the First Norwegian Evangelical Lutheran house on Superior street was sold to 100 INDUSTRIAL CHICAGO: the Swedish Lutheran society for $'2,000. With this large sum of ready cash they erected a brick house on Franklin and Erie streets at a cost of $18,000. It was warmer in winter than their former building, and was used for worship up to a few hours before the fire of 1871 embraced it. The Union Park Baptist chapel of 1855 stood on Lake street between Sheldon street and Bryan place. It was a little frame building with the characteristics of the Zoar society's building. Just before the war this box-like structure was moved to the northeast corner of Lake and Sheldon streets, and subsequently to the corner of Superior and Noble streets. In 1874 this society was consolidated with the Ashland avenue society under the title, Fourth Baptist church. Their house of worship on Paulina and Washington streets was erected during the war. The Berean Baptist house, built in 1857, stood on Jackson street between Desplaines and Halsted until 1858, when the cadaverous frame structure was moved to a point on Do Koven street west of Desplainos. The years 18536 were golden days of enterprise. The houses of 1850 were improved, and a better class of business and residence structures appeared. In 1855-0 the adoption of a grade for the city and the great system of public works then inaugurated necessitated changes in the old system of building, and in several cases old buildings were removed to give place to new ones. The project of building a home for the University of Chicago took shape in 1850. This building stood on ten acres of ground (donated by Stephen A. Douglas in 1855), bounded by Cottage Grove and Rhodes avenues and College and University places. The work of con- struction was begun July 4, 1857, and the house was completed in 1805. The plans were made by Boyington & Wheelock. Rock-faced Lernont stone was the material used, and within two years a marvelous pile of masonry rose above the prairie, looking oni upon the lake. The location loaned a beauty to that eccentric castellated collection of rock, and for a little while chance gave the college prosperity; but returning shadows grew thicker and in 1889-90 the grounds and buildings passed out of the hands of the trustees. In the latter year the building itself was taken down and the material sold. The First Desplaines Street Methodist Episcopal church was the building on Polk and Clinton streets, erected in 1851, and moved in 1854 to the southeast corner of Harrison and Foster streets. In 1857 the primitive building and the two lots were sold for $3,5 fall of that year this society purchased the Uiiiversalist chapel on Washington street for (2,750, and moved it to Wabash avenue, 100 feet north of Twelfth street, \vhere it had an east front. At the close of the war a two-story brick house was erected on the corner of Wabash and Fourteenth street at a cost of $85,000, the same which was sold in later years to the Wabash Avenue Methodist Episcopal Association. The old Universalist building was sold on the completion of that brick house, and removed to Wabash avenue and Sixteenth street, where it was converted into a business house. In 1855 the first German Emanuel church of the Evangelical Association was erected on Polk street and Third avenue. After its destruction in the fire of July 14, 1874, the society purchased a site on Dearborn and Thirty-fifth streets, to which an old frame structure was moved. In 1856-7 the Dorman building (ninety-one feet on the river and Market street, and eighty feet on Randolph street) was erected. It was scarcely touched by the fire of 1871. In 18567 the old Baltic or Colby hotel, at the southwest corner of Dearborn arid Ran dolph, gave place to Howgate's Metropolitan hotel. The owner, Howgate, was an employe of Isaac Speer, the jeweler, at 77 Lake street. His stealings from Speer were extensive, so much so, that the proceeds of his thefts were sufficient to build the Metropolitan house. When that building was approaching completion Howgate's thievery was unearthed and the criminal arrested; but the prosecution was hushed when the thief transferred his title and interests in the building to the employer he had been robbing for years. St John's church (English Protestant Episcopal) erected a little frame building, :!0x65 feet, in 1856, and in 1857 it was enlarged and a parsonage erected. The building of 1856 was so severely primitive that the improvements effected the year after and in later years, made little impression on its plainness. In 1856 the Edina Place Baptists changed their name to the Third Baptist church, and erected a building for worship at the corner of Edina Place (Third avenue and Harrison street). The building was painfully plain, even for Third avenue of that period, and the people in the vicinity were pleased to see the house moved to the northwest corner of Wabash avenue and Eighteenth street. The members were equally well pleased, for with change of location they changed the name to Wabash Avenue Baptist church. In 1856-7 a Gothic building, on the southwest corner of Wabash avenue and Van Buren streets, was erected for the First Universalist society, after plans by W. W. Boyington. It fronted 70 feet on Wabash and extended back 108 feet; the tower and spire rose from the center of the front to a height of 175 feet; two Hanking or corner towers, capped by min- arets, also marked the front, and in each of them, as well as in the main tower, was a gate 1 way or door. The rock-faced Lemont stone building cost about $60.000, and was the first true Anglo-Gothic structure erected in Chicago. The fire of 1871 swept away the wood work, leaving the walls, the central tower and the two Hanking fowers, standing. 102 INDUSTRIAL CHICAGO: The second building, erected by St. James Protestant Episcopal society, on the southeast corner of Cass and Huron streets, was commenced in 1857, and completed in 1870, at a cost of $80,000. This stone building was designed by an architect, and therefore showed some attention to detail, and presented some artistic features. During the ensuing fourteen years many improvements were effected, the tower finished and rich decorations introduced; but the fire lapped the edifice up, as if it were a tinder-box, the tower alone not surrendering. The George Steel building, of 18567, on Water street, at the foot of La Salle, WHS one of the early large brick structures. On the third floor a room 50x80 feet was fitted up for board-of-trade purposes. The Newhouse building, just west of Steel's, was completed in 1858, and in it a largo room was arranged for the Board of Trade. The five-story iron block on the north side of Lake street, east of State, was com- pleted and occupied in 1857, the merchant tenants being Buell, Hill & Granger, Wadsworth & Wells, and Williams, Case & Rhodes. The first floor was devoted to storerooms. Thirty - three fluted Corinthian columns, and two square piers or pilasters, one at each end, supported the first band-course, while the door and window frames were square and well recessed. The second band, a mimic balustrade, was supported by thirty-three pilasters and two heavy corner piers. Between each set of pilasters was a double-arched window with archivolt formed upon a large arch springing from small Corinthian columns, the keystone of which extended to the soffit of the balustrade. The front of the third floor varied from that of the first or the second, in the fact that it was a series of archivolts. the arches of which supi>ortd the third band, except in the center of the front, where a heavy pilaster was used. The fourth floor front, smaller and lower in detail than the second, showed precisely the same architect ural form as the second, while the fifth floor front was the same as the third, the arches supporting the upper cornice. It was a noble building, arid the suggestor, in fact, of the more ornamental buildings of post -helium days. The general character of the facade was Venetian Renaissance. A second iron building, opposite Wadsworth & Wells, or on the south side of Lake street, east of State street (Nos. 53 and 55), showed twenty-one iron columns, with twenty arches springing from Doric capitals supporting the superstructure. Above this the pilasters reigned, carrying story after story to the top of the fifth, where each received a heavy bracket to support the cornice. The round arch of the Romanesque was overmastered, except in the lower story, by the rich pilasters, heavy capitals and ornamental architraves of the Roman style. It was the center of the millinery goods trade Benedict, Hillary & Farn ham; Savage, Keith & Co.; Snow & Co.; Harmon, Aitkin & Gale; B. W. Raymond & Son, and Fisk & Ripley being the principal tenants in 1857. Other iron buildings of the same class, referred to in the chapter on structural iron works, were designed by J. M. Van Osdel, in 185fi-7, and iron fronts became common in Chicago. The Marble block occupied the north side of Lake street, west of Clark. It has its counterpart to day on every street. The heavy iron store front, common even now in the THE BUILDING IXTKliK. T.v. 105 Unity church, or the North Unitarian church, built a frame house for worship on Chicago and Dearborn avenues in 1850, at a cost of ??4,. The Church of the Holy Communion (Protestant Episcopal) erected a small frame house with Gothic pretensions, on the southeast corner of Wabash avenue and Randolph street, in 1859. In 1868 that building was moved to Burnside street, south of Twenty-ninth, where a basement was erected. In 1858-9 the third building of the First Methodist Episcopal society was erected at a cost of $70,000. It was destroyed in the great fire, and necessitated the erection of a frame house on Clark and Harrison streets, pending the erection of the Methodist church block. Immediately after the tire, the four-story stone-front building on Clark and Washington streets was erected, at a cost of $130,000. Together with being a large commercial block, it contains a large auditorium for worship, with pastoral and official quarters. In 1860 a lot on the south side of Jackson street, east of Wabash avenue, was acquired, and thereon a stone-front building (71x150 feet) was erected, for Trinity Protestant Epis- copal society, after designs by J. V. Wadskier. Like the front, the lower walls of the towers were constructed of Lemont stone, but the upper sections were of brick, like the side walls and rear. Side windows were not provided for, as the light for the auditorium was supplied from the glass roof. In some respects it resembled the present St. Mary's church, on Wabash avenue and Eldridge court, but the towers, lanterns and tinials, were wild adaptations of all that was bad in the early English or Norman, and in the Elizabethan styles, so that the fire of 1871 lapped it up greedily. The Republican wigwam, of 1860, was erected by the Lincoln & Hamlin club, on a lot at the corner of Lake and South Water streets, at the head of Market street. This wooden building, 80x150 feet, two stories high, with flanking towers stood as a memory of the times and manners up to October 9, 1871, when tire swept it away. The Desplaines and Van Buren street Congregational church was a shanty erected in less than seven days, and opened for worship May 18, 1854. The building was enlarged in 1862, and converted into a Presbyterian meetinghouse, as the majority of the members be- came members of the Edwards Presbyterian society. The building known as SS. Peter and Paul's church, the first cathedral of the English Protestant Episcopal church, on this continent outside of Canada, dates back to 1861, when the Church of the Atonement was transferred to the bishop, who named it the Cathedral. The building was enlarged, remodeled and decorated, during the years of the Civil war. In February. 1861, the second house of the North Presbyterian church was abandoned, and possession taken of the pretentious Romanesque brick house on Cass and Indiana streets. This building was 71 xW feet, with walls 38 feet and apex of roof 52 feet. The tower was 24 feet square, 104 feet in hight, with octagonal spire, 90 feet above. The second tower, 16 feet square and 100 feet high, appeared unfinished until the great fire removed it. The New School Calvary Presbyterians built a small frame house on Indiana avenue, south of llinggold place, in I860, which they moved, in 1862, to Indiana avenue and Twenty- second street. 106 INDUSTltfAL <'1IK'AGO: The Edwards, or Seventh Presbyterian society, erected a little building on Halsted and Harrison streets, in 1862, which was exchanged, in 18(57, for the Free- Will Baptist house, on Peoria and Jackson streets. St. Peter's church (Catholic) erected a large brick building, in 1863, on Clark and Polk streets, in which the architecture and decorative art of the church at Asti, Italy, are apparent. The style, though Iwrrowed from Asti, is not Italian. The cost was 45,1 KM). In 1S64 the school building was erected at a cost of $7,000, and the residence in 1865, at a cost of $5,000. The fire appreciated art and did not touch this property. The German United Evangelical (Zion's) society moved the old St. Paul's building to the corner of Wilson and Clinton streets; but in 1863 a new house was erected on Union street near Fourteenth street, and five years later a brick schoolhouse was built. A branch house was erected on Union and Twelfth streets in 1864. The beginnings of a new house were made in April, 1863, on Wabash avenue north of Hubbard court for the First Unitarian society. This escaped the fire of 1871 and that year was purchased by the Wilmarths and converted into a plumbers' supply store. Ill 1872-3 the house known as the Church of the Messiah, on Michigan avenue and Twenty-third street, was erected at a cost of $90,000. This is a very neat building and presents several architectual features, then almost unknown in the West. At the beginning of the war the northwest corner of Chicago avenue and La Salle street was purchased, and in 18634 a small building was erected thereon in which to worship, the successor of the Methodist Episcopal chapel of 1847, which stood on Indiana street east of Clark street. Early in 1864 work on the church of Notre Dame de Chicago, the successor of St. Louis church, was commenced, and the large building at the northwest corner of Halsted and Con- gress streets was completed early in 1865. This house presented a plain exterior, but within the artist and decorator showed decided taste. The Park Avenue Methodist Episcopal society erected a small house on Eobey street and Park avenue in 1861-2, but in 1864-5 a 110,000 building was erected on the southeast corner of the streets named, where a lot was leased for ninety-nine years. In 1864 a brick house, 52x101 feet, with tower and spire 161 feet in height, gave evi- dence of progress on the part of St. Paul's German Evangelical Lutheran society. This was located at the corner of Superior and Franklin streets and cost, with ground, about $90,000. The fire of 1871 swept it away. Christ church (Reformed Episcopal) built a chapel, in 1859, on Monterey street east of Michigan avenue. In 1863 a larger house was erected on Twenty-fourth street; but this was burned in February, 1864, and in 1865 a third building was raised on Michigan avenue, which was damaged by lightning in 1866. The Chamber of Commerce (old building) was begun in 1864 and completed in August, 1865, at a cost of $4(X),000, after plans by E. Burling. For six years and two months that building reigned over all others of its class in the United States and was considered the w - SI z. 9 X SO X. & as, a H X & ac. LIBRARY OF THE OF ILLINOIS T1TK BUILDING INTERESTS. 107 largest and best constructed board of trade building on the continent. The fire of October 9, 1871, reduced it to ashes. The area was 93x181 feet and height 100 feet. From the main door a flight of steps led to the main hall, off which were business rooms. The portico was a composite affair. From this hall a double stairway led to the vestibule of the principal room. This room, 143x89 feet and forty- four feet in hight, was lighted by eighteen large windows and frescoed in the best designs known to the Chicago artists of twenty-six years ago. Exteriorly, the original building varied from its successor of 1872. Heavy cut quoin stones wore used in pilaster form for the corner and each sido of the central window above the first band-course. Norman windows marked the first and hall floors, while in the basement the windows were square. The French roof showed two round windows each side of its clock, and nine on each side, corresponding with the windows in the great hall. The general style was Italian-Byzantine with French roof and Venetian windows. During the closing four years of the fifth decade, buildings of all descriptions were con- structed, and when the tocsin of war sounded that April morning in 1861, Chicago was really a city in extent of territory, in number of buildings and in trade. During the first three summers of the Civil war, the citizens not only sent forth a great number of men to the field, but also built homes, stores, warehouses, workshops and factories as fast as tradesmen could construct them. In 1804 no less than 0,000 houses were erected within the city limits, at an average cost of $784 each. A few large houses, of course, were built, including the Board of Trade and nine churches. In 1865 there were 0,370 houses built, at an average cost of $1,099, including nine church buildings, and in 1866, no less than 6.700 houses, including twenty-four church buildings, were erected, the average cost being about $1,642 each. 108 INDUSTRIAL CHICAGO: IU. DESTRUCTION AND RESTORATION. kEACE to the Union brought peace to Chicago, and made way for the spirit of prog- ress which took jx>ssession of the citizens. No sooner was the fall of the Confed- eracy heralded through the streets of the city than men, hitherto cautious, rushed into the arms of enterprise to follow the example of the Board of Trade in 1864, and none were in advance of the members of that body in the realization of what wealth owed to art, to the municipality and to the individual. This led to the construction of a few large and elegant mercantile houses, several large tenement houses, many fine residences, and drew into the line of improvement religious congregations, school and municipal bodies, and even the Federal government. The " honest public building," the walls of which buttled so heroically with the fire of October 9, 1871, and won in the battle, was brought forth, and the movement for general improvement was voluntary, methodical, and decisive. In 1867 there were 5,000 buildings, including seven churches, erected at a cost of $8,500,000, and in 1869 there were 7,000, including nineteen church buildings, at a cost of $14,000,000. At the beginning of the summer of 1868 there were 39,366 buildings within the city limits, of which 35,654 were balloon frames or other forms of wooden buildings. Of this total 3,980 were store buildings, 1,696 saloon buildings, and 1,307 manufacturing shops. The estimated number of buildings in 1869 was 43,920; in 1870, 52,690, and in 1871, 61,000. In 1869 the designs for the Palmer house, the Grand Pacific, the Nixon block, and a few similar structures were completed and the work of construction entered upon. The era of Corinthian columns, colonnades, heavy cornices, attic stories, grand porticoes and other archi- tectural decorations was adumbrative, and men who gathered wealth here were dreaming of building commercial temples equal in beauty to those they had seen at Paris, and religious temples as great as those they had seen at Rome. The city was massive and great already in her dreams of greatness, but her advances were generally too precocious to go unchecked, and the check came. Crosby's Opera house, as completed in 1865, was the finest building erected in Chicago up to that time, and held its pre-eminent position up to 1871, when it was destroyed. As designed by W. W. Boyington, it was a Norman-Romanesque-Byzantine, four-story basement and French-attic building, with a south front of 140 feet on Washington street, east of State THE BUILDING INTERESTS. 109 street. The entrance, twenty-three feet wide, was between great pilasters with Italian capitals. A Norman arch, with heavy sagitta and elaborate spandrels supported the lower part of the entablature, and rich modillions the upper or heavy projecting part, extending to level of third story. Above this were four pedestals carrying large statues, by L. W. Volk, repre- senting Painting, Sculpture, Music and Commerce, and between the pedestals was the extended and handsome balustrade. The central projection was carried through the third and fourth stories to the cornice, which was supported by modillions. Above the cornice rose the central pavilion, with its noble dormer and caryatic pilasters. Two elaborate store fronts on each side of the main entrance, six Norman windows on each side of the central projection of the second and third floors, and eleven smaller windows, resembling an arcade on each side of the central projection of the fourth floor, with the four single dormers on each side of the center of the attic, told at once that the architect and owner were lavish in ornament. Each window had its archivolt or label of rich moulding. The auditorium was 86x95 feet in area, and the height from floor to dome sixty-five feet. This dome, twenty-eight feet in diameter, showed the portraits of the great composers. The art gallery on the second floor of the main building was 30x60 feet, with eighteen feet ceilings. The frescoer of that day exhausted his art on the walls of this house, and Chicago was proud of it. The Second Baptist church purchased the building of the First Baptist church, and moved it from the southeast corner of La Salle and Washington streets, to the southwest corner of Monroe and Morgan streets in 1864, where it was painted and otherwise restored. The Third United Evangelical society built a very modest house on Twenty-first street and Archer avenue, in 1862, the same which was moved in 1868 to Wentworth avenue and Twenty-fourth street. In 1884 the society acquired by exchange the Baptists' brick house on Twenty-fifth street, west of Wentworth avenue. The First Baptist society, after selling the lots where stands now the Chamber of Com- merce, for $6o,(XKl, purchased the property on Wabash avenue and Hubbard court in 1865, and thereon a house, which cost about $150,000, was erected within two years. It was an elegant building that escaped the great tire, only to be consumed by the fire of July, 1874. The' State Savings institution and Garden City Insurance Company's building, 80 and 82 La Salle street, completed in 1866, was a four-story-and- basement house 45x70 feet. It was designed by E. Burling, to cost $73,000. Lemont stone or Athens marble was used in the front and Milwaukee brick in the side and rear walls. Three sets of double- arched, keystoned windows (the arches joining and resting on a paneled pilaster in the center) were in keeping with the one large set of such windows, each side of the entrance. Cut-stone piers were carried from basement to cornice at the corners and at each side of the central set of windows. The portico, perfect in its parts, showing pedestals, Corinthian columns, arch, spandrel and entablature, was too light and small for such a building, while the heavy balustrade above a heavy cornice was as unnecessary as it was ill-fitting such a house. The iron shutters on sides and in rear scarcely warranted the owners in calling their building fireproof. The Magic building, then on the southwest corner of Randolph and La Salle streets, 110 INDUSTRIAL CHICAGO: was a Milwaukee brick, four stories, basement-and-attic structure. The arched and labeled windows, dormers of the same form in the mansard roof and chaste chimneys, extending from tlie walls in front of the roof, gave to it an architectural appearance wanting in better houses. The Metropolitan hall stood on the northwest corner of the same streets. The windows on the ground floor and on the third floor were high, arched openings, while on the second floor they were square. A heavy cornice, with nine chimneys on the La Salle-street front and nine on the Randolph-street front rendered its exterior showy. The Atlantic Fire Insurance Company's building, soi;th of the old States Savings bank, showed four clear stories, a great mansard attic and basement. The ground floor front showed a series of arches, resting 011 Corinthian columns, with carved spandrels. A heavy cornice capped this first section. Heavy labeled windows, in a solid stone front, marked the three next stories, and clustered windows, deeply recessed, appeared as dormers. The cor- nice, roof and parapet presented exceedingly fine work. At the northeast corner of La Salle and Randolph streets were the large printing offices and binderies of the period. The building was a five-story-and-basement one, with square door and window openings, capped by deep cornice carried on modillions. On the southeast corner of Clark and Randolph streets was one of the finest stone busi- ness blocks in the old city. The corded molding for window frames was introduced here extensively, and carried round every door and window and even attached to the Corinthian columns and pilasters supporting the roof of the balcony. The portico was marked by two Corinthian columns, with corresponding pilasters, supporting a heavy entablature. The quoin stones, cornice, portico and balcony of this block attracted the attention of visitors from Wood's Museum across the street, which was in itself an important, building. The Merchants' hotel, formerly the Stewart house, occupied the northwest corner of State and Washington, and Crosby's building stood next north. The latter, a brick building, was connected with the Opera house, and in architectural design conveyed an idea of the grand building on Washington street. The hotel was a five-story-and-basement brick house. Four Corinthian columns with corresponding pilasters carried a square-balustered balcony. The rectangular windows of the second, third and fourth stories were all heavily labeled, but the fifth or attic story, marked by an abbreviated cornice, showed twelve Norman windows. Between the arches of these windows rested the base of the heavy modillions which carried a heavy cornice. The houses north to the bridge were three and four-story bricks, witli the exception of a three-story frame gabled house just north of the Crosby building. Volk's monument yard and studio, the great pilastored front of Tobey's furniture store and the street railroad company's offices occupied the southeast corner of State and Washing- ton streets. The Volk dwelling, with its Colonial dormer and chimneys, and the ornamental glass addition in front, left the Tobey building in possession of all the architectural beauties of that quarter. St. Stephen's Protestant Episcopal church purchased an old house, in 1805, which was moved to Forquer street near Blue Island avenue. TIIE BUILDING INTERESTS. Ill The Eighth Presbyterian society erected a house on the northwest corner of Robey and Washington streets in 18(55. Early in 1866 it was moved and the beginnings of u $32,000 building made. In 1885 the second building was refitted and restored. Grace Methodist Episcopal society built a house on La Salle avenue and Chicago avenue in 18634 at a cost of $25,000. In 18668 a larger house was erected of rock-faced stone in the Anglo-Gothic style, with square tower in center and heavy buttresses running to minarets at corners. The tire destroyed the side walls, but left the rear walls and tower comparatively uninjured. The Olivet Baptist church erected a large house on the east side of Fourth avenue, be- tween Polk and Taylor streets, in 1865-6, at a cost of $18,000, but it was burned up in the fire of July, 1 874. It j>ossessed a few architectural points. In 1865 the Jefferson street building and lot of the Canal Street Methodist Episcopal society, were sold for $16,000 and in 1866 W. W. Boyington's plans for the Centenary Methodist Episcopal church ou West Monroe street near Morgan were accepted. This $80,000 building was completed in 1868. The St. Boniface German Catholic congregation erected a small building on Cornell and Noble streets in 1865 at a cost of $2,500. The Fourth society erected a church and school building on Noble street and Chicago avenue in 1864. In 1866 a larger church house was built on this site. In 1865 the First Synagogue sold lot and building, and purchasing a church building (Grace Church Protestant Episcopal) at the corner of Wabash avenue and Peck court, used it as a synagogue until the great fire swept it away. In 1865-6 the heavy rock-faced stone Celtic building on Dearborn avenue and White street was erected for the New England Congregational society. The tire of 1871 appears to have approved this attempt at "true exterior decoration, and so spared the walls while de- stroying the roof, floors and interior decorations. In 1874 the work of restoration was begun and in December, 1875, completed. The Free-Will Baptists erected a frame house on Peoria and Jackson streets in 1864, and in 1865 a larger building was erected there. It was burned December 7, 1865, the night of its dedication. In 1866 a third house was erected; but the primitive appearance of that frame barn could not be tolerated very long, and hence a new building was erected on Looinis and Jackson streets in 1869-70 at a cost of about $25,000. In 1866 the North Unitarian church society merged into the Liberal Christian League, and in 1868-9 the double-tower stone house, on Dearborn avenue and Walton place was brought into existence and the old frame building sold to the North Baptist society. The new building cost about $210,000. The great fire left the heavy walls and towers uninjured; but swept away the steeples, roof, floors and windows. In 1872-3 the work of restoration was carried on, and over $90,000 were expended. St. Mark's Protestant Episcopal church on Cottage Grove avenue and Thirty-sixth street was built in 1867, at a cost of 8,000. Fire damaged the house in 1880, but it was at once restored and a few years after enlarged. 112 INDUSTRIAL CHICAGO: The North Baptist society erected a house on Dearborn and Ohio streets in 1858. This was moved in 1864 to Dearborn and Superior streets. In October, 18(57, the society took pos- session of the Unity church on Dearborn avenue and Chicago avenue, which fell in the tire of 1871. Potter Palmer's building, occupied by Field & Co. before the fire, was one of the mile stones of architecture, and Booksellers' Row, the leading book mart of the Northwest, if not of the United States, one of the ornamental buildings of the city. They were constructed of Lemont stone. They were undoubtedly elegant buildings for the Chicago of 1856-71; but to-day their plain ashlar .work and attempts at decoration would not win the admiration of a hodman. The fire lapped them up. The five-story stone-front (Athens marble) building, which stood at 15-29 Randolph street, up to October 9, 1871, was erected in 1866, at a cost of $400.000, for the Bowen Bros. Three years before this, each of the brothers erected a stone- front dwelling on Michigan avenue^Nos. 124, 125 and 126 thus giving a few of the first important biiildings to the city. The house on Randolph street was five stories in height, but, like the dwellings on Michigan avenue, it was destroyed in the great fire. The style was Italian, but of a mixed character. The large church building on the southeast corner of Twelfth street and Newberry avenue, erected in 1867 for the congregation of St. Francis d' Assisium, was a substantial brick struct- ure 66x160, Gothic in style, with buttressed walls rising 45 feet. "In 1875 the steeple, 90 feet high, springing from the square tower, was constructed. In 1867 the Welsh Calvinistic Methodist Episcopal church sold their cabin of cold and heat for $8,400, and purchased the lot, 75x95 feet, and house thereon, on the northeast corner of Sangamon and Monroe streets, from the American Reformed church, and in January, 1868, moved into their house. In 1856 the second German. Emanuel church society erected a house on Chicago avenue and Wells street, which, after the schism of 1867, was sold and a new house erected on Wis- consin and Sedgwick streets, at a cost of $7,000 or $8,000. That house was destroyed in 1871, but soon after a $9,000 structure stood on the old foundations. In 1866 the Christians purchased the old St. James Protestant Episcopal building on the north side and moved thither. Their own building of 1858 was sold to the new St. Stephen's Protestant Episcopal society, who moved it to a point on Canal street, south of Harrison. The Christians, in 1868, abandoned the north division, and purchasing another old building, known as St. Luke's Protestant Episcopal mission house, on Wabash avenue and Sixteenth street, (this building was, originally, the Universalist church, and subsequently the Olivet Presbyterian house) moved thither. In 1867 the Plymouth Congregational society completed a building on the southeast corner of Wabash avenue and Eldridge court, at a cost of over $100,000. This building and grounds were sold in 1872 to the Catholic bishop for $80,000. As a Catholic building it is the successor of the first church ever erected here, and bears the name, St. Mary's. The style of architecture is a peculiar Norman-Gothic. The front and sides present an THE BUILDING IXTKHKST*. 113 adaptation of the east end of Ely (England) Cathedral and of the front of Zaniora Cathedral, hut the adaptation is seldom introduced in Catholic buildings and its presence in this instance is due to the original owners. It is a rock-faced stone building of buttresses and pinnacles, with shallow transepts. Corresponding with what should be a clearstory, are two light towers with ornamental spires, abat-vents or fiuials and pendentives or hanging buttresses. From the cornice of the towers springs the front gable. Corresponding with the comers of the aisles are heavy angle-butt ressess each carrying an enriched pinnacle, and on the point or apex of each gable is an acroteria, which originally formed the base of an ornament, but now supports the Roman cross. The entrance is early English or Norman, with heavy quoin stone piers and stilted arch, set in projecting masonry with gabled cap, a miniature of the great gable. Between each of the towers and the heavy angle buttresses, a smaller entrance is found, the arch of which is not so stilted. The windows in the lower story are all labeled; above they show the arch stones and heavy keystone, and may be termed Norman lancet or Early Gothic windows. The Fifth Presbyterians erected a house on Twenty-eighth street, east of Wabash avenue, in 1867-8, at a cost of $5,000. The style was nondescript. The Indiana Avenue Methodist Episcopal church building, south of Thirty-second street, was erected in 1807. In 1871 this frame house was sold and a lot on Michigan avenue acquired, whereon a new house was erected in 1871-2, now known as the Michigan Avenue Methodist Episcopal church a red brick house with the slightest pretensions to Norman architecture. The First Scotch Presbyterian house was erected in 1868 on the corner of Adams and Sangamon streets. It was as plain a building as it was cheap. The Thirty-first street Pres- byterian church built a small frame house at the corner of Wabash avenue in 1808. It was well designed and constructed. The Western Avenue Baptist church house was erected on the avenue whence it takes the name, and Warren street, in 1868. In later years the little house was improved. Bethany Congregational clmrch, on Paulina and Second or Huron streets, erected a $3,000 house for worship in 1868. In 1869 a large brick house was erected on Ada street north of Lake street by the Owen Street Methodist Episcopal church. In 1860-71 the present beautiful house of the Congregational society, fronting Union Park, was erected at a cost of 1125,000. Lake Superior sandstone forms the exterior of the walls. Improvements brought the total cost up to $200,(XX1 and gave to this central district of the great west division a piece of architecture far in advance of the times. In 1869 a large building was erected on Indiana avenue and Twenty-sixth street, at a cost of $26,800, for the South Congregational society. In 1872 this society was merged into the Plymouth church and the same year the combined churches erected the large building on Michigan avenue south of Twenty-fifth street. The United Presbyterian Memorial Church house on Monroe and Paulina streets was erected in 1869 at a cost of $30, (XX). It is a brick rock- faced structure with high basement. The style is semi-Gothic and Aryan throughout, the three front entrances and the ornamental windows in the gables relieving its simplicity. 114 INDUSTRIAL CHICAGO: In 1869 a building for school and church purposes was erected by the First Baptist society on Division and Sedgwick streets at a cost of $30,000. That went down in the great fire. A brick house for the Reformed Presbyterian church was erected at a cost of $15,000, was sold in 1809 and a $12,0(X) frame house erected on May and Fulton streets. This latter building was a substantial structure and architecturally in consonance with the west division of that day. A stone church erected on Wabash avenue, north of Fifteenth street, for Grace Prot- estant Episcopal church society, was completed early in 1869 at a cost of $100,000. This new stone Gothic church, now 66x130 feet, with its tower and spire, is an attractive building. The tornado of May, 1876, swept away the spire and otherwise damaged the structure. In 1869-70 the large brick building, 65x125 feet, on the corner of Sangamon and Harri- son streets, was erected for the Berean Baptist church at a cost of $45,000. This was the first true attempt at ecclesiastical architecture in Chicago by the Baptist denomination. The front, including the two flanking towers, was seventy -five feet in width and became known as the Fifth, and subsequently as the Temple Baptist church. In 1868-9 a new building was erected for the Bethel society on Michigan street east of Market street at a cost of $25,000, which was destroyed in October, 1871. In 1 869-70 the new house of the First Congregational society, on Washington and Ann streets, was erected at a cost of $180,000. The audience room had a seating capacity of 2,000 together with a gallery capacity of 700. Seven entrances formed one of the features of this building. Fire destroyed the house in January, 1873, but the work of rebuilding was at once commenced, and after the expenditure of $105,000 on house and equipment it was com- pleted in February, 1874. Trinity Methodist Episcopal church on Indiana avenue and Twenty-first street was built in 1863, but seven years later sold to the Presbyterians, and a lot on Indiana avenue and Twenty-fourth street purchased. On this lot a house of worship was erected in 1870-2. In 1870 the ground whereon the Wabash Avenue Baptist church of 1856 stood sold for $3S,000, and the work of building a larger house on Michigan avenue south of Twenty-third was entered upon. The house was destroyed in 1879, but soon after was restored at a cost of $85,1 X)0, and the name Immanuel church betowed upon it. As Dr. Lorimer's church it had the greatest seating capacity of the Baptist houses in this city. It was partially burned May 24, 1891. St. Anne's original church building was the Jewish synagogue moved from Third avenue and Harrison street to the southeast corner of Wontworth avenue and Fifty-fifth street in 1869 for the use of the Catholic congregation. That building was blown down in the storm of 1870, but re-erected at once. The Insurance Building, 155-161 Washington street, was completed in July, 1870, after plans by J. M. Van Osdel, at a cost of $100,000. Amher.st stone was used in its construe tion. It was a four-story and high-basement house, with Corinthian attached columns, THE BUILDING INTERESTS. 115 square, heavily labeled windows, two entrances with f rentals, galleries, corona and pedi- ments above. The Holland Presbyterian church, erected a small house on Noble and Erie streets in 1870. The Langley Avenue and Thirty-ninth Street Methodist Episcopal house was erected in 1870, at a cost of $12,000. In 1870 the work of building a house for St. John's English Protestant Episcopal society, in keeping with the times, was entered upon. This native stone building was com- menced on the northwest corner of Ashland and Ogden avenues, to cost about f 100,(HX). The Third Presbyterian society completed it, but it was burned in 1887. The Chicago Medical college building on Prairie avenue and Twenty-sixth street, erected in 1870, at a cost of $30,000, is noted for its two amphitheatres and modern lalxjra- tories. Hahnemann Medical college building was erected in 1870, without much regard to the letter or spirit of architecture. It is a large three-story-and-basement brick house, minus exterior ornamentation. In 1858 St. Columbkill's congregation raised a small frame house on the corner of Indiana street and Paulina street. This house was used until the completion of the present Romanesque structure, which was begun in 1871, and completed in 1877. The building cost about $150,000. The first United Presbyterian church house was built in 1871, on the corner of Monroe and Paulina streets. The University Place Baptists built a brick house on Thirty- fifth street, at the head of Rhodes avenue in 1871. It was an outrageously common-place affair. In 1871 the construction of the present large house of the Norwegian Evangelical Lutheran society, Our Savior, was commenced and completed at a cost of $40,000. That it is large and has a seating capacity of 1,200, is all that may be said of it. It presents a few architectural points, however, and is very much superior to many of the buildings erected in those days of great houses. The fires of October, 1871, came to blot out forever the works of forty years, in the south and north divisions of the city, to destroy the little that was beautiful as well as the mass that was odious in the eye of art. Those fires were fortunate events for the Garden City, as a whole, and none profited directly by them, so much as art and architects, for the flames swept away forever the greater number of monstrous libels on artistic house-building, while only destroying the few noble buildings, of which Old Chicago could boast. The doings of the fire-god here in 1871, were quick and sure, as Whittier expressed it: " On three score spires had sunset shone, Where ghastly sunrise looked on none; .Men clasped each other's hands and said: The City of the West is dead." The great tire was foreshadowed twenty-four hours by the destructive blaze on the west side. The tire of October 7, 1871, originated in Lull & Holmes' planing-mill, 205) Canal street, 116 INDUSTRIAL CHICAGO: near Van Buren street, a brick building, and burned an area of about twenty acres, or three- fourths of the area between Clinton and Canal, south toward Van Buren; nine-tenths of that between Canal street and the river in the same direction; all the area bounded by Canal street and the river and Adams and Jackson streets; seven-eighths of the area between Canal and Clinton and Adams and Jackson streets, where eighty feet on Adams and 128 feet on Clinton only were left; while on the east side of Canal street, north of Adams street, the 100 feet of the Express Company's sheds were destroyed. The mill where the fire originated; a row of frame dwellings ten in number, belonging to A. Watson, on Jackson street, between Canal and Clinton; Nos. 176, 178, 180, 182, 184, 180 Clinton; Haltslander & Randall's sash, blind and box factory, adjoining the city track-house, with many small buildings in the rear, were swept away, and the body of a dead woman cremated. On Canal street were destroyed Nos. 189, 191, known as Weigle's vinegar works, the Lull & Holmes mill, Foster's box fac- tory in rear; the Racine Hotel, No. 210; the Union wagon works, 190; Chapin & Foss' shingle and lath mill, Nos. 220-228; Sheriffs & Son's lumber yard, 21(5-218; the tenement houses at 214 and 212; Holbrook's coal yard, No. 176; Lamon & Cornish's yard, just north of the rail- road blacksmith shops; the Wilmington Coal Company's yards. Houses Nos. 38, 42-44, tinder-boxes on the south side of Adams street, and 1(K) feet of the flooring of the viaduct just completed were burned, with several smaller buildings. The great fire of October 8-9, 1871, originated in a barn on De Koven street, and resulted in the destruction of property valued at about $190,000,000. The stormy character of that Sunday night, the inflammable character of the buildings, and the utter failure of the fire department contributed to almost the total destruction of the two principal divisions of a great city, of which Bret Harte wrote: " Like her own prairies by some chance seed sown, Like her own prairies in one brief day grown, Like her own prairies in one fierce night mown." The fire was first observed at 9 o'clock on the evening of October 8, 1871, and within six hours had seized hold of the business center and north division. To point out more clearly the inflammable character of Old Chicago, the following table, showing the hour at which the principal houses were seized upon by fire, will be only necessary. The first given was destroyed on October 8; the next fifty-seven on October 9, and the last named on October 10: Point of origin, 237 De Koven street 9:00 r. M. Miller's jewelry store 3:30 A. M. Wood's Museum 3:00 A. M. Bryan block 3:30 " Heed's Temple of Music 3:00 " Oriental building 3:30 " Matteson house 3:00 " I). B. Fisk's Millinery house 3:30 " Waterworks, three miles northeast of \\Vtlierell Milliner}' house 3:30 origin of lire 3:00 " State street bridge 3:30 " Courthouse 3:30 " Lill's brewery 3:30 " Chamber of Commerce 3:30 Galena elevator 3:30 " Tremont house 3:30 " North Presbyterian church 3:30 " Evening Journal office 3:30 " Sherman house 4:00 " American Express and Western I'nion Hooley's Opera house 4:00 " Telegraph offices 3:30 Brig.irs house - 4:00 " THE BUILDING INTERESTS. 117 Field, Leiter & Co.'s store 5:30 A. M . Historical Society's building and books. .6:00 " Bigelow hotel 6:30 " Morse, Loomis ifc C'o.'s building 6:30 " Lombard block 7:00 " McVicker's theatre 7:00 " St. James hotel 7:00 " Turner hall 8:00 " Great Union depot 8:00 " Book Sellers Row .' 8:00 " Tribune building 8:30 " Drake block (Drake & Farwell) 9:00 " Orient house 9:00 " Palmer house 9:00 " Academy of Design 9 :30 " Robert Collyer's church 10:00 " Terrace Row 11:50 " Dr. Foster's house, 4}^ miles from origin..5:00 " Metropolitan block 4:00 .\. M. Farwell hall 4:00 " Pacific hotel 4:00 " Belding block 4:00 " McCarthy's block 4:00 " McCormick block 4:00 " Clark street bridge 4:00 " Hock Island depot 4:00 " State Savings Institution 4:30 " Otis block 4:30 " Doty's Billiard hall 4:30 " Rush street bridge 4:30 " McCormick's Reaperworks 4:30 " Garrett block : 5:00 " Crosby's Opera house 5:00 " First National Bank 5:00 " llouore blocks (2) 5:00 " Rush Medical college '. 5 KX) " Giles Bros, jewelry store 5:30 " The principal business blocks destroyed, not named in the foregoing list, were the Arcade, on Clark and Madison, $75,000; Keep's block, close by, on Clark street, $65,000; Pope's two blocks on Madison, near Clark, $160,000; Raymond's, on Madison, corner of State street, $100,000; Reynold's, on Madison and Dearborn, $150,000; Stone's, on Madison, near La Salle, $30,000; Berlin's, on State and Monroe, $15,000; Palmer's, on State and Wash- ington, $175,000; Turner's, on State and Kinzie, $50,000; Wright's, opposite last named block, $30,000; Wicker's, State and South Water street, $60,000; Boone's, on La Salle, near Washington, $15,000; the Commercial, on La Salle and Lake, $50,000; Link's, on opposite corner, $60,000; Marine bank, on opposite corner, $75,000; Magie's, southwest corner La Salle and Randolph, $50,000; Major's, on La Salle and Madison, $150,000; the Mercantile, on La Salle, near Washington, $100,000; the Phoenix, on La SaUe, near Randolph, $40,000; Republic Life Insurance building, on La Salle and Arcade court, $350,000; Steele's, on La Salle and South Water streets, $60,000; Tyler's, near Steele's, $55,000; the Union, on La Salle and Washington, $120,000; Bowen's, on Randolph, near Michigan avenue, $200,000; the Depository, on Randolph, near La Salle; McCormick's, Randolph and Dearborn, $100,000; Scammon's, on Randolph and Michigan avenue, $130,000; Lloyd's, Randolph and Wells, $100,000; Burch's, on Lake, near Wabash, $120,000; Cobb's. Lake and Michigan, $180,000; Exchange bank, Lake and Clark, $80,(MX); the Lincoln, on Lake and Franklin, $30,000; Calhoun's, on Clark, near Madison, $30,000; Dole's, on South Water and Clark, $30,000; Ewing's, on Clark, near Kinzie, $75,000; Larmon's. on Clark and Washington, $25,000; Loomis', on Clark and South Water, $30,000: Monroe's, on Clark and Monroe, $60,000; Morrison's, close by, $100,000; Morrison's, on Clark, near Washington, $40,000; Smith & Nixons', on Clark and Washington, $200,000; Purple's, on Clark and Ontario streets, $100,000; Uhlich's hall, on North Clark, $55,(MH); Chicago Mutual Life Insurance building, on Fifth avenue, near Washington, $30,000; Commercial Insurance Company's building, on Wash- ington, near La Salle, $40,000; Fullerton's, on Washington and Dearborn, $60,000; King's, 118 INDUSTRIAL CHICAGO: opposite, $30,000; Mechanics', on Washington, near La Salle, $50,000; Portland, southeast corner Washington and Dearborn, $100,000; Volk's, on Washington, near Franklin, $15,000: Merchants Insurance Company's building, Washington and La Salle, $200,000; De Haven's, Dearborn, near Quincy, $35,000; Dickey's, Dearborn and Lake, $50,000; Masonic, on Dear born, near Washington, $50,000; Rice's, Dearborn, near Randolph, $100,000; Shepard's, on Dearborn, near Monroe, $80,000; Speed's, on Dearborn, near Madison, $50,000; Walker's, on Dearborn, near Couch place, $00,000; Kent's building, on Monroe, near La Salle; $55,000; Newberry's, on Wells and Kinzie, $50,000; Norton's, South Water street, near Fifth avenue, $25;()00; Newhouse's, on South 'Water street, near Fifth avenue, $(50,000 ; Pom- eroy's, on South Water, near La Sallo, $30,000; Sand's brewery, $100,000, and the City National bank, $50,000. One of the two large Illinois Central grain elevators was saved from the tire fiend. When the flames wore licking up the other a tire engine, intended for the fire department of Beloit. Wis., was seen standing on a flat car. An employe of the eastern manufacturer volunteered to assist in unloading it, and subsequently got it in readiness for work. The Chicago fire men attached the hose, and by taking suction from the lake, supplied the uninvited but wel come guest with enough water to drown the flames which had already attacked the belling inside the door. This groat elevator building was saved and the engine, which was the means of saving it, was purchased by the lessees J. and E. Buckingham, the people of Beloit assent- ing. The municipal losses in the tiro of 1871 were as follows: City hall and furniture $470,000 Damage to street pavements 211,350 Machine shops and machinery (water-works) 25,500 Damage to sidewalks 94 1 ,.'!si ) Engine-house and machinery " 75,000 Damage to river tunnels (i,000 Reservoirs 20,000 Damage to lamp posts 8;>,000 Stopping leaks 15,000 Damage to public docks (i,000 Repairing fire hydrants 10,000 Removing hulls from river 7,800 Repairing meters 6,000 Loss on records, maps, etc 5ii.Hl ill Loss in pumping waste water 97,410 Loss on city offices 4(Hl,(iO(i Damage to sewerage 42,000 Loss on bridges and viaducts 204,310 Total estimated city loss ,f 2,080,s:><; The county lost courthouse and all the public buildings; but the heaviest loss was that of the records, a calamity which has cost the people of city and county large annual expen- ditures. One of the heaviest losers by the tire was the Catholic diocese of Chicago. Many elegant church and school buildings, valued at over $2,000,000, went down in the conflagration. The Church of the Holy Name, northeast corner State and Superior streets, I ( ,)(>x75 feet, which cost $300,000; the residence, No. 148 Cass street, which cost over (5,000; the two school buildings cost $24,000; St. Mary's, corner of Madison and Wabash, 1 10x50 feet, cost $40,000; the church of the Immaculate Conception, North Franklin street, near Schiller. 110x50 feet, with residence cost $25,000; and the school building $12,000; St. Michael's church, Linden and Hurlbut streets, 200x80, cost $200,000; St. Rose of Lima; St. Joseph's church, Cass and Chicago avenue, l:{0.\55 feet, cost $100,000; St. Louis church, Sherman THE m r ILIUM: ISTEUKXT*. 119 in-ill- Polk street, 110x41) feet, cost $10,000, and the school buildings, $5,000; St. Paul's church, Clinton and Mather streets, 100x40 feet, with residence cost $'20,000, and the school buildings, $5,000; the Christian Brothers' academy, corner of Van Buren street and Fourth avenue, cost $80,000; St. Francis Xavier's academy of the Sisters of Mercy, on Wabash, south of St. Mary's church, with House of Pro vidence)\ cost $120,000; Convent of Notre Dame, adjoining St. Michael's church; the Redemptorist convent, 190 Church street, with large parish school, cost $32,(XK); the Benedictine monastery and the Benedictine convent and schools, Cass and Chicago avenue, cost $51,000; the Alexian Brothers' hospital, 540 North Franklin street, cost S40,(W)0; the Orphan asylum, Superior and State streets, cost $30,000; the House of the Good Shepherd, North Market near Division street, cost $80,000; the House of Providence, 301 Huron street, under the Sisters of Charity, $4,000; the Bishop's palace on Michigan avenue and Madison street, cost $40, OCX). The church buildings of Protestant congregations destroyed were: North Baptist, north- east corner of Chicago and Dearborn avenues; Olivet Baptist, colored, Fourth avenue, south of Polk, now part of Dearborn depot; Swedish Baptist, 10 and 12 Oak street; North Star Baptist, corner of Division and Sedgwick streets; Mariners' Bethel, Michigan street, near Market; New England Congregational, corner White and Dearborn; Lincoln Park Congrega- tional, corner Center avenue and Church street; Church of Our Savior, English Episcopal, corner Lincoln and Belmont avenues; Church of the Ascension, English Episcopal, corner La Salle and Elm streets; St. Ansgarius, Swedish Episcopal, corner of Indiana and North Franklin; St. James, English Episcopal, corner Cass and Huron streets; Trinity, English Episcopal, Jackson, between Wabash and Michigan avenues; Trinity mission, English Epis- copal; Second Evangelical church; Cooper's Independent church; Free Evangelical; English Lutheran church, Ontario street; First German Evangelical Lutheran; St. Paul's German Evangelical Lutheran Trinity; First German United Evangelical Lutheran; Paul's Illinois Street Independent mission; Jewish church of the north side; Kehilath Benai, Wabash avenue and Peck court; Bnag-Sholon (Jewish), corner Harrison and Fourth avenue; Sinai congregation, corner Van Buren and Third avenue; First Methodist, 008 North La Salle street; Wabash Avenue Methodist (scorched), corner of Harrison street; Grace Method- ist, northeast corner of Chicago avenue and La Salle street; Grant Place Methodist, corner of Larrabee street; Dixon Street Methodist, near North avenue; Van Buren Street German Mt-thodist, near Clark street; Clybourne Avenue German Methodist, 51 Clybourne avenue; First Scandinavian Methodist, 33 Illinois street; Grace Scandinavian Methodist; Huron Street Bethel : Bethel African Methodist and Quinn's African Methodist. Among others were the lirst Norwegian Evangelical Lutheran, corner of Erie and Franklin streets; Swedish Evan gelical Lutheran; First Presbyterian, corner of Wabash avenue between Congress and Van Buren streets: Second Presbyterian, corner of Wabash avenue and Washington street; Fourth Presbyterian, corner of Cass and Indiana streets; Westminster Presbyterian; Fuller- ton Avenue Presbyterian, near North Clark street; North Presbyterian; Orchard Street Pres- byterian; Presbyterian mission; Erie Street Presbyterian; Burr Presbyterian; Tammany 120 INDUSTRIAL CHICAGO: Hall mission; Bremer Street Independent mission; Newsboys' Independent mission and home; Swedeuborgiaii Temple of the New Jerusalem, Adams street between Wabash and Michigan avenues; North Swedenborgiau mission, junction of La Salle and North Clark streets; Unita- rian Church of the Messiah (R. L. Collier's), corner of Wabash avenue and Hubbard court; Unity church (Robert Collyer's), corner of North Dearborn and Whitney streets; St. Paul's Universalist, corner of Wabash avenue and Van Buren street; First Scandinavian Congrega- tional church, corner of Indiana and Michigan streets. The school buildings destroyed were: Dearborn, on Madison west of State street; Jones, on the corner of Harrison and Clark streets; Kinzie, on corner of Ohio and La Salle; Franklin, on corner of Division and Sedgwick; Ogden, on Chestnut street west of North State street; Newberry (scorched), on corner of Orchard and Willow streets; Pearson Street Primary, on corner Pearson and Market; Elm Street Primary, on corner of Elm and Rush; North Branch Primary; La Salle Street Primary, north of North avenue between La Salle and Clark streets; Third Avenue Primary, between Third and Fourth avenues, near Twelfth street; First Lutheran school, First United German Lutheran school, St. Paul's Second and Third school, Italian school, German and English school. The hospitals destroyed were the Women and Children's Protestant Deaconess' hospital, United States Marine hospital, Jewish hospital, Newsboys and Bootblacks' home; Nursery and Half Orphan asylum, corner Wisconsin and Franklin streets; St. Paul's Presbyterian Orphan asylum; Charitable Eye and Ear infirmary, 10 East Pearson street; Small-pox hos- ' pital, North avenue on lake shore and the hospitals and orphanages of the Catholic diocese. The Wabash Avenue Methodist church, erected in 1857, was the only building left standing, October 9, 1871, on the west side of the avenue, north of Harrison street. Therein the Chicago postoffice was established December 9, 1871. As if regretting its neglect to destroy this building, the fire-tiend returned in July, 1874, and burned it up. The O'Leary cottage escaped destruction and remained for some years, until torn down to give place to the stone front building of Anton Kolar. In 1881 a marble slab was placed in this stone front with the following inscription: The Great Fire of 1871 Originated here and extended to Lincoln Park. Chicago Historical Society, 1881. Mahlon D. Ogden's frame dwelling on the square, bounded by Oak street, I)carlx)rn avenue, Clark street and Washington square, was saved through the efforts of neighbors. The little frame house of Policeman Bellinger, between Sophia street and Webster avenue, on Lincoln place, was saved by the owner. The walls of the new Nixon block on Monroe and La Salle, and those of the Lind block on Market street, withstood the tire. The former, owing to its stone and brick walls, protected joists, and the latter, owing to its isolated position. The walls of a few other buildings, such as the First National bank and the postoffice. on the northwest corner of Dearborn and Monroe, while damaged, were not rendered useless. In the case of the jstotKce, they had to be taken down in lofo. to make way for the First THE BUILDING INTERESTS. 121 National bank building in 1882. The Illinois Central elevator, hitherto noticed, was saved, owing to the presence of a tire engine and the location of the building near the water. The Engineering and Mining Journal published in October, 1871, drew attention to the dangers of frame or non-tireproof buildings, while the American Railway Times suggested the application of the French system of fireproofing. The first named journal pointed out the fact that occasional fireproof buildings cannot protect even their own occupants, where dangerous accumulations of combustible materials are permitted in the neighborhood; that people cannot shut themselves up in their massive palaces and safely ignore the frame tene- ment houses in the next block. In closing a well written editorial the Journal says: " Chi- cago will rise again. She cannot surpass in her second youth the glory of her first. We look to see not greater splendor in her chief buildings, but greater solidity and security in her meanest ones." When the above was written no man conceived Chicago of the present. True, the great west division of the city was comparatively unscorched, and came into use and notice October 9, 1871. The writer in the Journal considered only the south and north divisions in his editorial, and, as shown, he seemed pleased with the form and arrangement of the houses, while displeased only with the material used in their construction. Even he never slept to dream of the changes in material and architecture which a few years would introduce, and could not look forward twenty years to see fireproofing methods applied to the homes of the people as well as to the large business blocks and noble public buildings. The fire of October 8-9, 1871, destroyed 20,000 buildings. It spread over an area of 2,100 acres, deprived 100,000 people of their homes, entailed a loss of over $19(),0(X),000, and blasted the foundations on which thousands had built hopes for a competence in their old age. It was disastrous to thousands it was beneficial to other thousands and of incalculable benefit to the community as a whole. Like the Revolution, the injury to a few resulted in freedom to over 62,()(Kt,000, and wrought changes, the material worth of which can never be measured, can never be estimated. A city went down in flames to give place to a greater city, and to introduce, as it were, a new race of workers, of builders, of architects. Among the members of the architects' circle who shared in designing this city after the fire, were W. L. B. Jenney, G. P. Ran- dolph & Co., S. M. Randolph, J. W. Ackerman, Armstrong & Egan, Wheelock & Thomas, John M. Van Osdel & Co., Otto H. Matz, E. S. Jennison, Cochrane & Miller, W. W. Boying- ton, Burling, Adler & Co., Cleveland & French, Carter, Drake & Wight, G. H. Edbrooke, Dixon & Hamilton, De Forest & Fisher, A. J. Kinney, R. Rose, S. V. Shipman & Co., Smith & Boynton, Cyrus Thomas, Austin & Llandon, Barton & Treadwell, G. Zucker, York & Ross, Tilley & Longhurst, Treat & Foltz, Henry L. Moore, Henry L. Gay, George O. Garnscy, VV. A. Furber, J. Clifford, Robert Schmid, T. V. Wadskier, William Arend, J. R. Willott, Payne & Gray, L. G. Laureau, Merriam & Street, Falkner, Floyd & Clark, William W. Brand, Chaplin & Sage, Bolton & Sickel, S. F. Steward, S. P. Russell, John Tully, C. A. Al.-x ander, F. & E. Baunian, Bauer & Loebnitz, Fred. W. Wolf. L. C. Welch, James Berrian, J. K. Winchell, George H. Johnson, W. H. Phelps, J. R. Neff, O. G. Smith, Richard C. Blum, \ 122 INDUSTRIAL CHICAGO: Victor Roy, Stillburg <& Dennis, Tully & Osborne, J. H. Bigelow, Cass Chapman, C. O. Hanson, Horsey & Sheard, Theo. Karls, H. S. Jaffray, Cudell & Blumenthal, B. & W. C. Corlies, John Wierbienisc, J. S. Johnson, Hodson & Brown, C. H. Gottig, W. G. Olive, G. W. Osborue, L. D. Cleavelaud, A. L. Robb, H. Van Lagen, Copeland & Weary, Geast, John- son & Co., Dillenburg, C. W. Laing, H. Meissner, Myer Goldsmith, G. M. Howks, William Thomas, Roger & Lyon, C. M. Palmer, O. H. Placey, H. Rehwoldt, and a host of younger men acting independently or under the direction of the older architects. The old architects vied with the new in designing truly and, within a year or two, gave to the south division, north of Van Buren street, many pieces of architecture, in stone and brick, worthy of the oldest and most prosperous American community of the time. The tire of October 8-9, 1871, while originating in the west division, damaged only a part of that poorly built portion east of Jefferson street, lying between De Koven and Adams. Before a year had passed over, eighty-eight substantial brick or stone-front buildings and 107 frame houses occupied the places of the rickety structures of the past on the west side. On Clinton street, No. 261, Collins & Burgie's stove factory, a four-story brick, was erected at a cost of $80,000; LowenthaPs store, on the southwest corner of Canal and Van Buren streets, $15,000; the Townsend building, 41 to 67 Van Buren, was built at a cost of $00,000 to a height of two stories, the material used being Milwaukee pressed brick; the three- story brick house at 400 and 402 Canal street cost $20,000; the buildings of Soper & Brainard, on Taylor and Beach streets, cost $137,500. The Chicago & Alton Railroad Company's offices at the viaduct, on Van Buren, cost $50,000, and their freight house, $80,000; the Union Star Line freight house, on Van Buren and Canal, cost $25,000; Muller's coal office, on Van Buren and Charles streets, $20,000; Aultman's warehouse, on Mather and Beach streets, $15,000; buildings on the southeast corner of Canal and Polk streets, $12,300; Burkhardt's excelsior machine shop, on the opposite corner, $10,- 000; Keeley's building, 209 to 301 Canal street, $15,000; the Frank Douglass block, on Canal near Van Buren, $20,000; the W. A. Jones block, 273 and 275 Canal street, $10,IHH>; the N. W. Horse Nail Company's building, Van Buren- and Clinton Streets, $15,000; Armour's meat market, on Jackson from Canal to Clinton streets, $60,000; O'Malley's build- ing, on the southeast corner of Jackson and Clinton streets, $20,000; L. H. Hunt's furniture factory, $15,000, and Mayer & Co.'s, on Clinton near Harrison street, $18,000. A few smaller brick houses were erected during the year and a number of large frame stores and dwellings. From October 10 to November 24, 1871, there were 318 permanent stone and brick buildings erected in the south division, showing a frontage of 3^ miles, or 17,715 feet. Of this total, buildings were erected on the several streets equal to the number set opposite the street names in the following list: River street 7 Monroe street 26 Polk street 1 La Salle street 4 South Water street 12 Adams street 2 Michigan avenue .... 8 Fifth avenue 6 Lake street 10 Quincy street 1 Wabash avenue 17 Franklin street 9 Kaudolph street (i Jackson street 1 State street 24 Market street 3 \\asliiiiirtonstreet 6 Van Buren street.. .. 1 Dearborn street Miscellaneous 21 Madison street 29 Harrison street 2 Clark street l(i Total . . 318 THE BUILDING INTERESTS. 123 The Tribune of October 25, 1871, in its notes on progress, refers to the architectural difference between the Old and the New Chicago. "A condition of enforced economy and a determination to secure massive permanency at the expense of elegant ornamentation, brought about an almost uniform plainness main walls of the imcertain-colored brick, com- mon to the Chicago of 1871, fronts of red or white pressed brick, or of the painted and pointed style, the trimmings of stone or iron and the cornices chiefly of brick. This excess- ively plain style, however, only obtains in the buildings now under way. The leading architects are perfectly swamped with plans for more elaborate structures, to be commenced early in the spring, so that the present is hardly the time to speculate on the appearance of Chicago, when rebuilt." The first office or business house erected after the fire, in the burnt district, was that built by W. D. Kerfoot outside the curb line of No. 89 Washington street, between Clark and Dearborn, in the forenoon of October 10, 1871. By October 19, the site of the old office-building was cool enough to permit the order for the removal of the temporary house to a i>oint behind the building line, to be carried out This was a board shed with two twelve- pane windows and a door of the usual size. The building permits issued from October 10 to October 26, 1871, for the erection of permanent brick and stone houses in the burnt district, form an historical list which the present as well as the future must value. The builders must be considered the pioneers of modern Chicago: I). Knowlton, Carroll street, lots 20, 21, 22, block 59, original town. James Ahern, Wells street, lot 3, block 101, school section. E. K. Rogers, Hiver street, sub-lots 1 and 3 and lot 3, block 1, Ft. Dearborn addition. J. C. Walter, Hiver street, lot 1, block 2, Ft. Dearborn addition. James C'lark. Market street, Nn. s.'i. K. S. Fowler, C'lark street, No. 77. J. C. Walter, Clark street, No. 79. Matt. Laflin, State street, Nos. 40, 42, 44, 46, 45, 47, 49. Matt. Latlin. Wabash avenue, Nos. 21,23, 25, 27, 29, 81, 33, 35. Matt. Latlin. Hiver street. No. 87. J. W. Morton, Hubbard court, adjoining 381 State street. Thomas Mac-kin, lots 15, 16, 17, block 42, school section, Dearborn street. Matt. LaHin, Washington street, Nos. 1, 2, 3. E. Inglis, Clinton street, lots 10 and 7, block 78, original town. I!. <;. Koodell. Clark street, No. 77. Freil Tuttle, Michigan avenue, Nos. 143 and 155. J. II. Hees it Whitney, Michigan avenue, lot 4, block 4, fractional section 15. Charles F. Berg. Lake street, lot 16, block 23, Carpenter's addition. C. <;. Smith. South Water street, lot 20, original town. A. C. Wood. Franklin street, lot 1, block 31, original town. <;. C. trussing. State street. Nos. 337, 339, 341, block 11, fractional section 15. A. (jr. Wright. Monroe street, No. 100. A. E. Bishop. Washington street, sub-lots 4, 5, 6, 7 of lots 7 and 10, block 46, original town. Edward Hunt, Michigan avenue, lot 4, block 4, fractional section 15. F. Tuttle. State street, Nos. :>8, 60 and 62. F. Tuttle, Lake street. No. 43. <;. S. Bullock. Wabash avenue, lot 10. block 17. Smith's addition. K. Blanchard. Clark street. No. 132. 124 INDUSTRIAL CHICAGO: W. Hansburgh, La Salle street, lots 5 and 6, block 56, original town. E. N. Blake, Clinton street, sub-lots 8 and 9, lots 2 and 3, block 28, original town. J. S. Kirk, N. Water street, Nos. 358, 360 and 362. S. B. Howes, Michigan avenue, lot 10, block 26, section 27. S. B. Howes, Twenty-second street, lot 1, block 4, section 27. E. S. Pike, Monroe street, lots 3 and 4, block 141, school section. .1. B. Rice, Dearborn street, Nos. 75, 77, 81. Andrew Boltou, Will street, lot 1, block 99, school section. M. Greenebanm, N. Union street, lots 34 and 35, block 65, original town. A. H. Gannon, Clinton street, sub-lot 7, lot 2, block 28, original town. Z. Morrison, Clark street, lot 3, block 57, original town. C. Jevne, Halsted street, sub-lots 4 and 5, lots 19, 20 and 25, block (iS, original town. P. Schuttler, C'linton street, lot 1, block 49, school section. C. II. Quinlan, Clark street, Nos. 81 and 83. C. H. Quinlan, Washington street, Nos. 218 and 220. .1. F. Lemoyne, Clinton street, sub-lots 1 and 2, lots 1 and 4, block 27, original town. Mrs. A. Young, Wells street, lot 1, block 90, school section. Henry S. Chase, South Water street, No. 139. C. Growl, Jefferson street, lot 1, block 45, school section. W. Gunning, Wabash avenue, Nos. 666 and 668. M. Heath, Randolph street, Nos. 170 and 172. Bowen Bros., Michigan avenue, Nos. 124, 125 and 126. George H. Itapp, Van Bureu street, No. 166. T. S. Fitch, Dearborn street, Nos. 163 and 165. Henry Kiss, Monroe street, Nos. 205 and 207. Alex. Bishop, Wabash avenue, No. 458. Henry Greenebaum, Lake street, lot 1, block 31, original town. C. G. Wicker, South Water street, Nos. 82, 84, 86 and 88. E. W. Morrison, Clark street, Nos. 113, 115 and 117. E. W. Morrison, Madison street, Nos. 131, 133, 151 and 153. R. Lancaster, Van Bureu street, lots 2 and 5, block 138. school section. Henry Greenebaum, Fifth avenue, Nos. 7(i, 78, 80 and 82. W. Norton, Washington street, No. 31. J. B. Bodell, Calumet avenue, block 64, section 27. R. S. Feldkamp, Clark street, Nos. 392 and 394. W. H. Carter, Van Buren street, sub-lots 5 and 6, lot 1, block 10, fractional section 15. W. Wisendolf, Michigan street, No. 111. Anton Arado, Illinois street, Nos. 68, 72, 74 and 76. B. F. Walker, Madison street, lot 3, block 81, school section addition. J. Marsh, trustee Sherman estate, Randolph and Clark, lots 7 and 8, block M, original town. A. C. Lewis, Fifth avenue, Nos. Ill and 115. E. M. Phelps, Wabash avenue, Nos. 48 and 50. J. H. Dunham, State and South Water streets, Nos. 81 and S3. J. K. Botsford, Lake and Dearborn, Nos. !)> and '.14. Barker, Pike > 100,000; Peck Brothers' five-story stone, Nos. 72 and 74, cost $100,000; the Milwaukee brick front five-story building, Nos. 56 to 62, cost $100,- 000; the four-story brick, Nos. 2 to 12, $90,000; the Ballard block, Nos. 163 and 165, a five- story iron front, cost $100,000; the five-story stone, Nos. 196 and 198, cost $75,(K)0; the High five-story brick and brown stone, Nos. 80 to 82, cost $75,000; the Raw & Eowe building, Nos. 140 to 146, a five-story stone, cost $75,000; the Thatcher, Nos. 114 and 116, a five-story stone, cost $70,000; the Marquette five-story stone building, Nos. 48 and 50, cost $70,000; the Durand Brothers' building adjoining on the north, cost $65,000; the. four-story building, Nos. 280 to 288, cost $75,000; the Averill block, four-story brick, Nos. 274 to 278, cost $75,000; Steine's Milwaukee brick five-story building, Nos. 64 and 66, cost $60,000; while the four-story brick of Ira P. Bowen, Nos. 258 to 264, the four-story stone of Giles Brothers, 266 to 268, the four-story stone building of O. S. Hough, Nos. 358 to 360, the five-story stone. Nos. 75 and 77, and the Ryder four-story stone, Nos. 267 and 269, cost $60,(XX) each, as also the Inter Oceanic block, a five-story Milwaukee brick building, erected by J. Y. Scammon, Nos. 310 to 316. The $50,000 buildings erected in 1871-2, are the Couch five-story stone, Nos. 68 and 70, the McGinnis four-story stone, corner of Adams street; the four-story stone, Nos. 220 to 224; the Hanford five-story pressed-brick house, Nos. 1 to 11; the Homer marble (Crestline) building, No. 235; the Walsh four-story brick, Nos. 251 and 253, and the Pierc.- four-story iron front, No. 335 and 337. Four buildings, ranging in value from 35,0110 to $45,000 were constructed within the year Lord & Smith's six-story iron front. No. 86; the five-story stone, Nos. 349 and 351 : the Scammon four-story brick, Nos. 263 and 205: the four story stone and iron front, Nos. 259 and 261; the four-story stone, Nos. 227 and 229, and Jaeger's live story Marquette stone building. No. <3. 128 INDUSTRIAL CHICAGO: At No. 213, a four-story stone, costing $25,000 was constructed; Wizard's four-story brick, Nos. 318 and 320, cost a like amount; Judge Fuller's six-story Joliet stone building, No. 84, and the five-story stone, Nos. 254 and 256, cost each $30,000. The three-story brick Lewis house, and a few smaller buildings were in progress at the close of 1872. The buildings Nos. 320 to 358, Wabash avenue, were not hurried. The Wright building, on the site of the Second Presbyterian church, Nos. 86 to 94, was not begun in 1872. The State street of ante-flammam days, while open through the prairie south of Twenty- second, was only known as a business street north of Monroe. For a few years before the fire State street contested with Lake street for supremacy, and the battle was still carried on when the great fire came to destroy all distinctions and make way for new beginnings. The work on the stone and iron hotel building, of Potter Palmer, on Monroe and State, begun before the fire, was resumed, and this $2,500,000 house was among the first to be com- pleted. The Singer Machine Co.'s building, Nos. 85 to 97, a seven-story stone house, was completed at a cost of 1500,000, to be rented to Field, Leiter & Co.; the Hale, Fisher & Emerson building, Nos. 99 to 107, cost $155,000, and the Hale & Fisher, five-story stone building, Nos. 75 to 79, cost $70,000 the three being designed by E. S. Jennison. Dr. Judson's five-story, iron-front building, No. Ill, and Keep Bros.' four-story stone front, Nos. 51 to 57 cost, each, $60,000. The Williams & Ferry building, Nos. 113 and 115, and the Peter Page building, Nos. 117 and 119, five-story, Berea stone fronts, cost $100,000 each; the Sturgis block of white stone, Nos. 121 and 123, a like sum; the Gothic five-story Marquette brown stone front, Nos. 125 and 127 on State and Madison, erected for the Boyce estate, $150,000; the Tobey five-story stone front, Nos. 239 to 241, cost $100,000; Barckley & Wilk's building, four-story, iron and stone front, cost $30,000; the Joel Ellis, four-story brick, Nos. 265 to 271, cost $100,000; the Watson & King, four-story brick block, State and Van Buren streets, cost $85,000; the G. C. Pressing, four-story brick building, Nos. 337 and 339, cost $25,000; Edward Kimball's four-story stone front, No. 101, cost $50,000; Hadduck's building, Nos. 1 to 11, four-story brick, $30,000; Potter Palmer's seven- story building, No. 187, cost $30,000; N. P. Wilder's five-story brick, Nos. 47 and 49, $30.000; Legrand Burton's five-story brick, Nos. 43 and 45, $25,000; Eeed & Bushnell's, Nos. 137 and 139, four-story stone, $30,000; A. Rawson's, Nos. 149 and 151, five-story stone, $50.000; William Burke's four-story stone, No. 203, $20,000, and P. O'Neil's block, Nos. 357 and 359, a four-story brick, cost $35,000; Wilson's Laundry, No. 297; N. E. Peterson's, No. 147; Wil- son's, No. 158; Donohue's, No. 155; Goodridge's. No. 157, Lincoln's, No. 159; H. O. Stone's No. 109, cost from $10,000 to $17,001), each. The First National Banking Company, the walls of whose building, Nos. 104 and 106, were left standing October 9, 1871, completed the five-story stone house in 1872, at a cost of $300,000; Potter Palmer's six-story stone front, Nos. 108 to 116, cost $200,000; G. W. Snow's four-story stone front, Nos. 262 to 276, cost $150,01)1); E. S. Pike's five-story skme front, Nos. 166 to 1 72, cost $140,000; Springer's building, Nos. 64 to 72, four-story, cost $80,000; Mayneer's five-story stone front, Nos. 248 to 256 cost $S!),0 :); Coff'man & Andrews' four-story stone, THE BUILDING INTERESTS. 129 No. 308, cost $80,000; C. H. McCormick's five-story stone, Nos. 122 and 124, cost $60,000; John Trayner's five-story iron front, No. 182, cost $60,000; Otis, four-story stone building, Nos. 158 to 164, cost $50,000; Thomas Mackin's block, Nos. 138 to 144, cost $30,000; L. C. P. Freer's building (begun in 1872), Nos. 60 and 62, cost $60,000; George Smith's four-story stone front, Nos. 48 to 56 (begun in 1872), cost $60,000; M. Laflin's four-story brick Nos. 40 to 46, cost $40,000; the Waller three-story stone building, Nos. 330 to 334, cost $50,000; the Madison four-story stone, Nos. 74 to 78, cost $30,000; J. C. Partridge's five-story stone block, Nos. 118 and 120, cost $40,000; E. S. Pike's four-story stone, Nos. 174 and 176, cost $30,(MX); Potter Palmer's five-story brown stone, No. 180, cost $28,(XK); Swartz's four-story stone, No. 136, cost $25,000; James E. Otis' four-story brick, Nos. 278 and 280, cost $25,000; A. J. Alexander's three- story stone, Nos. 286 to 290, cost $30, (KM); Smith Bros.' four-story stone, Nos. 292 and 294, cost $35,000; the Mandel Bros', building, northwest corner State and Harrison, cost $30,000; the four-story stone building, Nos. 296 to 304, cost $50,000; the De Koven, four-story brick, Nos. 16 to 22, cost $37,000; the W. H. Winston, four-story brick, Nos. 12 and 14, cost $25,000; the J. H. Dunham three-story brick block, Nos. 2 to 10, cost $17,000; Mrs. Cavanagh's four-story stone building, No. 148, cost $16,(MK); the two three- story and two four-story brick buildings, Nos. 150 to 156, cost from $8,000 to $12,000 each; the L. C. Maynard, four-story brick. No. 306, $15,(KX); the Parmlee, four-story brick, No. 310, and the Hubbard four-story brick, No. 312, $16,000 each; the Almini two-story stone, No. 344, cost $10,500, and the Peiser two-story brick, No. 346, cost $8,000. A few wooden build- ings were erected in opposition to the ordinance. Dearlx>rn was from the beginning destined to be a short street, aud a popular one. Near the east line of the original town, it, in time, became the center of the business section in its whole length from the river to Jackson street, and was especially adapted for the location of bank, law, real-estate and newspaper offices. In 1869 the street was opened from Monroe to Jackson, to give frontage to the Bigelow house, as well as to the Honore block and the Sheppard block. The historic Tremont house was near its head, and the beautiful Honore block near its foot. The old McArdle house, the " old Salamander drug house," the Portland block, the Tribune, the Journal arid the Times buildings, the Real Estate Exchange and other very fair architectural attempts graced the street. The fire fiend even dreamt of sparing it on that terrible morning of October 9, 1871, but the flames returned to lick up the buildings. Before midnight Dearborn street was a ruin. The McCormick block, southeast corner of Dearborn and Randolph, was among the first to rise complete. This five-story stone building, 80x102 feet, cost 150,000; the King & Fuller- ton four-story Athens stone building, Nos. 88 to 98, cost $160,000; the Portland block, a five- story brick, with stone facings, cost the owner. P. C. Brooks, $300,000; the Speed building, Nos. 121 to 127, a four-story stone, cost $100,000; Kuhn's European hotel, Nos. 145 to 149, a I'm- story brick, cost S 125.1 KM); the Tribune five-story brown stone front, $100,000; the Ken- dall block. Nos. 1(X> to 110, a four-story stone, $100,000; the Journal four-story Cincinnati stone, resting on iron columns. SSO.OOO; (ho Fitch, nortlu-ast corner of Monroe and Dearborn, 130 INDUSTRIAL CHICAGO: ),litan block, Nos. 48 to 62, Buena Vista sandstone fronts, $170,000; Union Mutual Life Insurance Company's building, Nos. 129 to 133, a four-story brick, $60,000; Hartford Insurance Company's building, No. 49, throe-story brick, $20,000; the W. L. & C. I. Peck building, Nos. 1 to 9, $50,000; the Phoenix Insurance Company or May building, No. 127, cost $30,000; the McGee building, Nos. 04 to 70, cost $75,000; the Schlosser at 202 and 208, cost $50,000. The name Wells street, as applied to the southern .extension of North Wells street, up to 1871, was abolished in August, 1871, and the name Fifth avenue bestowed upon it. On October 9, the fire abolished the street itself, sweeping away the large buildings north of Randolph and the disreputable places south of that street. The total destruction of old Wells street compensated in a large measure for the trials and sufferings of the period, for no good citizen could view the ruin of that den of shame and infamy, with any other feeling than that of satisfaction. Even after being clarified by fire and its name being changed, men still looked with sus- picion on the street, and many believing that the curses of mothers, children and wives rested so heavily on it, were slow to invest moneys in massive permanent buildings. For this rea son the year succeeding the fire witnessed the erection of a number of cheap frame and brick houses, while only a few expensive buildings were constructed the three story and basement brick of the Northwestern Distillery Company, at 407 to 411, costing $30,000, being the most expensive of the lot, erected up to October 9, 1872. The proposed White building, THE BUILDING INTERESTS. 133 Nos. 83 and 85, was estimated to cost $75,000, but work upon it was not begun within the year. J. P. Moore's building, No. 107, cost $22,000; Moore & Hallet's four-story marble front, Nos. 163 and 165, cost $25,000; Chase & Boot's stone front, No. 125, $16,000; Lar- son's stone front, No. 123, $14,000; Cleave's Milwaukee brick front at No. 77, $12,000; P. and J. Casey's brick, Nos. 41 and 43, $12,000; the two four-story brick buildings, No. 109, $15,000; No. Ill, $12,000; Jensche's at No. 121, $12,000; the Vermont block, stone front, Nos. 155 to 159, erected for H. S. McLean and S. F. Brown, at a cost of $50,000; the stone front, at No. 161, for Judge Tree, cost $12,000; the Kerfoot stone front, No. 179 and 181, cost $25,(KH); James Ahern's brick building, Nos. 349 and 351, cost $15,000; the Worst. Blaumer, Lasser building, No. 373 to 381, cost $40,000; J. Pettibone's at Nos. 286 to 290, cost $30, (MX); a $20,000 building at No. 280, and a number of buildings ranging in cost from $4,000 to $11,000. Franklin street may be said to have taken on its present form within a year after the great fire. In 1871 it was an open street from the river to Madison, and again from Adams to Tyler streets, where it terminated. In 1872 it was opened from Madison to Adams, and the classic neighborhood, known as "Conley's patch," was brought to the view of the traveler on South Water street. The principal permanent buildings erected on this thoroughfare in 1871-2 were J. V. Farwell & Co.'s building, a five-story stone front, 95x190, cost $150,t corner of Madison rose, costing $350,000; the Farwell block, Nos. 135 to 151 ; the Wilson & Farwell block, Nos. 73 and 75. cost $45,000; the Garvin, Nos. 77' and 79, cost $40,00(1; the King, 81 and 83, cost $25,000; the Weber, 125 and 127, cost $50,000; the Cleveland and Thompson, 145 and 147, cost $00,000; the Central hotel, 72 to 78 (erected by J. A. Wilson and \V. W. Farwell), cost $166,000; the Wadsworth & Dickinson, known as "The U. S. bonded warehouse," Nos. 204 to 210, cost $45,000; the Lind building, Nos. 22 to 26, rented to Fuller & Fuller: Wells & Co.'s five story brick. 251 to Wl Madison, cost $100,000. Phil- adelphia pressed brick with Ohio stone trimmings was used in both fronts. Reid, Murdoch & 134 INDUSTRIAL CHICAGO : Fischer built, a $13,000 one-story house, Nos. 57 to 71, and a few smaller brick structures were erected. River street, beginning at the intersection of Wabash avenue and Water street, runs northeast to the south line of Hush street bridge. On each side a solid line of large brick wholesale houses existed for years before the great tire, and after the burning this street was the first to rise up in solid lines from the debris. As stated before, the Judge H. Fuller, $18,000 three-story brick building, Nos. 9 to 13, was the first permanent structure begun in the New Chicago. The Loomis & Laflin $90,000 four-story brick was completed in 1872 at Nos. 21 to 39; Walters, Rogers & Norton erected their $03,000 five-story brick, Nos. 28 to 34: Joel C. Walter, a $45,000 five-story brick, Nos. 40 to 40; Matt, Laflin a $40,000 tive- story brick, Nos. 10 to 18; Ray & Coats, a $38,000 five-story brick, "Fort Dearborn block," Nos. 36 and 38; Numseri & Sons, a $35.000 five-story iron building, Nos. 45 and 47; Win. M. Hoyt & Co., a $30,000 five story brick and stone building, Nos. 1 to 3, and Hempstead & Armour, a $30,000 four-story brick, Nos. 50 and 52. The Ryan, three-story brick, Nos. 5 and 7; the Downer, four-story brick, Nos. 15 to 19, and the Brown five-story brick, Nos. and 8, cost from $5,000 to $15,000, were erected prior to the close of 1872. South Water street as rebuilt in 1871-2 retained, in its lines of business and architect- ure, the forms of the old street. The buildings were erected for use rather than ornament, plain as a bricklayer could build. The greater buildings erected in 1871-2 included the Robbins $90,000 five-story stone, Nos. 201 to 207; the $60,000 four-story brick, Nos. 169 to 175; William Russell's $00,000 four-story brick, Nos. 209 to 215; R. H. McCormick's $80,000 five-story brick, Nos. 01 to 07; the Wicker, $00,000 four-story brick, Nos. 82 to 90; .the Bauer & Lowenthal $100,000 four-story brick, Nos. 22 to 32, and the Wadsworth four- story brick, Nos. 221 to 239, cost $120,000. The Michigan Central Railroad Company's $25,000 three-story office building, No. 2, was constructed of rough hewn stone; their freight depot, Nos. 8 and 10, cost $10,000; the Price five-story brick, No. 42, cost $35,000; H. W. Henderson's five-story brick, Nos. 48 and 50, corner of Wabash, cost $3(),0(X); Clark & Lay ton's four-story brick, Nos. 170 to 184, cost $35,000; C. B. Hasmer's, Nos. 186 and 188, $20,000; Pardee's, Nos. 210 to 210, $30,000; Dominick's three-story brick, Nos. 220 to 232, cost $30,000; C. G. Smith's "Lumbermen's exchange," Nos. 234 to 240, cost $37,000; W. B. Ogden's four-story brick, Nos. 242 to 248, cost. $45,000; William Hickling's four-story brick, Nos. 250 to 250, cost $25,000, and M. Hickling's, No. 12, $18,000; Purington & Scranton's four-story brick block, Nos. 20(5 to 272, cost $25,000; Ballentyne & Lawrence's five-story brick, No. 71, cost $25,000; Foster \ Porter's three-story brick, Nos. 93 and 95, $25,000; E. B. Williams' four-story brick, Nos. 97 to 101, $35,000; H. McGee's four story brick, Nos. 123 and 125, $30,000; the Couch building, Nos. 153 to 159, $50,000; Brown's four-story brick, Nos. 149 and 151, $20,000 the Couch four-story brick building. Nos. 179 to 183, $50,000; a five-story brick, Nos. 55 'to 59, cost $40,000; Harmon & Messer's four-story brick, corner South Water and River streets, cost $30,000; P. L. Yoe's three-story brick, Nos. 89 and 91, cost $25,000; the four-story THE BUILDING I XT K RESTS. 135 brick, Nos. 133 to 187, cost 88,001); a five-story brick, No. 245, cost $24,000; one at No. 83, cost $20.(XM); one at No. 85, a lik sum: one at No. 39 and one at No. 43, $15,(MX> each; Fullerton's at 118 and 120, $15,000; Beers' at No. 73, $15.(KX); J. & H. Chapman's, No. 139, $15,000; one at No. 241, $18,000; Wright's two-story brick, Nos. 218 to 224, $13,000; Taylor's four-story brick, Nos. 274 and 276, $12,000, and Wheeler's, 278 and 280, a like sum; the Western Transportation Company's one-story brick and filling, $20,000, arid the Binz four-story brick, No. Ill, $17,000. Lake street, from the Illinois Central railroad depot to the bridge, over the south branch, was, with the exception of short Kiver street, the only well built up thoroughfare prior to the fire. It was the first to bestow the ideas of art on its buildings, and, after its destruction, October 9, 1871, was the first to adopt a uniform style of architecture for the new buildings. Within a year, one building, costing $2(X),(XX), three costing over $100,000 each, and ten costing $100,000 each, with several $ 50,000 to $80,000 houses, were completed. L. J. and W. S. McCormick's five-story stone, Nos. 34 to 40, cost $2()0,(XX); McGee & High's four-story brick, Nos. 104 to 108, cost $100,000; Hibbard & Spencer's, known as the Eeed build- ing, a five-story brick, at Nos. 30 and 32, cost $117,000; S. B. Cobb's five-story stone, Nos. 1 to 13; Peter Hayden's five-story iron front, Nos. 45 to 49; LeGrand Burton's five-story iron front, Nos. 59 to 63 (formerly the City hotel); Osborn & Adams' four-story stone, Nos. 199 to 205; McCormick's block, five-story marble front, Nos. 4 to 8; Kohn Brothers' five- story stone, Nos. 10 to 14; Fred Tuttle's five-story iron front, Nos. 58 to 02; Bobbins' five- story iron front, Nos. 190 to 190; the Couch five-story stone, northwest corner Lake and Dearborn, and the five-story building, Nos. 152 to 150, cost each $KX),000. The Garrett Biblical Institute Company's four-story brick, Nos. 243 to 255, cost $110, (XX). The Tremont house is included in the list of buildings on Dearborn street. The Sturgis $80,000 five-story brick, Nos. 72 to 78; the Clark, Dickey & Scammon SSO.(MH) four-story brick, Nos. 80 to 86; the Botsford $75,000 four-story stone, Nos. 92 and 94, and the Bight $70,(XM) five-story brick, Nos. 112 to 110, were brought into existence within one year. The Winston four-story stone, Nos. 144 and 140, the Bxjsenfeld & Rosenberg five-story building, Nos. 15 and 17, and the C. H. McCormick building, Nos. 19 and 21, cost each !?l>0.000; the Blair block, a four-story brick, Nos. 172 to 170, cost $05,(KX); Doggett, Bassett &. Hills' rive-story brick, Nos. 29 and 31 : Drummond's four-story iron front, Nos. 05 and U7: the Couch five-story stone, Nos. 71 and 73; the Botsford & Shumway four-story stone, Nos. 107 and 109; Bugal's four-story stone, Nos. Ill and 1 13: Porter's four-story brick, Nos. 207 and 209: Porter, Stone. Haddock, Lawyer and Buttorfield's block, four-story brick, north- west corner of State: Henry Corwith's five-story iron front, Nos. 54 and 50; Mailers & Adams' four-story stone, Nos. 136 to 140; Scammon's five-story brick, Nos. 222 and 224, and William Wheeler's four-story brick, Nos. 139 to 145, cost 50.1 MM) each. The Corwith five-story iron building. Nos. 51 and 53: Henry Greenebaum's four-story brick, Nos. 159 to 105: J. Cobb's four story stone. Nos. 171 and 173: D. Young's four-story 136 INDUSTRIAL CHICAGO: brick Nos. 195 and 197; Ullmaii & Pardee's four-story brick, Nos. 289 and 241, and Talburt's four-story stone, No. 118, were completed within the year, at a cost of $40,000 each. Mrs. Church's four-story stone building, Nos. 131 and 133, cost $25,000; Prescott's five-story brick, Nos. 175 and 177, $32,000; A. White's four-story brick, Nos. 217 and 219, $30,000; William C. Dow's five-story stone, No. 22, $30,000; the five-story stone and iron front, No. 24, cost $28,000; Muller & Try's five-story brick and iron block, Nos. 46 and 48, cost $26,000. Jennings & Oppenheimer's four-story brick, Nos. 132 and 134, cost $24,000; McNeill's six-story stone front, No. 44, cost $20,75.000;o<)0, and of this $18(5,000,000 was destroyed. The Vienna (Austria) /'Vie Presse of March, 1873, in an editorial says: ' Scarcely have two years elapsed since the 9th of October, 1871, the day on which arose that terrible con- 148 INDUSTRIAL CHICAGO: flagration which converted the largest, most beautiful and most prosperous city of the West into a heap of ruins, such as seemed destined forever and irrevocably, to cover not only the whole property, but the very existence of 400, (XX) people. And to-day this very city stands rebuilt upon its former site, resurrected in rejuvenated beauty, swelled with enhanced energy and enterprise, at the threshold of a grander future than the one which for all time was deemed dissolved in the flames. * * * We people of Vienna, have, above others, some idea of the rapidity with which, under favorable circumstances, a new city may spring up from the soil, and new industries be brought to life. But what was achieved in Chicago under unfavorable conditions, in the brief space of eighteen months, stamps our doings as miserable, shortcoming attempts. To us it is an enigma, a miracle, whose secret to penetrate and whose real condition to explore, is with us a pressing commandment of necessity. * * * All modern extensions of European cities sink into insignificance when compared with what was created, far in yonder American West, by the united and well-directed energy of a simple com- monwealth." THE BUILDING INTERESTS. 149 U. GOTHIC AND RENAISSANCE. e'G October 9, 1872, the record for the year shows a marvelous, if not miraculous, growth, but it was only the beginning of a city. Year after year the lines of per- manent buildings were extended, until Chicago could boast of regular, well built- up thoroughfares. From April, 1872, to March 31, 1873, there were 1,233 permits issued, for the construc- tion of brick buildings, and 301 permits granted for the removal of wooden buildings. The new tire ordinance, under which the permits were issued, was so radical in character as to win opposition from the majority of citizens, and particularly from the working classes, who were most seriously affected by it. In 1873-4, permits to erect 935 brick buildings and 175 to remove wooden buildings were issued. The respective numbers for 1874-5 were 712 and 244, or 2,881 building permits since February 21, 1872. The official record of the issue of permits, by distinct years, shows that in 1873 there were 1,000 building permits issued, to cover 42,300 feet, at an estimate cost of $25,500,000; in 1874, 757 permits, to cover 33,065 feet, at a cost of $5,785,541 ; in 1875, 875 permits, to cover 55,479 feet, at a cost of $9,778,080, and in 1876, 1,636 permits, to cover 43,222 feet, at a cost or $8,270,300. In 1877 there were 2,698 permits issued, and in 1878, 2,709. The estimates of cost do not include the large sums expended on the federal, county and city buildings. The number of buildings in 1877 did not reach the number of permits, being only 1,389. with a frontage of 38,033 feet, and cost- ing $6,922,649. In 1878 the number of buildings erected, 1,019, showed only 31,118 feet, or about six miles of frontage, and cost $6,605,200, the least in the seventeen years since the fire. In 1879 a slightly larger frontage was built over, but the expenditure did not amount to that of 1878, the permits numbering 1,093, the frontage measuring 33,311 feet and the cost approximating $7,500,000. Building Commissioner John M. Diinphy, in the first general report of his department, made to the council in 1890, referred to the rebuilding of the city, thus: "The five years following the great tire of 1871, were the busiest five years in the way of building over known in this city or in this or any other country. During those years the burned district, which had been swept by the tire, was partially built up. There were destroyed by tho great conflagration 15,768 buildings, including 175 manufacturing estab- 150 INDUSTRIAL CHICAGO: * lishments, which were valued at $49,239,000. The improvements thus destroyed covered 2,200 acres of ground, including the heart of our city. The great building mania which fol- lowed in building up that which the fire had burned down was not wholly confined to the burned-out district, for it proved infectious to the entire city. And while the great bulk of improvements were made during the few years following the fire to replace buildings destroyed by the fire, there were great numbers erected outside those limits, and some of the best build- ings seen to-day in the district described were built between October 10, 1871, and January 1, 1877. The amount of building, however, in the burned district during the dates above given was perfectly enormous. Many of the public buildings, both government, city and county, were well under way or completed, and while the masses of our people were engaged one way or another in the reconstruction, let me say that the pride exhibited by many of the owners of these structures was truly wonderful. There appears to have been an unceasing rivalry as to who should have the best improvements, and one vied with the other to that end. No money was spared in embellishments that could add to the owner's property. Indeed, the fine architectural designs and embellishments that entered into the reconstruction during that period are plainly observable to-day, and will last for all time. The amount expended during those five years, or up to January 1, 1877, in the burned district, no one can tell. It was an immense sum, but without any official data, it is hard to approximate the amount with any certainty. However, it is my belief, based upon personal observations, lx>th before and since the great conflagration, that there was expended during the five years mentioned, a sum equal to the amount of losses in buildings, caused by the fire of October 8 and 9, 1871, which was $49,239,000. There is no doubt in my mind that this sum was expended, and probably more instead of less, to say nothing of the amount put into buildings outside the burned dis- trict, but inside the city limits during the same period of time." The Courthouse and City hall described in a former page is a dual structure, with the front of the county section on Clark street and that of the city section on La Salle street. The length on each of the streets named is 340 feet and the width of the two sections 280 feet. In November, 1872, the city and county conjointly advertised for plans. They offered a premium of $5,000 for the best plan, $2,000 for the second and $1,000 for the third best. Fifty plans were received, but nothing was done until 1877, when J. J. Egan's plans for the two sections were accepted. Before it was completed the estimated cost of the city building was 11,642, (KH>, while that of the county building, after several increases, finally became $2,424.628. In reality, however the cost of the buildings was about $5,000,000. The architect adopted the style of the French Renaissance, with its magnificent substructure and columnated super- structure, but the domes were ultimately discarded. Four massive granite columns mark the Clark street entrance. Upon them facades of polished granite stand in relief. The two extreme columns bear the interesting data which perpetuates the names of the commissioners under whose direction the house was constructed and the names of the artisans who performed their part of the work. The chiseled facades bear the following inscriptions: THE BUILDING INTBRB8T8. 151 Anno Domini 1877. Hoard of Commissioners of Cook County. Charles ('. P. llolden, Chairman. Charles C. Avars. Theodore Gueuther. John McCaffrey. James Bradley. Henry C. Seune. Michael Mulloy. P. >[. Clear}-. George 1. Hoffman. K. C. Schmidt. John Conly. Henry J. Lenzen. John Tabor. Patrick Carroll. The other massive block of granite tells this legend: Anno Domini 1877. James J. Kgan, Architect. William Handler, Superintendent. Contractors: Henry Harms. \Vm. McNiel